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BULLETIN 


JANUARY  I,  1951 


THIS  ISSUE: 


Campa9s  Chances 
Far  Survival 

• 

Movie  Man 
With  Faith 


Prayer  far  1951 


FOR  SOMETHING 


FORREST  ADELE 

UCKER  MARA 

Republic's  Romantic  Young  Couple 


starring 


RODRIGUEZ 


ESTEUTA 

MPER  •  BILL  WILLIAMS  .»<  RHYS  WILLIAMS  •  PAUL  FIX 

date  Producer-Director—  JOSEPH  KANE 


Jblic  Pictures  Corporation  —  Herbert  J.  Yates,  President 


1 


HAPPY  NEW  YEAR  FROM  M-G-M 


1951 

is  the 
year  of 
"QUO 
VADIS" 


EDITORIAL 


Vol.  19,  No.  1  January  1,  1951 

Page  Five 


/^ra^r  Jor  1951 


^Jo  Our  ^Jkousands  of 
friends    and  t^eade 


leri 


Item  jjfear 

Dke  3iL  EJLlin  Staff 


REVIEWS  in  This  Issue 


The  Great  Missouri  Raid   12 

Pagan  Love  Song   12 

Emercency  Wedding   12 

The  Redhead  and  the  Cowboy  10 

Double  Deal   10 

Hunt  the  Man  Down   10 

Under  the  Gun   10 


flLM  BULLETIN— An  Independent  Motion  Picture 
Trado  Paper  published  every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax,  Editor  and  Publisher. 
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house  6-7424;  Barney  Stein,  Managing  Editor;  Jack 
Taylor,  Publication  Manager;  Robert  Heath,  Clrei- 
atlen  Manager.  HOLLYWOOD  OFFICE:  659  Haver- 
ord  Ave.,  Pacific  Palisades,  Calif.,  Hillside  8183; 
ay  Allen,  Hollywood  Editor.  Subscription  Rate: 
INE  YEAR,  $3.00  In  the  United  States;  Canada, 
14.00;  Eerope,  $5.00.  TWO  YEARS,  $5.00  In  tie 
Inlted  States;  Canada,  17.50;  Eereee,  99.00. 


Grant  that  the  light  of  wisdom  shine  upon  the  states- 
men of  the  world  that  they  may  guide  mankind  upon  the 
road  to  Peace. 

But,  if  Peace  is  not  to  be,  then  let  us  fight,  like  men 
and  women  who  cherish  our  bounty  of  Freedom,  for  Victory. 

Give  us  the  reason  to  understand  what  is  Right  and 
the  courage  to  heed  the  dictates  of  our  Conscience. 

Grant  that  the  people  of  the  earth  may  come  to  know 
that  Love  is  God's  blessing  upon  those  who  love,  and  hate 
His  curse  upon  those  who  hate. 

Breathe  into  our  hearts  the  spirit  of  Good  Will,  that  we 
may  always  and  forever  do  unto  others  as  we  would  have 
them  do  unto  us. 

Grant  unto  the  people  of  the  motion  picture  industry 
an  ever  greater  sense  of  responsibility  in  their  roles  as 
creators  and  exhibitors  of  a  wonderful  medium  of  enter- 
tainment and  enlightenment.  May  the  makers  of  motion 
pictures  pursue  their  art  with  Good  Taste  and  Integrity,  and 
may  those  whose  theatres  provide  enchantment  upon  silver 
screens  to  eager  millions  conduct  their  business  with 
Dignity. 

May  the  motion  picture  flourish  this  new  year,  while 
earning  the  applause  of  the  people  of  the  world  for  bring- 
ing them  Happiness  and  Respite  from  their  everyday  cares. 
Amen. 


Portrai|pf  an  3  / j 
Exhibitor  to^titjg 


himself  on 

->  « 

New  Year's  Day. . 


"I  hereby  resolve... to  play  'HALLS 
OF  MONTEZUMA', 
I'D  CLIMB  THE  HIGHEST 
MOUNTAIN',  'CALL  ME 
MISTER'.,  all  in  Technicolor,  too! ' 


'Well,  call  me  a  happy  showman  when  I 
have  those  andTOR  HEAVEN'S  SAKE', 
'THE  MAN  WHO  CHEATED  HIM- 
r  SELF'  and  'AMERICAN  GUERRILLA 
IN  THE  PHILIPPINES'  Technicolor 
to  start  off  this  great  New  Year!" 


You  said  it,  pal  —  I'm  right  with 
you  all  the  showmanship  way... 
because  all  the  way... 


Will  the  DUtie  SuMneAA  ^appctt  a  Central  O^ahijaticn  ? 


Compo's  Chances  For  Survival 


The  second  floor  room  of  the  turretted 
Kremlin  in  Moscow  where  Joseph  Stalin 
works  is  of  only  average  size,  with  win- 
dows on  two  sides.  The  desk  is  a  crude, 
bench-like  affair,  rectangular  in  shape  and 
highly  polished.  On  it  stand  a  case  of 
briar  pipes,  a  tobacco  jar,  and  two  silver- 
mounted  photographs  of  his  son,  Vassily, 
and  his  daughter,  Svetlana.  Behind  the 
Red  Boss'  swivel  chair,  on  the  wood- 
panelled  wall,  hangs  a  portrait  of  Nicolai 
Lenin,  "Father  of  the  Revolution."  The 
lighting  fitment  is  a  silver  chandelier 
"inherited"  from  the  Tsars,  who  built  the 
Kremlin  Palace  in  1485. 

In  this  room,  cunningly  contrived  to 
create  the  illusion  of  austerity,  Stalin  and 


COMPO  CHiEF  DEPINET 


As  He  Lives  and  Breathes 


his  closest  confidants  work  long  hours 
forging  the  spanners  with  which  to  snarl 
the  machinery  of  democracy.  They  would 
like  nothing  better,  at  this  decisive  mo- 
ment in  history,  than  to  toss  a  monkey- 
wrench  into  the  U.S.  motion  picture  in- 
dustry by  destroying  the  Council  of  Mo- 
tion Picture  Organizations. 

Stalin  and  his  henchmen  fear  the  things 
Compo  stands  for:  a  united  industry 
geared  to  spread  the  gospel  of  freedom 
across  the  world.  Given  half  a  chance 
Compo  could  help  loosen  the  shackles 
which  Communism  has  laid  on  one-fifth 
of  this  planet's  population. 


By  LEONARD  COULTER 


CxcluMue  $L  BULLETIN  9e*tmt 


And  yet,  ironically  enough,  the  motlo-i 
picture  industry  itself  is  lukewarm  to- 
wards Compo,  shy  to  cooperate  with  it, 
sceptical  of  its  conduct  and  stingy  about 
putting  up  the  cash  it  needs. 

Why  should  this  be?  Is  the  Compo 
idea  a  sound  one?  If  not,  is  this  the 
right  time  to  let  it  sink  back  into  obliv- 
ion? If  it  is  sound  in  its  conception,  is 
there  anything  wrong  with  its  direction? 
Are  its  aims  too  broad?  Or  are  they  too 
narrow?  Is  it  too  costly,  too  extravagant 
for  the  industry  to  maintain?  Does  it 
place  an  unfair  burden,  financial  or  other- 
wise, on  any  one  section  of  the  industry? 
These  questions  are  worth  weighing  very 
carefully,  for  the  affairs  of  Compo  have 
reached  the  critical  phase. 

The  idea  behind  Compo  is  not  new. 
Years  ago  it  had  a  short-lived  predeces 
sor  called,  alphabetically,  UMPTO,  which 
died  because  of  intra-industry  jealousies. 
Compo's  objects  are  not  easy  to  define  in 
a  sentence.  They  are,  primarily,  to  widen 
public  knowledge  of  films  and  the  film 
industry,  to  guide  worthwhile  research 
for  the  improvement  of  the  industry  and 
its  products,  to  combat  unfair  legislation 
and  taxation,  to  raise  attendances  at  mo- 
tion picture  theatres  and  to  provide  an 
all-industry  vehicle  for  co-operation  with 
the  government. 

Aims  To  Promote  Industry 

With  those  aims  no-one  can  legitimate- 
ly quarrel.  Above  all  else,  Compo  —  as 
its  executives  readily  admit  —  is  designed 
chiefly  to  publicize  and  promote  the  mo- 
tion picture  industry.  It  was  born  in 
Chicago  in  August.  1949.  when  Hollywood 
was  wallowing  in  a  slough  of  scandal- 
mongering.  The  danger  signals  were  out. 
Washington  was  buzzing  with  rumors  of 
restrictive  legislation.  Individual  indus- 
try executives  tried  bravely  to  restore 
perspective  to  the  public's  view.  The 
Motion  Picture  Association  strove  like- 
wise, but  the  MPAA  represents  only  one 
segment  of  the  industry  —  albeit  the 
dominant  segment.  There  was  no  single 
all-embracing  organization  which  could 
take  up  the  cudgels.  And  so,  that  August 
day  in  Chicago.  Ccmpo  came  into  being, 
and  in  May  of  the  following  year  it  be- 
came, by  incorporation,  a  legal  entity. 

It  is.  therefore,  still  an  infant  a  mere 
16  months  old.  In  that  brief  span  of  life 
it  has  had  more  than  the  measles.  The 
Theatre  Owners  of  America  dallied  a  long 
while  before  signifying  its  willingness  to 
participate.  Some  TOA  members  con- 
spired to  dominate  the  show  by  putting 
Charlie  Skouras  in  Compo's  top  job.  One 
or  two  MPAA  members  suggested  that 
the  Presidency  ought  to  go  to  one  of 
that  Association's  too  officials.  Some 
company  executives  held  off  because,  they 
said,  they  didn't  want  Compo  interfering 


with  established  trade  practices.  Innum- 
erable exhibitors  disliked  the  very  sound 
of  Compo  because,  they  feared,  it  repre- 
sented "big  city"  interests.  Distributors 
became  decidedly  jittery  when  Compo  be- 
gan to  organize  local  branch  groups  in 
their  territory,  and  clung  more  tightly 
than  ever  to  their  closely-guarded  privil- 
eges. 

All  these  troubles  Compo  has  survived 
so  far,  and  if  it  lives  and  prospers,  the 
industry  will  have  good  cause  to  praise 
one  man:  the  man  who,  taking  on  a 
thankless  task,  has  lived  and  hreathed 
Compo  these  past  twelve  months — RKO's 
Ned  E.  Depinet,  the  Organization's  first 
chief.  He  and  his  aides  in  the  Council — 
Executive  Vice-President  Arthur  L.  May- 
er, Charles  E.  McCarthy,  Information 
Officer,  Special  Counsel  Robert  W.  Coyne 
and  Dick  Pitts,  Editorial  Director— have 


EXECUTIVE  VEEP  MAYER 

'We  Shall  Forge  Ahead!' 


held  the  outfit  together  in  circumstances 
which  would  have  dismayed  others,  for 
Compo  has  had  to  rub  along  without  an 
income  of  its  own.  It  has  lived  —  and 
still  is  —  on  money  borrowed  from  the 
MPAA! 

Compo's  by-laws  provide  that  working 
income  shall  be  provided  by  a  levy  of  one- 
tenth  of  one  percent  on  gross  rentals  or 
revenues,  producers  and  distributors 
matching  each  other  dollar  for  dollar. 
The  original  computations  showed  that 
this  levy  would  yield  an  annual  income 
cf  S600.000.    It  has  yielded  nothing  of 

(Continued  on  Next  Page) 


JANUARY    1  ,  1951 


Coup's  Chances  For  Survival 


(Continued  from  Page  7) 

the  kind,  because  of  a  fault  in  the  col- 
lection machinery.  At  the  outset,  dues 
were  levied  monthly,  which  meant  that 
some  exhibitors  were  billed  for  tiny 
amounts,  some  of  them  amounting  to  on- 
ly a  few  cents.  Bookkeeping,  checking 
and  counter-checking  would  nave  occu- 
pied a  small  army  of  accountants  and 
clerks,  and  might  have  cost  more  than 
the  revenues  received.  So  the  method 
had  to  be  changed.  From  now  on,  dues 
will  be  payable  at  more  sensible  inter- 
vals. If  they  do  not  flow  in  smoothly 
and  regularly,  however,  Compo  will  die 


McCarthy 

Information  Officer 


ol  malnutrition.  The  MPAA  could  not 
afford  to  finance  it  indefinitely,  and 
would  be  compelled  to  seek  consolidation 
of  the  debt.  One  of  these  days  —  and  it 
will  have  to  be  soon  —  Compo  will  be 
obliged  to  seek  a  bank  loan  from  which 
to  repay  the  accommodation  it  has  re- 
ceived from  MPAA,  and  no  bank  is  go- 
ing to  do  business  until  and  unless  Com- 
po can  prove  itself  in  possession  of  a 
solid  member-income. 

Compo  is,  therefore,  not  an  extrava- 
gant institution.  It  has  never  had  the 
opportunity  to  be.  It  occupies  a  biggish 
suite  of  pleasant  offices  high  up  in  the 
Paramount  Building  on  Broadway.  They 
are  very  simply  furnished,  and  consider- 
ably underpopulated.  Messrs.  Mayer, 
McCarthy,  Coyne  and  Pitts  constitute  the 
entire  administrative  staff,  with  Francis 
S.  Harmon  as  Secretary  and  Robert  J. 
O'Donnell  as  Treasurer.  They  are  aided 
by  two  or  three  junior  office  assistants. 

While,  however,  it  may  be  satisfactory 
to  find  that  Compo  is  not  just  another 
relief  agency  providing  fat  jobs  for  a 
host  of  hangers-on,  there  is  no  gainsay- 
ing the  fact  that  the  top  brass  at  HQ 
is  over-anxious  to  avoid  getting  into  a 
fight.  It  is  doing  a  precarious  and  peril- 
ous job  of  fence-sitting.  Mayer,  Mc- 
Carthy and  Coyne  are  constantly  remind- 
ing themselves  that  Compo's  member- 
ship is  made  up  of  groups  and  interests 
whose  policies  oftimes  clash:  the  Allied 
States  Association,  the  Independent  The- 
atre Owners,  Metropolitan  Motion  Pic- 
ture Theatres  Association,  the  MPAA, 


Motion  Picture  Industry  Council,  Pacific 
Coast  Conference  of  Independent  Theatre 
Owners,  SIMPP,  TOA,  the  Trade  Press 
and  the  Variety  Clubs  International.  It 
embraces,  therefore,  writers,  producers, 
directors,  craftsmen,  guilds,  unions,  dis- 
tributors, exhibitors. 

Because  of  the  all-industry  complexion 
of  Compo,  the  constitution  provides  that 
the  decisions  of  the  Executive  Board 
must,  to  be  effective,  always  be  unani- 
mous. If  only  one  delegate  objects  to  a 
certain  course  of  action,  claiming  it  to  be 
inimical  to  the  interests  of  his  principals, 
he  is  able  to  veto  it  as  effectively  as 
Vishinsky  ties  up  the  United  Nations. 
Since  any  one  of  the  ten  member  groups 
represented  on  the  Executive  Board  can 
apply  the  veto,  perhaps  for  reasons  of 
self-interest,  the  welfare  of  the  whole 
can  be  held  back.  It  is  a  pity  that  the 
motion  picture  industry  is  so  divided 
within  itself  that  it  lacks  the  courage  to 
accept  a  majority  vote  —  a  majority  of, 
say,  two-thirds  of  those  present  and  en- 
titled to  vote. 

In  this  respect,  therefore,  Compo  dif- 
fers from  most  other  all-industry  organi- 


COYNE 

Special  Counsel 


zations,  and  if  the  TOA's  current  demand 
for  increased  representation  on  the  board 
—  despite  Allied  States'  objections  —  are 
granted,  Compo  seems  destined  to  become 
even  more,  instead  of  less,  cumbersome 
since  unanimity  would  become  even  hard- 
er to  achieve  at  Board  meetings,  the 
Board  itself  would  be  increased  from  10 
to,  perhaps,  20  members. 

Perhaps  the  best  example  of  this  fun- 
damental weakness  in  the  operation  of 
Compo  was  its  attempt  to  gather  basic 
research  into  the  state  of  the  movie  in- 
dustry: a  fact-finding  investigation  which 
should  have  yielded  statistics  of  inestim- 
able value  to  an  industry  shockingly  short 
of  reliable  indexes  as  to  the  causes,  for 
instance,  of  the  recent  boxoffice  decline. 

One  of  Compo's  sub-committees  devised 
an  interesting  questionnaire,  in  the  course 
of  which  certain  personal  information  re- 
garding exhibitors  was  sought.  There 
were  so  many  objections  from  exhibitors 


that  Compo  had  to  review  the  entire  pro- 
ject. It  is  now  proceeding  with  the  in- 
vestigation on  different  lines,  but  denying 
itself  information  which  would  have  given 
everyone  a  real  insight  into  the  relation- 
ships existing  between  exhibitor  and  pa- 
tron; i.e.,  between  the  film  and  the  public. 

Executive  Vice-President  Arthur  Mayer 
frankly  admits  Compo  lacks  strength, 
but,  he  adds,  "You  can't  expect  to  solve 
the  problems  of  fifty  years  overnight.  You 
won't  solve  them  in  this  industry  until 
patriotism  becomes  a  stronger  instinct 
than  factionalism  and  the  desire  to  make 
money.  We  have  gone  on  for  years  with- 
out an  organization  of  our  own,  yet  prac- 
tically all  other  trades  and  industries  have 
them  —  even  the  florists  and  the  hatmak- 
ers.  We  handle  millions  of  dollars  a  year, 
yet  Compo  has  had  difficulty  in  getting 
any  finance  at  all.  We  shall  get  it.  We 
shall  forge  ahead.  The  war  emergency 
has  made  that  a  prime  necessity.  Co- 
operation, if  only  for  national  reasons,  is 
assured.  But  it  gives  me  and  my  col- 
leagues precious  little  satisfaction  to 
know  that  if  Compo  had  been  started  to- 
day because  of  the  world  situation,  no 
one  would  have  raised  any  objections  or 
put  up  any  hurdles." 

On  January  11-12,  at  a  meeting  of  the 
executive  board,  the  future  course  of 
Compo's  activities  is  expected  to  be  de- 
cided. This  industry  will  then  have  to 
say  whether  it  is  so  jealously-ridden  that 
it  will  tolerate  an  all-embracing  organiza- 
tion only  because  America  is  facing  a 
grave  crisis,  or  whether  it  will  give  Compo 
a  real  opportunity  to  go  into  battle  for 
the  public's  favors  to  the  benefit  of  all 
concerned;  exhibitor,  producer,  distribu- 
tor. 

If  Compo  is  to  fight,  it  will  need  weap- 
ons; not  only  money  and  personnel,  but 
a  completely  new  set  of  by-laws,  abolition 
of  the  veto  and  a  compact,  tightly-knit 
Executive  Committee  which  can  act  with 
speed  on  any  matter  affecting  the  indus- 


PITTS 

Editorial  Director 


try's  welfare  without  having  to  go 
through  a  long  preliminary  rigmarole. 
Other  industries  have  successfully  sur- 
mounted the  problems  of  clashing  person- 
alities and  divergent  interests.  The  very 
process  of  democracy  demands  compro- 
mise between  personal  desire  and  public 
well-being.  How  can  Hollywood  peddle 
democracy  to  the  world  and  beat  down 
the  menace  of  Communism  unless  it,  too, 
is  willing  to  sacrifice  personal  gain  for 
industry-wide  goodwill? 


FILM  BULLETIN 


7ke  Silt  (jcldman  £Tfcyy 


A  Movie  Man  With  Fail 


One  of  the  rarest  and  most  precious 
commodities  in  the  motion  picture  indus- 
try today  is  Faith.  Not  the  idle  and 
fancy  phrases  about  the  "glor-r-rious" 
future  of  the  movies,  whose  speakers 
then  deflate  into  limp,  scared  silence  with 
each  succeeding  crisis.  Nor  the  false, 
fair-weather  faith  that  surrounds  the  pro- 
fit bandwagon  while  it  rolls  along  a 
smooth  road,  loaded  with  passengers  who 
can  see  no  farther  than  the  guy  in  front 
of  them. 

In  Philadelphia,  there  is  a  man  with 
the  kind  of  faith  this  industry  needs  to- 
day. He  is  William  Goldman,  the  inde- 
pendent exhibitor,  who  on  Christmas  Eve, 
opened  his  third  first-run  theatre  in  the 
City  of  Brotherly  Love  within  a  period 
of  four  years,  his  second  within  twelve 
months.  That  is  the  kind  of  faith  that 
counts,  translated  into  expenditure  of 
hard-earned  dollars,  and  visible  in  the 
bricks  and  mortar  that  have  risen  on  the 
streets  of  downtown  Philadelphia. 

This  is  the  same  Bill  Goldman  who 
busted  open  the  Warner  first-run  mono- 
poly in  that  city.  The  same  one  who, 
back  in  1925,  organized  a  million-dollar 
theatre  company  on  the  day  of  the  first 
stock  market  "crash."  The  same  Gold- 
man who  walked  out  of  a  cozy  $78,000  a 
year  job  at  the  height  of  the  depression 
to  again  strike  out  on  his  own  as  an  in- 
dependent theatreman. 

Believes  in  the  Business 
Reluctant  to  talk  about  himself,  and 
too  busy  —  he  works  unlimited  hours 
supervising  his  string  of  20  theatres,  and 
various  large  real  estate  holdings  —  the 
most  one  can  elicit  from  Goldman  in  the 
way  of  a  statement  of  his  credo  is  a  suc- 
cinct : : 

"Well,  if  I  don't  believe  in  this  busi- 
ness, what  am  I  doing  in  it!  The  only 
way  for  the  exhibitors  to  lick  today's 
adversity  is  to  give  the  public  more  beau- 
tiful and  more  comfortable  theatres  and 
for  the  film  companies  to  give  them  big- 
ger and  more  attractive  pictures.  These 
things,  plus  real  showmanship,  will  carry 
us  through." 

Goldman  doesn't  hesitate  to  say  that 
the  salvation  of  the  movie  business  lies 
in  the  kind  of  product  that  companies 
like  M-G-M,  20th  Century-Fox,  and  Para- 
mount are  delivering,  and  embraces  the 
strong  belief  that  the  competition  of  tele- 
vision will  never  be  strong  enough  to 


By  BARNEY  STEIN 

CxcluMe  %  BULLETIN 


WILLIAM  GOLDMAN 

Noiv  and  Then 


stand  up  against  first-class  film  product 
in  theatres. 

"While  I  have  implicit  faith  in  the  fu- 
ture of  the  industry,  I  could  still  be  way 
off  the  target.  Some  day  I  may  have  to 
eat  my  words."  But  Goldman  has  gone 
out  on  a  limb  many  times  before,  always 
supplementing  his  words  with  deeds,  and 
has  never  yet  had  indigestion. 

The  term,  "fat  and  lazy,"  has  been 
tossed  about  rather  loosely  in  our  indus- 
try, by  exhibitors  at  producers,  and  vice 
versa,  and  even  by  producers  at  pro- 
ducers. But  just  as  the  Zanucks  and  the 
Scharys  of  Hollywood  give  the  lie  to  that 
impression  of  the  production  branch  of 
filmdom,  so  does  Bill  Goldman  and  his 
counterparts  throughout  the  country  re- 
pudiate the  generalization  in  the  exhibi- 
tion field.  Men  such  as  these  are  made 
of  the  same  stuff  as  the  pioneers  who 
turned  the  "flickers"  into  a  magnificent 


new  entertainment  art  and  transformed 
the  nickelodeon  into  the  modern  movie 
house  that  became  a  community  institu- 
tion. 

Forty  of  Goldman's  fifty-some  years 
have  been  spent  in  exhibition.  From  the 
time  he  left  a  job  as  a  postal  messenger 
in  St.  Louis  to  take  over  an  empty  cinder 
lot  with  a  platform  (in  lieu  of  a  loan 
to  the  owner  from  his  savings)  and  run 
a  tent  nickelodeon  show,  he  has  continual- 
ly registered  dissatisfaction  with  the  sta- 
tus quo  and  turned  the  "impossible"  into 
concrete  reality. 

When  his  nightly  take  at  the  tent  show 
was  $3,  he  gave  away  hams  and  turkeys 
to  boost  receipts  to  $15.  When  he  bought 
his  first  four-walled  theatre,  long  before 
"talkies"  were  conceived,  he  hired  a 
broken-down  vaudeville  team  to  stand  be- 
hind the  thin  screen  and  supply  dialogue 
and  sound  effects.  And  when,  a  few  years 
later,  he  had  acquired  more  theatres  and 
a  competitor  had  burned  one  of  them 
down,  he  retaliated  by  flooding  the  rival 
exhibitor's  house  with  phoney  passes. 

Fought  Warner  Domination 

His  ability  to  swim  upstream  made 
front  page  headlines  in  1925.  On  the 
very  day  that  the  St.  Louis  papers  car- 
ried an  eight-column  banner  reporting  a 
stock  market  collapse,  the  headline  im- 
mediately beneath  it  read,  "Goldman 
Forms  $1,000,000  Theatre  Company." 
Three  years  later,  he  joined  Warner 
Bros,  to  become  general  manager  of  their 
Philadelphia  circuit  of  theatres  at  a  $1500 
weekly  salary. 

His  decision  to  leave  the  affiliated 
chain  in  1933  to  set  up  an  independent 
circuit  was  viewed  with  amazement  in 
(Continued  on  Page  20) 


Goldman's  three  first  -  run  de- 
luxers  in  Phillv  are  nabbing 
the  cream  of  the  major  film 
oroduct,  on  which  Warners 
formerly  had  an  exclusive. 


'THE  REDHEAD  AND  THE  COWBOY'  ACTIONFUL  CIVIL  WAR  SPY  MELODRAMA 


Rates  •  • 


leneralh 


*  ■  « 


Paramount 
82  minutes 

Glenn  Ford.  Edmond  O'Brien.  Rhonda 
Fleming.  Morris  Ankrum.  Ray  Tea!. 
Dougla-  Spencer,  Alan  Reed,  Ralph  Byrd. 
Directed  by  Leslie  Fenton. 

Here  is  a  Civil  War  cloak-and-dagger 
meller  dressed  in  spurs  and  ten-gallon 
hat  that  should  prove  a  good  attraction 
for  devotees  of  outdoor  films.  Above  aver- 
age casting,  good  story"  and  production 
values  make  '"The  Redhead  and  the  Cow- 
boy" a  topflight  entry  for  action  spots, 
and  should  do_\vell  enough  in  better  class 
locations.  There  are  the  usual  chase 
scenes  on  horseback,  considerable  gunplay 
and  fisticuffs  to  this  Irving  Asher  produc- 
tion for  Paramount,  plus  a  wild  and 
woolly  ambush  climax  that  will  have  the 


nouses 

western  fans  hooting  and  hollering. 

Rhonda  Fleming  is  the  redheaded  Con- 
federate spy,  as  scrappy  and  pretty  a 
feminine  lead  as  has  been  seen  in  many 
a  western  moon.  As  the  fast-drawing, 
poker-faced  cowpoke  who  becomes  in- 
volved in  Civil  War  espionage,  Glenn  Ford 
provides  a  convincing,  credible  perform- 
ance, while  Edmond  O'Brien  and  Alan 
Reed  turn  in  noteworthy  supporting 
stints.  Leslie  Fenton's  direction  of  a 
screenplay  by  Jonathan  Latimer  and  Liam 
O'Brien  keeps  the  pace  lively,  provides 
several  moments  of  suspense  "and  wisely 
tones  down  the  love  interest. 

STORY:  In  New  Mexico  territory',  near 
the  end  of  the  Civil  War.  cowpoke  Glenn 
Ford  takes  a  liking  to  Rhonda  Fleming, 
a  Confederate  spy  posing  as  a  bar  girL 
Another  spy  is  killed  while  talking  to 


Rhonda,  who  runs  away  to  deliver  a  vital 
message,  leaving  Ford  to  take  the  blame 
for  the  murder.  Edmund  O'Brien,  a  North- 
ern intelligence  agent  posing  as  a  cattle- 
buyer,  helps  Ford  escape.  tMnking  the 
cowboy  is  also  a  rebel  agent  who  can  lead 
O'Brien  to  the  hideout  of  the  remnants  of 
a  Southern  army.  The  two  finally  trail 
Miss  Fleming  to  the  hideout  where 
O'Brien's  identity  is  exposed  by  Alan 
Reed,  a  Confederate  colonel  who  plans  to 
raid  a  Union  gold  train  and  run  off  to 
Mexico.  Ford  and  O'Brien  are  locked  up 
while  Reed  goes  off  to  lead  his  renegade 
troops.  O'Brien  is  killed.  Ford  escapes  and 
warns  the  commander  of  the  gold  train. 
Reed's  men  are  trapped,  his  plot  foiled, 
and  Ford  and  Miss  Fleming  are  granted 
amnestv  for  their  help  in  capturing  Reed. 
JACKSON. 


'DOUBLE  DEAL'  ROUTINE  MYSTERY  QUICKIE 

Rates  •  •  as  action  dualler 


I?KG 

64  minutes 

Richard  Doming.  Marie  Windsor.  Taylor 
Holmes,    Fay    Baker.    Carelton  Young, 
James  Griffith. 
Directed  by  Abby  Berlin. 


An  involved  tale  of  violence  and  two- 
timing  in  the  oil  fields  of  Oklahoma  is 
crowded  into  the  compact  64-minute  run- 
ning time  of  this  unimportant  little  RKO 
programmer.  "Double  Deal"  should  real- 
ize satisfactory  returns  as  the  lower  half 
of  action  house  twin  bills,  but  its  brevitv 
and  other  low-budget  qualities  do  not 
indicate  much  in  the  way  of  business  in 
other  situations.  A  further  hindrance  to 
this  film's  success  boxofficewise  is  the  lack 


of  marquee  value  in  its  virtually  unknown 
cast.  Like  so  many  other  minor  offerings 
in  the  mystery  field,  "Double  Deal'"  moves 
quickly  along  from  one  suspicion-casting 
situation  to  the  next,  until  finally,  by 
process  of  elirnination  through  death  or 
otherwise,  the  least  likely  party  in  the 
picture  is  unveiled  as  the  killer.  All  of 
which  makes  it  just  about  par  for  this 
type  of  quickies. 

Richard  Denning  is  a  handsome  and 
virile  hero,  if  no  great  shakes  as  an  actor. 
Marie  Windsor  is  also  very  attractive  as 
his  sweetheart  and  does  a  fairly  good  job 
of  acting  frightened  when  her  life  is 
threatened  by  the  drunken  killer.  Taylor 
Holmes.  Abby  Berling  directed  this  James 
T.  Vaughn  production. 

STORY:  Practically  broke  and  out  of  a 
job.  Richard  Denning  accepts  the  offer 


of  rancher  Carelton  Young  to  bring  in  an 
oil  well  on  the  latter's  ranch.  Denning 
learns  that  Young's  sister,  Fay  Baker,  is 
trying  to  prevent  the  oil  strike  so  that 
she  may  get  the  land  by  default  on  the 
lease.  When  Young  is  murdered.  Denning 
agrees  to  help  Marie  Windsor  fight  Miss 
Baker  and  find  Young's  killer.  Miss  Baker 
is  also  shot  to  death,  and  Marie  blamed 
for  her  demise.  Taylor  Holmes,  a  drunken 
lawyer  who  has  been  Marie's  friend,  con- 
vinces the  police  that  she  is  innocent,  then 
takes  her  to  his  ranch  where  he  confesses 
the  two  killings  and  attempts  to  kill  her. 
His  motive,  he  says,  is  that  the  land  which 
Marie  is  to  inherit  rightfully  belongs  to 
him.  Denning  arrives  in  time  to  stop 
Holmes,  is  in  turn  trapped  by  the  mad 
lawyer,  but  the  arrival  of  the  sheriff  saves 
the  day.  JACKSON. 


'HUNT  THE  MAN  DOWN'  ANOTHER  MYSTERY  FROM  RKO 

Rates  •  •  for  mystery  fans 


Gig  Young,  Lynn  Roberts.  Mary  .Ander- 
son, Willard   Parker.   James  Anderson. 
Carla  Balenda.  Cleo  Moore. 
Directed  bv  George  Archainbaud. 
RKO 

68  minutes 

"Hunt  the  Man  Down"  is  a  minor  who- 
dunit whose  entertainment  value  only 
slightly  exceeds  the  effort  involved  in  its 
conception.  A  standard  addition  to  the 
low-budgeter  ranks,  this  RKO  quickis  has 
enough  mystery  and  suspense  to  make 
it  an  acceptable  attraction  as  a  dualler 
for  action  fans.  The  minor  league  cast 
will  be  practically  worthless  on  the  thea- 
tre marquee.  Another  drawback  is  the 
unfortunate  manner  with  which  the  film 


utilizes  red  herrings  and  far-fetched  sit- 
uations to  keep  audiences  from  detecting 
the  killer,  a  tack  which  may  not  set  too 
well  with  mystery  fans  who  like  to  pick 
their  suspects  from  clues  scattered  along 
the  way.  A  fair  amount  of  excitement  is 
engendered  in  the  climactic  final  court- 
room scene,  when  an  insane  girl  is  used 
to  draw  a  confession  from  one  of  the 
witnesses. 

The  performances  are  no  more  than 
ordinary.  Gig  Young,  as  the  public  de- 
fender "who  tracks  down  a  killer  with 
clues  that  are  12  years  old.  the  only  player 
deserving  of  mention.  George  Archain- 
baud's  handling  of  the  directorial  chores 
for  this  Lewis  J.  Rachmil  production  is 
adequate.  The  undistinguished  screenplay 
v  as  written  by  DeYallon  Scott. 


STORY:  A  dishwasher  in  a  beer  joint 
heroically  foils  a  holdup  and  simultane- 
ousl\-  puts  himself  on  the  spot  as  an  es- 
caped murder  suspect  who  has  eluded  the 
police  for  12  years.  Pleading  innocence, 
the  dishwasher  tells  his  story  to  Gig 
Young,  who  has  been  assigned  to  the  case 
by  the  public  defender's  office.  Young  sets 
out  to  find  seven  witnesses  whose  testi- 
mony has  made  the  dishwasher's  guilt  a 
certainty-  prior  to  his  escape.  By  diligently 
searching  for  clues  and  witnesses,  with 
the  aid  of  his  father,  a  retired  one-armed 
cop.  Young  manages  to  prove  his  client's 
innocence,  drawing  a  confession  from  a 
gambler's  wife  as  she  sits  on  the  witness 
stand.  JACKSON. 


'UNDER  THE  GUN'  GRIM,  SUSPENSEFUL  MELLER 


Rates  •  •  -   for  action  houses;  OK  duall 

Universal-International 
84  minutes 

Kir-hard  Conte.  Audrey  Totter.  John  Mc- 
Intire,  Sam   Jaffe.   Shepperd  Strudwick. 
Gregg   Martell.   Phillip  Pine.  Don  Ran 
dolph.  Royal  Dano,  Richard  Taber. 
Directed  by  Ted  Terzlaff. 


"Under  the  Gun"  has  the  ingredients  to 
satisfy  action  fans  and  houses  catering  to 
this  trade  should  find  it  a  good  top  dualler. 
Elsewhere,  it  will  serve  adequately  as  a 
supporting  feature,  if  coupled  with  a 
comedy  or  musical.  This  Universal  offer- 
ing is  a  rather  grim  melodrama  that 


>r  generally 

moves  suspensefully  to  an  exciting  chase 
climax.  The  screenplay  by  George  Zucher- 
man  is  not  always  plausible,  but  it  should 
hold  tjie  interest  of  all  but  discriminating 
moviegoers.  There  are  exploitation  angles 
for  the  showman  in  the  type  of  character 
Richard  Conte  plays—  a  cold-blooded  killer 
and  double-crosser. 

Conte  is  convincing,  as  are  most  of  the 
people  in  the  supporting  cast,  especially 
Sam  Jaffe.  John  Mclntire  and  Royal  Dano. 
Audrev  Totter  has  a  comparatively  minor 
role.  Ted  TetzlafFs  direction  builds  the 
susr>ense  well. 

STORY:  Bigtime  racketeer  Richard 
Conte.  accompanied  by  Audrey  Totter,  a 


nightclub  singer,  is  attacked  on  the  way 
to  New  York  and  shoots  his  assailant  in 
cold  blood.  He  is  sentenced  to  20  years, 
and  while  in  prison  plans  to  earn  his  free- 
dom by  foiling  a  jailbreak.  He  tricks  one 
of  the  convicts.  Sam  Jaffe.  into  attempting 
a  break  and  kills  him.  thereby  winning  a 
pardon.  Rejoining  Audrey  in  Miami. 
Conte  is  hunted  down  by  Sheriff  John 
Mclntire.  who  has  discovered  the  treach- 
erous means  by  which  Conte  double- 
crossed  Jaffe  in*  order  to  gain  his  own 
freedom.  The  chase  ends  when  Audrey 
steals  Conte's  gun.  making  the  unarmed 
gangster  a  sitting  target  for  Mclntire. 
LEON. 


10 


FILM  BULLETIN 


More  posters  — more  promotion —  more  playing  time!  Make  plus  plans  for  the  Ladd 
picture  that's  bigger  than  "Whispering  Smith."  Today,  Paramount's  great  star  is  at  the 
very  peak  of  his  boxoffice  popularity  as  readers  of  one  of  America's  largest  circulation 
fan  magazines  vote  for  the  third  consecutive  year: 


ALAN  LADD 

The  Most  Popular  Male  Star- Modern  Screen's  Poll! 


Watch  Top  Annual  Star  Honors  Go  Again  This  Year  t°T}  3X3.11101111 


'THE  GREAT  MISSOURI  RAID1  EXCELLENT  NSW  VERSION  OF  JESSE  JAMES  STORY 


Rates  •  •  •  generally;  more  in  actions 


Paramount 
85  minutes 

Wendell  Corey,  Macdonald  Carey,  Ward 
Bond,  Ellen  Drew,  Anne  Revere,  Edgar 
Buchanan,  Bruce  Bennett,  Bill  WiTiams, 
Lois  Chartrand,  Paul  Fix,  James  Griffith, 
James  Millican,  Paul  Lees,  Louise  Gene 
Heydt,  Steve  Pendleton,  Guy  Wilkerson, 
Bob  Bray,  Ethan  Laidlaw,  Whit  Bissell. 
Directed  by  Gordon  Douglas. 


This  Paramount  version  of  an  oft-told 
tale  of  the  notorious  James  gang  is  a 
glorified  western  outlaw  epic,  crammed 
with  old-fashioned  riding,  shooting,  hell- 
bent-for-leather  action,  and  hued  in  eye- 
filling  Technicolor. 

The  boxoffice  potentialities  of  "The 
Great  Missouri  Raid"  are  very  good 
wherever  the  big  outdoor  films  click. 
And  for  exhibitors  who  fully  capitalize 
upon  the  exploitation  possibilities  of  the 
Jesse  James  story,  receipts  should  even 
be  better  in  deluxers  and  class  situations. 
This  post-Civil  War  melodrama  tells  of  no 


specific  raid,  as  the  title  implies,  but  rath- 
er attempts  to  explain  sympathetically 
how  a  couple  of  nice  Missouri  kids  and 
their  friends  converted  into  a  gang  of  the 
most  feared  outlaws  in  our  history.  Un- 
like the  previous  20th-Fox  picture,  "Jesse 
James,"  this  version  blames  their  down- 
fall on  the  unsatiable  desire  for  ven- 
geance on  the  part  of  an  unscrupulous 
ex-Union  officer  who  hated  the  James 
brothers  because  they  killed  his  brother 
during  the  war. 

Although  the  players  in  "The  Great 
Missouri  Raid"  are  not  top-ranking 
names,  every  one  turns  in  a  commend- 
able performance.  Most  deserving  of 
credit  are  Wendell  Corey,  as  Frank 
James;  Macdonald  Carey  as  Jesse;  Anne 
Revere  as  their  mother  and  the  narrator 
of  the  story,  and  Ward  Bond  in  the  role 
of  the  revenge-mad  ex-Union  officer. 
Gordon  Douglas'  direction,  production  by 
Nat  Holt,  and  Frank  Gruber's  screen- 
play are  all  equally  good. 

STORY:  Based  on  the  career  of  the 
fabulous  outlaw  gang  led  by  Jesse  James, 


and  narrated  by  Anne  Revere,  mother  of 
the  James  boys.  Frank  and  Jesse,  played 
by  Wendell  Corey  and  MacDonald  Carey 
respectively,  are  forced  to  turn  outlaw 
when  Union  officer  Ward  Bond  blames 
them  for  a  bank  robbery  and  sets  a 
reward  for  them,  dead  or  alive.  Bond 
hates  the  James  brothers  because  they 
killed  his  brother,  James  Millican,  during 
the  Civil  War.  After  a  lengthy  string 
of  bank  and  train  robberies  in  conjunc- 
tion with  the  famous  Younger  brothers, 
(played  by  Bruce  Bennett  and  Bill  Wil- 
liams), Frank  and  Jesse  decide  to  hang 
up  their  guns  at  the  behest  of  their 
wives.  However,  before  they  do,  Bond, 
now  a  private  detective  who  seems  to  be 
devoting  his  life  to  the  destruction  of  the 
James  boys,  promises  the  $10,000  reward 
for  Jesse,  dead  or  alive,  to  a  less  faith- 
ful member  of  the  gang,  Bob  Ford 
(Whit  Bissell).  Ford  shoots  Jesse  in  the 
back  while  the  latter  prepares  to  leave 
the  area,  and  Jesse  dies  in  the  arms  of 
his  sobbing  wife,  Ellen  Drew.  JACKSON. 


'PAGAN  LOVE  SONG'  DISAPPOINTING  TECHNICOLOR  MUSICAL  ROMANCE 


Rates  •  •  +  generally  on  name  values 


MGM 

76  minutes 

Esther  Williams,  Howard  Keel,  Minna 
Gombell,  Charles  Mauu,  Rita  Moreno, 
Philip  Costa,  Dione  Leilani,  Charles 
Freund. 

Directed  by  Robert  Alton. 


While  "Pagan  Love  Song"  can  boast 
some  of  the  ingredients  that  are  classi- 
fied as  sure-fire  boxoffice,  this  Metro  of- 
fering will  prove  generally  disappointing. 
It  has  lovely  Esther  Williams  in  a  sarong, 
some  breathtakingly  beautiful  scenic 
splendor  all  decked  out  in  Technicolor, 
Howard  Keel  giving  out  in  his  fine  bari- 
tone, and  exciting  native  dances.  But  to 
offset  these  assets,  the  film  is  burdened 
with  an  uncommonly  dull  script  from  the 
pen  of  Robert  Nathan  and  Jerry  Davis, 


and  Robert  Alton's  direction  is  far  too 
disorganized  to  make  the  most  of  the 
worthwhile  features  and  his  pace  is  some- 
times painfully  slow.  Boxoffice  returns  in 
the  early  runs  will  probably  be  well  above 
average,  since  the  picture's  exploitable 
elements  are  highly  attractive,  but  cool 
word-of-mouth  should  simmer  down  the 
response  in  the  subsequents. 

As  a  native  Tahitian  of  American  de- 
scent, Esther  Williams  performs  her 
aauatic  routines  gracefully,  but  the  script 
gives  her  little  opportunity  to  do  anything 
else.  Howard  Keel's  rendition  of  the 
catchy  tune,  "The  House  of  Singing  Bam- 
boos," is  one  of  the  film's  high  spots.  Pro- 
ducer Arthur  Freed  collaborated  with 
Harry  Warren  on  the  score.  A  large  por- 
tion of  the  film  was  made  on  location  in 
Hawaii. 

STORY:  Coming  to  Tahiti  to  live  on 


the  coconut  plantation  willed  him  by  his 
uncle,  Howard  Keel  mistakenly  takes 
Esther  Williams  for  a  native,  and  subse- 
quently falls  in  love  with  her  when  he 
discovers  she  is  an  American.  At  first  he 
wants  only  to  loaf  on  the  plantation,  but 
after  he  adopts  several  Tahitian  children 
and  realizes  he  needs  money  to  support 
them  and  Esther,  whom  he  wants  to 
marry,  Keel  sets  out  to  make  the  place 
a  paying  proposition.  He  speaks  harshly 
to  his  native  help  when  they  fail  to  har- 
vest the  coconut  crop  and  quarrels  with 
Miss  Williams  when  she  rebukes  him.  He 
relents  when  he  finds  his  children,  aided 
by  their  friends,  have  done  the  work  and 
saved  the  crop  from  a  rainstorm,  and  the 
natives  whom  he  had  scolded  and  chased 
away  connive  to  bring  Keel  and  Esther 
together  again,  to  the  joy  and  happiness 
of  all  concerned.  JACKSON. 


'EMERGENCY  WEDDING1— ROMANTIC  COMEDY 

Rates  •  •  as  dualler;  n.  q.  for  action  spots 


Columbia 
78  minutes 

Larry  Parks.  Barbara  Ha'e,  Willard 
Parker,  Una  Merkel,  Alan  Reed.  Eduard 
Franz,  Irving  Bacon,  Don  Beddoe.  Jim 
Backus.  Teru  Shimada,  Myron  Welton, 
Ian  Wolfe.  Helen  Sprine.  Greg  McClure, 
Queenie  Smith,  Jerry  Mickelsen. 
Directed  by  Edward  Buzzell. 

This  is  a  remake  of  Columbia's  1941 
release,  "You  Belong  To  Me"  (Barbara 
Stanwyck  -  Henry  Fonda).  The  FILM 
BULLETIN  reviewer  reported  that  old 
version  to  be  "long  drawn-out  domestic 
farce"  that  was  burdened  by  a  "formula 
script."  This  new  Columbia  effort  can- 
not be  praised  so  highly;  it  is  downright 
silly  and  the  alleged  comedy  situations 
arc  forced  to  the  point  of  boredom.  The 
screenplay  by  Nat  Perrin  and  Claude 
Binyon  is  witless  and  strained.  After 
indulging  in  slapstick  highjinks  through 
about  half  of  the  film,  the  story  sudden- 
ly and  awkwardly  takes  up  the  cudgels 
on  behalf  of  foreign  doctors  barred  from 
practicing  in  this  country  by  Ihe  Am- 


erican Medical  Association.  It  all  leaves 
one  wondering  why  Columbia  ever  both- 
ered to  remake  a  nonsensical  story  that 
palled  less  discriminating  moviegoers  of 
ten  years  ago.  This  will  serve  only  as 
a  supporting  dualler  in  family  houses. 
It  has  very  little  boxoffice  value. 

Larry  Parks  as  a  millionaire  playboy 
is  not  too  convincing,  but  Barbara  Hale, 
as  a  lady  physician,  is  cute  and  does  as 
well  as  possible  with  the  material  at 
hand.  Eddie  Buzzell's  direction  leaves 
much  to  be  desired,  although  it  is  obvi- 
ous that  the  script  got  him  down. 

STORY:  Larry  Parks  is  a  wealthy 
man  who  married  Barbara  Hale,  the  fe- 
male doctor  who  attended  him  after  he 
was  involved  in  an  accident.  The  play- 
boy becomes   extremely  jealous   of  his 


Review 

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•  •  •  •  TOPS 

wife,  particularly  of  her  male  patients. 
When  he  continuously  picks  quarrels 
with  a  couple  of  these  men  because  of 
this  jealousy,  Miss  Hale  leaves  Parks, 
complaining  about  the  fact  that  he  is 
useless  to  society  in  addition  to  his 
troublesome  attitude  toward  her  patients. 
Later  Parks  is  almost  run  over,  his  life 
being  saved  by  Jerry  Mickelsen.  a  news- 
boy who  is  seriously  hurt  at  the  time. 
To  show  his  gratitude,  Parks  hires  a 
prominent  foreign  surgeon,  Eduard 
Franz,  to  operate  on  the  boy.  But,  be- 
cause of  a  medical  ruling  forbidding 
foreigners  to  practice  without  interning 
in  this  country,  Franz  cannot  operate. 
Parks  talks  him  into  doing  the  neces- 
sary surgery  and  then  tries  to  convince 
a  medical  committee  that  doctors  like 
Franz  should  be  permitted  to  practice. 
When  he  fails,  he  builds  his  own  hospi- 
tal, the  purpose  of  which  is  to  help 
foreign  doctors  get  the  necessary  back- 
ground to  work  in  the  U.  S.  When  Bar- 
bara discovers  her  husband  has  perform- 
ed a  worthy  deed,  she  returns  to  him 
and  they  start  their  married  life  over 
again.  GRAN. 


12 


FILM  BULLETIN 


r 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
Cxckd*  ^BULLETIN  Juton 


COLUMBIA 


COHN  SEEKING  INDE  DEALS 
TO  BOLSTER  COL.  '51  PROGRAM 

/COLUMBIA  is  frantically  searching  for 
^  releasing  deals  with  independent  pro- 
ducers during  1951  in  an  effort  to  bolster 
its  own  slate  of  unimpressive  quickies. 
As  of  this  writing,  attorneys  for  this 
company  and  the  Stanley  Kramer-Sam 
Katz  organization  seem  on  the  verge  of 
completing  details  on  a  production  con- 
tract calling  for  a  total  of  three  to  six 
pictures  annually. 

Financing  of  the  Kramer  productions, 
eventually  aimed  at  20  per  year,  will  be 
shared  by  Columbia  and  Kramer's  part- 
ner, Sam  Katz.  According  to  terms  of 
the  Kramer-Katz  partnership,  the  latter 
guarantees  immediate  financing  of  $2,- 
000,000.  At  about  the  same  time,  Burt 
Lancaster  put  his  name  on  the  dotted 
line,  committing  his  Norma  Productions 
to  a  pair  of  Columbia  releases.  No  de- 
tails are  available  at  this  time  on  the 
financial  arrangements  worked  out  be- 
tween the  Norma  unit  and  Columbia 
prexy  Harry  Cohn.  However,  it  is  known 
that  their  first  production  under  the  ar- 
rangement will  be  "Ten  Tall  Men,"  which 
is  set  to  roll  early  this  year. 

Meantime,  the  internal  strife  that  has 
marked  most  of  Columbia's  history  un- 
der the  reign  of  Cohn,  continues  unabat- 
ed with  William  Dozier  the  latest,  to 
ankle  the  lot.  In  another  surprise  de- 
parture, Norman  Corwin  walked  out  af- 
ter being  on  the  job  only  a  week.  Sev- 
eral other  producer  shake-ups  are  expect- 
ed almost  any  day. 

As  for  Columbia's  own  production  pic- 
ture, there  can  be  little  doubt  that  the 
company  needs  to  rely  heavily  on  inde 
producers  if  it  is  to  survive  the  current 
period  of  stress.  Of  the  five  pictures 
which  rolled  on  the  lot  early  in  Decem- 
ber, all  were  completed  within  two  weeks, 
including  the  Lucille  Ball  comedy,  "Magic 
Carpet."  There  can  be  little  doubt  that 
the  skimpy  Columbia  budgets  and  ab- 
breviated shooting  schedules  will  alienate 
stars  of  the  calibre  of  Miss  Ball  before 
long. 

EAGLE  -  LION  -  CLASSICS 

LITTLE  ACTIVITY  IN  ELC 
FOR  NEXT  60  DAYS-THEN? 

QNLY  one  picture  for  ELC  release  roll- 
ed during  the  closing  month  of  1950. 
and  it  seems  unlikely  that  there  will  be 
any  appreciable  pick-up  in  the  produc- 
tion tempo  for  at  least  the  first  30  to  60 
days  of  the  New  Year.  Yet  one  gets  the 
impression  that  things  are  simmering  be- 
neath the  surface  and  that  this  outfit 
might  get  hot  before  long. 

Most  newsworthy  developments  con- 
cerning the  company  was  the  rumored 
dissolution  of  the  ELC-J.  Arthur  Rank 
contract,  which  has  accounted  for  a  size- 


able proportion  of  the  American  com- 
pany's releases  in  recent  years.  The  pact 
is  scheduled  to  run  through  1951,  but  in- 
siders believe  that  it  will  be  dissolved  by 
mutual  consent  almost  any  day  now. 

One  of  the  company's  most  lucrative 
independent  production  tie-ups  —  the  one 
with  LeMay-Templeton  —  has  also  come 
to  an  end  —  at  least  insofar  as  the  part- 
nership is  concerned.  Alan  LeMay  is- 
sued a  statement  late  in  December,  to 
the  effect  that  he  and  Dink  Temoleton 
would  enter  production  independently, 
thereby  dissolving  the  partnership  that 
accounted  for  these  three  pictures:  "The 
Sundowners,"  "High  Lonesome,"  and 
"Quebec."  The  contract  of  their  one 
player  property,  John  Barrymore,  Jr., 
reverts  to  Templeton. 

Ventura  Pictures  provided  a  brighter 
side  to  the  ELC  newG,  however,  with  the 
disclosure  that  they  will  moke  a  third 
film  for  distribution  by  this  organization. 
Titled,  "Fort  Defiance,"  the  feature  will 
roll  in  Cinecolor,  the  middle  of  January, 
with  Peter  Graves  in  the  top  role. 

METRO-SOLDWYN-MAYER 

M-G-M  PRODUCTION  STEP-UP 
MIGHT  HIKE  '51  OUTPUT  TO  45 

•"pHERE  can  be  no  doubt  that  MGM  is 
facing  1951  with  assurance  —  a 
healthy  sign  not  only  for  the  company, 
but  for  the  entire  industry.  MGM  is 
building  up  its  roster  of  writers,  plan- 
ning an  increase  in  its  production  slate, 
and  enhancing  an  ever-increasing  num- 
ber of  its  pictures  with  the  "extra"  val- 
ues which  spell  boxoffice — such  as  Tech- 
nicolor tinting  and  top-heavy  stellar  cast- 
ing. 

With  20  features  completed  or  in  the 
editing  stages,  seven  before  the  cameras 
and  five  more  slated  to  roll  this  month, 
the  company  faces  the  new  year  with  no 
less  than  25  scripts  in  various  stages  of 
preparation.  Nine  of  the  completed  pro- 
ductions are  in  Technicolor,  three  more 
of  those  shooting  get  the  same  tint  pro- 
cess, and  a  total  of  10  projected  films 
have  been  earmarked  for  color.  Top 
brass  for  the  company,  meantime,  met  in 
New  York  for  huddles  over  a  possible  in- 
crease in  production  activities  which 
would  provide  for  a  minimum  of  45  re- 
leases in  1951.  During  1949,  Metro  re- 
leased 36  features.  In  1950.  the  slate  was 
increased  to  40. 

Within  the  last  month,  no  less  than 
nine  writers  were  signed  to  long  term 
contracts  bv  the  Culver  City  organiza- 
tion. This  is  all  a  part  of  a  campaign 
by  Production  Chief  Dore  Schary  to 
strengthen  the  studio's  story  material 
resources  in  line  with  the  current  need 
for  more  high  grade  product. 

All  of  this  production  splurge  does  not 
mean,  however,  that  Schary  is  not  con- 
tinuing his  efforts  to  cut  costs  wherever 
possible.  For  example,  he  has  just  put  a 
28-day  shooting  schedule  on  "Man  On  the 
Train."  thereby  holding  the  budget  down 
to  well  under  the  million  dollar  mark. 


HOLLYWOOD  EDITORIAL 

Don't  WastG  Prosperity 

With  President  Truman's  dec'.aration 
of  a  state  of  national  emergency  and 
orders  to  put  the  manufacture  of  defense 
weapons  back  on  a  full  war-time  footing. 
It  is  likely  that  another  period  of  peak 
employment  —  and  subsequently  peak 
spending  —  is  in  the  offing.  This  means 
that  theaters,  in  all  likelihood,  will  again 
be  playing  to  capacity  crowds,  just  as 
they  did  during  the  great  spending  binge 
that  accompanied  World  War  II.  But 
let's  hope  we've  learned  a  lesson  from 
that  experience  which  won't  be  repeated. 

Actually,  at  a  time  when  the  movie 
theatres  of  America  were  catering  to 
the  greatest  number  of  people  in  history, 
the  potential  moviegoers  of  the  future 
were  being  alienated.  Instead  of  making 
better  movies  when  the  money  was  roll- 
ing in,  the  industry  became  slipshod  and 
turned  out  mere  trash  —  on  the  assump- 
tion that  the  entertainment  hungry  pub- 
lic would  throw  its  money  away  on 
anything. 

But  this  "fat-dog"  psychology  kicked 
back,  as  anyone  with  an  ounce  of  reason 
must  have  known  it  would.  When  money 
was  no  longer  plentiful  and  the  average 
man  and  woman  were  forced  to  again 
budget  their  entertainment  dollars,  they 
would  no  longer  accept  this  trash.  The 
result  was  a  near  death  blow  to  the  en- 
tire industry.  How  often  in  the  past 
couple  years  has  the  theat reman  heard 
his  ex-patrons  say:  "There  aren't  many 
movies  worth  seeing.  Why,  we  haven't 
been  to  a  movie  in  months."  Only  now, 
after  almost  four  years  of  intensive  re- 
organization and  planning,  ar.^  we  again 
turning  out  the  calibre  of  pictures  which 
the  public  has  a  right  to  exp?ct  —  and 
demands  for  its  money. 

If  a  repetition  of  this  experience  is  to 
be  avoided,  we  must  all  be  on  the  alert 
to  maintain  the  highest  standards  of 
showmanship.  If  we  have  another  shot 
at  prosperity,  let's  not  waste  it.  And 
that  goes  for  exhibitors,  as  well  as  pro- 
ducers.   JAY  ALLEN. 


MONOGRAM- AA 

15  IN  MONO- A  A  BACKLOG, 
4  NEW  CINECOLORS  BY  MARCH 

AS  Monogram  and  Allied  Artists  launch 
the  New  Year,  they  can  boast  one  of 
the  best  stocked  shelves  in  their  entire 
history,  with  14  Mono  pictures  and  one 
AA  completed  and  awaiting  release.  They 
can  also  pride  themselves  in  having  four 
uope-  budget  films  —  all  to  be  shot  in 
Cinecolor  —  scheduled  to  go  before  the 
cameras  during  the  first  quarter  of  1951. 

Starting  on  January  4th  will  be  one  of 
Allied  Artists  most  promising  projects 
of  the  new  year,  "I  Was  An  American 
Soy.''  based  on  the  experiences  of  Claire 
Phillips  during  the  Jap  occupation  of  Ma- 
nila. Steve  Broidy  has  signed  Ann  Dvor- 
ak to  plav  the  Miss  Phillips  role.  Gene 
Evans  will  have  the  male  lead. 

Starting  January  15  will  be  "Flight  To 
Mars,"  which  Walter  Mirisch  will  pro- 
duce. Th's  will  be  followed  by  "Rodeo," 
anoth°r  Mirisch  production.  "Big  Top," 
with  Ben  Schwalb  handling  the  produc- 
tion reins,  gets  a  green  light  in  Febru- 
ary, and  "Fort  Osage,"  the  final  Cinecolor 
starter  will  rcll  on  March  12,  with  Mirisch. 
again  assigned  as  the  producer. 

(Continued  on  Next  Peg*) 


JANUARY    1  , 


19  5  1 


ia 


STUDIO  size-ups 

(Continued  from  Preceding  Page) 

PARAMOUNT 

SEVEN  FEATURES  TO  ROLL 
IN  FIRST  TWO  MONTHS  OF  '51 

PARAMOUNT  will  hit  its  greatest  pro- 
duction stride  since  the  war  in  the 
first  two  months  of  1951,  with  seven 
films  slated  to  go  before  the  cameras 
within  a  60-day  period.  This  is  in  addi- 
tion to  a  quartet  of  current  films  carry- 
ing over  into  January. 

Moreover,  the  budgets  show  a  slight  in- 
crease over  the  average  set  in  recent 
months,  with  three  of  the  seven  pictures 
earmarked  for  Technicolor.  The  biggest 
budgeter  for  the  company  will  be  the 
Cecil  B.  DeMille  spectacle,  "Biggest  Show 
On  Earth,"  which  rolls  January  22  in 
Sarasota,  Florida.  The  budget  on  this 
one  is  reported  to  be  in  the  $2,000,000 
bracket,  and  the  shooting  schedule  has 
been  set  at  six  months.  With  Metro's 
"Quo  Vadis,"  and  Fox's  "David  and  Beth- 
sheba,"  this  DeMille  spectacle  outstrips 
anything  else  on  the  Hollywood  horizon 
lor  '51. 

In  a  major  policy  move,  Paramount 
has  ordered  all  indies  releasing  through 
the  company  to  shoot  all  of  their  future 
pictures  right  on  the  Paramount  Holly- 
wood lot.  Y.  Frank  Freeman  says  he 
adopted  the  new  policy  in  an  effort  to 
lower  studio  overhead.  Only  Pine-Tho- 
mas are  currently  unaffected  by  the  edict, 
inasmuch  as  their  old  contract,  permit- 
ting them  to  headquarter  at  General 
Service  Studios,  does  not  expire  until  late 
this  year.  Freeman  has  indicated  that 
any  new  pact  with  the  two  Bills  will  also 
require  that  they  confine  their  produc- 
tion to  the  Par  home  lot. 

Two  important  stellar  deals  have  just 
been  set  by  Par,  indicating  that  the  1951 
slate  will  be  highlighted  by  special  em- 
phasis on  casting.  Helen  Hayes,  first 
lady  of  the  theater,  returns  to  the  screen 
for  the  first  time  since  1936  as  the  star 
of  Paramount's  "My  Son  John,"  schedul- 
ed to  start  sometime  late  this  winter  or 
early  in  the  spring.  Maurice  Chavalier 
likewise  returns  following  a  long  absence 
to  star  in  "A  New  Kind  Of  Love,"  set  to 
roll  in  July. 

REPUBLIC 

YATES  EXPRESSES  FAITH 
WITH  $2  MILLION  EXPANSION 

REPUBLIC  is  starting  1951  with  a  bang. 
xv  According  to  Herbert  J.  Yates,  his 
company  will  embark  upon  a  $2,000,000 
expansion  program,  both  in  the  United 
States  and  Great  Britain  within  the  next 
several  weeks.  Yates  declared  that  his 
decision  to  launch  this  prodigious  expan- 
sion was  based  on  a  personal  six-months 
survey  of  business  conditions  both  here 
and  abroad. 

Yates  is  of  the  opinion  that  the  threat 
of  television  to  the  future  of  motion  pic- 
tures is  gradually  levelling  off,  and  that 
the  industry  need  have  no  cause  for  im- 
mediate alarm  from  that  quarter.  He 
declared:  "With  the  present  high  quality 


of  product,  people  are  finding  their  way 
back  to  the  theaters,  realizing  the  self- 
evident  truth  that  motion  pictures  still 
are  and  always  will  be  their  cheapest  and 
best  form  of  entertainment." 

The  bulk  of  the  domestic  outlay  in  the 
new  expansion  program  will  be  spent  on 
improvements  on  the  company's  North 
Hollywood  studios  and  new  physical  pro- 
perties in  the  34  exchange  cities.  About 
$500,000  is  being  spent  in  England  and 
Ireland  when,  on  January  1,  Republic  is 
assuming  all  control  of  the  sale  and  dis- 
tribution of  its  product. 

Republic  has  also  jumped  aboard  the 
bandwagon  with  a  USO  film  tagged,  "Star 
Spangled  U.S.A.,"  set  to  roll  later  this 
year.  The  picture  will  relate  the  efforts 
of  entertainers  in  bringing  shows  to 
America's  fighting  heroes  on  the  far 
flung  battlefronts,  and  will  pay  tribute 
to  such  stars  as  Al  Jolson,  Carole  Lom- 
bard, Glenn  Miller,  and  others. 

RKO 

NEW  RKO  STUDIO  HEAD 
BRGHTENS  1951  OUTLOOK 

J^KO  MOVES  into  1951  with  a  new  chief 
of  studio  operations,  an  even  stronger 
camp  of  independent  producers  set  to 
release  their  product  through  the  com- 
pany, and  more  than  three-fourths  of  its 
1951  release  program  already  completed. 

C.  J.  Tevlin  is  the  new  studio  opera- 
tions chief,  succeeding  Gordon  E.  Young- 
man,  who  recently  resigned  his  post  to 
enter  private  law  practice.  Tevlin  is  au- 
thoritatively reported  to  be  contemplating 
the  addition  of  several  high  calibre  pro- 
duction executives  to  implement  the  pres- 
ent studio  departmental  setup.  Most  of 
the  wiser  heads  in  Hollywood  are  agreed 
that  the  signing  of  Tevlin  is  one  of  the 
greatest  things  to  happen  to  RKO  in 
many  years.  There  are  few  motion  pic- 
tures executives  in  the  business  who  are 
mare  sincerely  respected  than  he,  and 
certainly  none  with  greater  drive  to  push 
his  ideas  through.  At  any  rate,  the 
change  in  studio  management  is  welcome 
because  RKO's  product  for  the  past  two 
seasons  has  been  disappointing. 

As  for  the  independents  set  to  produce 
pictures  for  RKO  release  in  1951,  there 
are,  of  course,  the  old  standbys — Walt 
Disney,  Samuel  Goldwyn,  and  the  Film- 
makers company.  In  addition,  this  year 
the  company  will  bolster  its  slate  with 
the  most  impressive  independent  produc- 
tion program  ever  attempted  in  Holly- 
wood— that  of  the  newly  formed  Wald- 
Krasna  combo.  The  latter  production 
outfit  has  20  scripts  in  the  hopper,  12  of 
which  are  already  completed  and  await- 
ing starting  dates.  Irving  Cummings, 
Jr.,  and  Irwin  Allen  have  also  completed 
negotiations  on  a  new  one-picture  deal  at 
RKO. 

Among  the  proposed  W-K  productions 
which  are  causing  special  comment  in 
Hollywood  is  a  joint  effort  with  Walt 
Disney,  which  Disney  would  produce  for 
the  pair.  It  will  be  a  Technicolor  feature, 
combination  live  action  and  animation, 
and  is  being  geared  as  a  Danny  Kaye 
starrer  with  Mickey  Mouse  and  Donald 
Duck  characterizations.  Also  of  interest 
is  the  Wald-Krasna  plan  to  star  Jack 
Benny  in  "Story  For  Grown-Ups,"  the 
film  version  of  a  Groucho  Marx-Norman 
Krasna  play. 


20th  CENTURY-FOX 

HALF  OF  FOX  SCHEDULE 
FOR  '51  READY;  7  WORKING 

2QTH  CENTURY-FOX'S  1951  releases 
are  expected  to  be  completed -before 
July  1,  with  the  first  half  of  the  new 
year's  product  already  virtually  finished 
and  seven  others  in  production.  Five  of 
nine  films  to  be  released  in  the  first  quar- 
ter will  be  in  color. 

Scheduled  for  release  during  the  next 
six  momhs  are  "Halls  of  Montezuma" 
( Technicolor),  "The  Mudlark,"  "Call  Me 
Mister"  (Technicolor),  "I'd  Climo  the 
Highest  Mountain"  (Technicolor),  "Tne 
13th  Letter, '  "Bird  of  Paradise"  (Techni- 
color), "I  Can  Get  It  For  You  Whole- 
sale," "The  House  on  Telegraph  Hill," 
"Follow  the  Sun,"  "Half  Angel,"  "Raw- 
hide," "On  the  Riviera,"  "TaKe  Care  of 
My  Little  Girl"  and  Edward  L.  Alper- 
son's  "Sword  of  Monte  Gristo"  (Cine- 
color). 

Seven  films  are  in  production:  "U.S. 
TeaKectie,"  "The  Guy  Who  Sank  the  Na- 
vy," "David  and  Bethsheba,"  "Decision 
beiore  Dawn,"  "No  Highway,"  "Meet  Me 
After  the  Show,"  and  "Kangeroo."  To 
be  started  shortly  are  "The  Frogmen," 
"ihe  Silver  Whistle,"  "Friendly  Island," 
"Secret  of  Convict  Lake,"  "Mable  and 
Me,"  "Come  What  May,"  "The  Golden 
Girl,"  "The  Doctor's  Diary,"  "The  House 
on  the  Square '  and  "I  Don't  Care." 

Indications  are  that  20th-Fox  intends 
to  continue  its  present  policy  of  paying 
whatever  amount  of  money  is  required 
to  maintain  a  quality  product.  In  line 
with  this  policy,  Darryl  F.  Zanuck's  re- 
cent purchase  of  Fay  and  Michael  Kan- 
in's  new  story,  "How  High  Is  Up,"  for 
$85,000  establishes  a  new  high  in  the  ori- 
ginal story  market  in  recent  months. 

On  the  other  hand,  Joe  Newman  has 
notified  his  boss  that  he  will  bring  in 
"The  Guy  Who  Sank  the  Navy"  on  a  26- 
day  schedule — the  shortest  shooting  time 
for  any  20th-Fox  picture  since  the  war. 

The  title  "All  About  Adam"  has  been 
registered  with  the  MPA  Title  Registry 
Bureau  for  a  sequel  to  the  current  smash 
hit,  "All  About  Eve."  As  with  "Eve," 
"Adam"  is  planned  as  a  Darryl  F.  Zan- 
uck  project,  with  Joseph  L.  Mankiewicz. 
scripting  and  directing. 

UNITED  ARTISTS 

FRESH  UA  COIN  AWAITS 
AGREEMENT  WITH  NEW  COMBO 

PROBABLY  no  motion  picture  com- 
*■  pany  in  Hollywood  faces  1951  with 
greater  uncertainty  than  United  Artists, 
which  has  become  a  multi-million  dollar 
pawn  in  an  ill-advised  chess  game  be- 
tween Mary  Pickford  and  Charlie  Chap- 
lin, on  the  one  hand,  and  the  minority 
stockholders,  on  the  other.  The  only  im- 
mediate hope  lies  in  a  series  of  top 
echelon  meetings  in  New  York  this 
week,  in  which  Paul  McNutt  will  be 
asked  to  cancel  the  trustee  pact  which 
he  signed  with  the  two  principal  stock- 
holders last  July.  If  McNutt  agrees,  a 
new  syndicate  may  be  able  to  move  in 
and  effect  a  complete  reorganization. 

FILM  BULLETIN  hears  that  arrange- 
ments have  been  completed  whereby  the 
company  can  secure  sizeable  financing 
for  long  term  operations,  provided  Mc- 
Nutt will  agree  to  the  cancellation.  This 
new  deal  would  also  entail  the  bringing 


It 


FILM  BULLETIN 


EXHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


NUTCRACKER 

North  Central  Allied 
Film  rentals,  as  always,  were  the  pri- 
mary topic  of  discussion  at  your  North 
Central  Allied  Board  meeting  on  Decem- 
ber 4.  Tnere  was  unrestrained  worry  and 
anxiety  on  the  part  of  all  Board  mem- 
bers. They  and  their  fellow  exhibitors 
are  caught  between  the  upper  and  nether 
millstones  of  declining  grosses  and  in- 
creasing costs  of  operation,  particularly 
greatly  increased  film  rentals.  While  the 
distributors  go  merrily  on  their  way  mak- 
ing greater  profits  than  ever,  theatres 
are  closing  all  over  the  land  because  of 
the  impossibility  of  breaking  even,  let 
alone  making  a  profit  with  film  rentals 
as  they  are. 

The  distributors  are  well  aware  of 
what  is  going  on.  They  know  of  the  box 
office  decline  through  reports  of  their 
affiliated  and  circuit  theatres.  The  film 
rentals  of  these  theatres,  being  on  a  per- 
centage basis,  are  going  down  and  down. 
Consequently,  the  money  which  enables 
the  distributors  to  show  steadily  increas- 
ing profits  is  all  coming  from  the  pockets 
of  the  small  independent  theatre  owners 
whom  the  distributors  are  surely,  and  not 
so  slowly,  putting  out  of  business  by 
their  unconscionable  and  extortionate 
sales  policies.  The  time  is  growing  short. 
If  the  distributors  do  not  come  to  reason, 
and  auickly,  they  will  discover  that  they 
have  killed  the  goose  that  laid  the  golden 
epf.  and  not  all  of  their  weeping  and 
wailing  will  bring  it  back  to  life  again. 


Every  time  a  theatre  closes,  all  branches 
of  this  great  industry  are  weakened.  But 
in  the  long  run,  the  distributors  will  suf- 
fer most;  they  have  the  most  to  lose. 

DO'S  and  DONT'S 

New  Jersey  Allied 
The  perilous  uncertainty  of  our  situa- 
tion in  New  Jersey  today  brings  to  the 
fore  the  fact  that  grave  decisions  must 
be  made,  if  any  exhibitor  is  to  remain  in 
the  business.  Changes  of  policy  in  run- 
ning time,  closing  down  mid-week,  play- 
ing time  gimmicks  for  increasing  admis- 
sions and  eyes  on  operating  costs  —  all 
these  things  must  be  weighed  and  con- 
clusions drawn  as  to  your  specific  the- 
atre. You  just  can"t  lay  down  and  throw 
your  hands  up.  You  must  keep  punching 
and  check  very  carefully  on  anything 
that  might  have  an  affect  on  your  box- 
office. 

One  most  important  element  is  film. 
Today  the  exhibitor  must  show  the  best 
film  produced,  if  he  is  to  keep  his  audi- 
ence. To  do  this,  equitable  deals  with 
the  film  companies  must  be  made.  There 
is  no  such  thing  as  buying  a  picture 
cheap  today,  as,  in  many  instances,  film 
for  nothing  would  still  produce  losses. 
However,  taking  a  realistic  view,  distri- 
butors must  be  willing  to  accept  the 
greatly  reduced  rental,  if  they  are  to 
keep  customers  on  their  books. 

DON'T  allow  pressure  salesmen  to  sell 


you  bad  film  or  in  any  way  make  tie-in 
sales. 

DO  buy  film  as  close  to  the  proper 
price  as  you  possibly  can. 

DON'T  spend  all  your  time  on  adjust- 
ments with  neglect  to  your  theatre. 

DO  try  to  give  the  best  program  pos- 
sible to  your  public. 

DON  T  accept  the  answer  that  is  so 
prevalent,  "the  home  office  says." 

The  do's  and  don'ts  above  are  a  few 
of  the  elements  that  may  keep  you  oper- 
ating. 

'STARS'  PAYS  OFF 

ATO  of  Iowa-Nebraska 
Stars  In  My  Crown  .  .  .  We  played  this 
fine  picture  here  to  the  only  real  business 
we  had  in  October,  since  the  TV  net- 
works programs  hit  us  out  of  Ames  Sept. 
30.  We  followed  the  Metro  campaign  all 
the  way;  had  the  ministers,  their  fami- 
lies, friends  and  church  laymen  —  nearly 
100  in  all  —  at  the  prevue  screening  2 
weeks  ahead  of  the  playdate.  Made  up 
and  used  3.000  of  the  special  heralds,  etc., 
etc.  Not  only  did  the  picture  whip  the 
sox  off  TV  and  do  us  a  fine  business,  but 
everyone  loved  it.  It's  one  of  those  rare 
pictures  that  has  the  elusive  spark.  One 
of  the  finest  Public  Relations  pictures 
we've  ever  shown.  Yet,  I  believe  that  if 
we'd  shown  this  pictu-e  without  the  cam- 
paign and  special  handling,  it  would  like- 
ly have  been  just  another  picture.  If 
you  haven  t  played  it  yet,  be  sure  you 
give  it  the  full  works,  and  reap! 


STUDIO  SIZ6-UPS 

in  of  large  sums  for  assisting  producers, 
as  well  as  top  flight  managerial  per- 
sonnel. Jacques  Grinieff.  befors  leaving 
the  coast  to  return  to  New  York,  r?- 
fused  to  disclose  the  names  of  the  prin- 
cipals involved  in  the  new  syndicate,  but 
he  did  make  it  clear  that  he  was  in  no 
way  a  part  of  it.  and  that  it  was  strictly 
an  Eastern  combo. 


UNIVERSAL-INTERNAT'L 

STUDIO  HANDS  BUSY  AS 
U-l  SETS  TO  ROLL  FOUR 

^CTIVITY  continued  in  high  gear  right 
through  the  holiday  season  at  Uni- 
versal-International, in  preparation  for 
one  of  the  busiest  Januaries  in  company 
history.  Although  only  three  productions 
were  before  the  cameras  during  Christ- 
mas and  New  Year's  week,  a  quartet  of 
new  starters  was  scheduled  to  roll  dur- 
ing the  first  few  days  of  1951,  and  more 
than  500  back  lot  workers  were  putting 
in  overtime  shifts  in  preparation  tor 
their  launching. 

Headman  William  Goetz  points  out 
that  his  company  is  in  an  extremely 
comfortable  position  insofar  as  meeting 
its  1951  release  schedule  is  concerned. 
A  break-down  of  the  current  production 
s'ate,  shows  that  seven  of  the  scheduled 
films  have  already  been  completed.  12 
are  in  the  cutting  rooms,  three  are  in 
production,  and  16  more  are  in  various 
stages  of  scripting. 

Scheduled  to  start  this   month  are: 


"Ma  and  Pa  Kettle  at  the  County  Fair" 
(Marjorie  Main-Percy  Kilbride),  "The 
Iron  Man"  (Jeff  Chandler-Evelyn  Keyc?s). 
"The  Golden  Horde"  (David  Farrar-Ann 
Ely  the)  to  be  filmed  in  Technicolor,  and 
"The  Real  McCoy"  (Abbott  and  Cos- 
tello).  Most  of  this  group  falls  in  the 
middle  budget  category,  with  shooting 
schedules  ranging  between  20  and  30 
days.  "The  Golden  Horde,"  however, 
will  hit  the  million  dollar  mark,  and  has 
been  handed  a  36-day  schedule,  which  is 
only  slightly  below  the  38  day  schedule 
on  "Bonaventure"  (Claudette  Colbert- 
Ann  Blythe),  which  wound  in  late 
December. 

WARNER  BROS. 

AMPLE  SHOOTING  TIME  MAY 
IMPROVE  WB'S  1951  PRODUCT 

PRODUCTION  executives  at  this  studio 
say  that  the  company  will  continue 
to  allocate  sufficient  shooting  time  to  its 
big  budgeters  during  1951,  in  an  effort 
to  better  the  quality  of  WB  product, 
which  proved  disappointing  to  exhibitors 
during  1950.  For  the  past  several  months, 
pictures  shooting  at  Warners  have  aver- 
aged between  30  and  40  days  for  com- 
pletion, with  some  of  the  too  budgeters 
running  between  40  and  50  days. 

Only  one  picture  was  shooting  at  War- 
ners at  year's  end,  as  the  company  took 
a  holiday  breather  before  launching  into 
a  heavy  January  and  February  produc- 
tion schedule.  The  lone  feature  before 
the  cameras  at  this  time  is  "Strangers 
On  A  Train"  (Farley  Granger-Ruth 
Roman-Robert  Walker),  melodrama,  be- 


ing filmed  in  the  East.  Budgeted  at 
51,250.000,  the  feature  has  now  passed 
its  fiftieth  day  of  shooting,  and  probably 
will  not  wind  for  another  four  or  five 
days. 

In  line  with  Warner's  policy  of  mak- 
ing topical  motion  pictures  wherever  pos- 
sible, preparations  have  already  started 
on  a  new  feature  to  be  titled.  "Retreat, 
Hell!",  which  will  deal  with  the  heroic 
withdrawal  of  troops  during  December 
from  the  Chongjin  Reservoir  to  the 
Hungnam  escape  port  in  North  Korea. 
Milton  Sperling  has  been  set  as  the  pro- 
ducer on  the  feature. 

INDEPENDENTS 

LIPPERT  PRODUCTIONS 

DOBERT  L.  LIPPERT  during  late  De- 
*^  cember  formed  a  new  company  to  be 
known  as  Spartan  Productions  to  turn 
out  an  undisclosed  number  of  films 
through  his  Lippert  Productions  releas- 
ing organization.  Two  features.  "Mask 
of  the  Dragon"  and  "Fingerprints  Don't 
Lie,"  already  have  been  completed,  both 
Droduced  by  Sig  Neufeld  and  directed 
by  Sam  Newfield.  Both  features  fail  in 
the  lower  budget  class,  and  were  pro- 
duced on  short  schedules.  As  for  pic- 
tures produced  under  the  LiDpert  Pro- 
ductions banner.  Arthur  Greenblatt, 
general  sales  manager,  has  set  two  re- 
leases for  the  next  30  days.  On  January 
12.  "Three  Desperate  Men"  (Preston 
Foster-Jim  Davis-Virginia  Grey)  goes 
into  release,  to  be  followed  on  February 
2  by  "The  Steel  Helmet"  (Gene  Eva^s- 
Robert  Hutton-Steve  Brodie-James  Ed- 
wards). The  latter  incidentally,  stands 
to  become  one  of  the  sleepers  of  the 
season,  on  the  basis  of  the  enthusiastic 
preview  reaction  it  received  the  other 
night. 


JANUARY    1  .  1951 


IS 


KUDOS  FOR  FERRER  AS 
CRITICS  LAUD,  PAN  'CYRANO' 

There  was  a  general  lack  of  uniform- 
ity in  the  New  York  newspaper  critics' 
comment  on  "Cyrano  de  Bergerac,"  Stan- 
ley Kramer's  screen  adaptation  of  the 
popular  stage  play  by  Edmond  Rostand. 
The  criticism  ranged  from  "excellent"  to 
"disappointing,"  with  the  reviewers 
agreeing  only  when  discussing  the  top 
notch  performance  by  Jose  Ferrer,  as 
Cyrano,  and  Kramer's  phenomenal  suc- 
cess as  a  low-budget  producer. 

In  the  Times,  Bosley  Crowther's  ob- 
jections are  mostly  of  technical  short- 
comings, such  as  the  "disappointingly 
drab  .  .  .  black-and-white  photography." 
There  is,  concludes  Crowther,  "beauty  and 
magic  in  the  things  that  Cyrano  says.  He 
is  still  a  magnificent  character.  Thank 
goodness,  he  is  on  the  screen." 

Archer  Winsten,  in  the  Post,  describes 
Jose  Ferrer's  orations  as  "quite,  quite 
magnificent,"  but  points  out  that  they 
"sound  more  like  rhetoric  than  poetry" 
and,  consequently,  "none  of  it  seems 
real."  It  may,  he  says,  be  a  "scholarly 
and  theatrically  sound  production,"  but 
"it  left  me  completely  cold." 

One  of  the  more  favorable  critiques 
come  from  the  pen  of  the  Compass'  Sey- 
mour Peck,  who  in  addition  to  crediting 
Ferrer  with  having  "brought  Cyrano  de 
Bergerac  triumphantly  to  life,"  praises 
Kramer's  "tasteful  production"  and  Gor- 
don's direction  "in  a  clean,  simple,  expert 
and  admirable  style." 

Admitting  it  "still  has  power  and  elo- 
«juence  in  its  new  medium,"  Howard 
Barnes,  in  the  Herald  Tribune,  writes 
that  this  "handsome  photograph  of  a 
minor  classic  ...  in  most  respects  is 
wanting  as  motion-picture  entertain- 
ment." 

"Superb  movie  version,"  savs  the 
World  Telegram's  Alton  Cook,  who  feels 
Cyrano  "is  sure  to  become  the  year's 
favorite  hero  and  his  picture  one  of  the 
tops  in  popularity."  It  is,  he  concludes, 
"one  of  the  monumental  contributions  to 
our  season's  entertainment," 

In  the  Journal  American.  Rose  Pels- 
wick  points  out  that  it  is  the  "faithful 
adherence  to  stage  tradition  that  caused 
the  screen  version  to  emerge  as  less  an 
animated  motion  picture  than  a  series  of 
carefully  stylized  tableaux,"  its  "studied 
presentation"  _making  for  "pageantry 
rather  than  cinematic  action." 

"AMERICAN  GUERRILLA 
IN  TH*  PHILIPPINES' 

20TH  CENTURY-FOX 

"Wide  variety  of  location-filmed  Tech- 
nicolor backgrounds  are  unrolled  behind 
a  slim  and  episodic  melodrama  of  guerilla 
warfare."  —  GUERNSEY,  N.  Y.  HER- 
ALD TRIBUNE. 

"Meager  authority  or  credibility  .  .  . 
There  is  a  fitful  contemporary  graphic- 

ness  about  the  Technicolored  picture  "   

CROWTHER,  N.  Y.  TIMES. 

"Strangely  deficient  in  excitement  .  .  . 
Does  not  seem  real  at  all."  —  WINSTEN 
N.  Y.  POST. 

"Amounts  to  a  nice  fling  for  audiences 
who  still  prefer  to  consider  a  war  as  pri- 
marily a  glorious  adventure."  —  COOK, 
N.  Y.  WORLD  TELEGRAM. 

"Tyrone  Power  and  his  buddies  .  .  . 
look,  I'm  afraid,  a  good  deal  more  like 
Boy  Scouts  on  an  outing  ..  .  Refuses  to 
be  grim  or  tragic  or  absolutely  realistic 
about  war  .  .  .  Like  a  prettv,  colorful 
Army  poster."  —  PECK,  N.  Y.  COMPASS. 

"Informative  as  well  as  interesting  .  .  . 
Storv  of  hone  and  heroism  and  historic 
incident  "—PELSWICK,  N.  Y.  JOURNAL 
AMERICAN. 


OUOT6S" 


What  the  Newspaper  Critics  Sag  About  New  Films 


KIM' 

MGM 

"One  of  those  big  exotic  pictures  that 
fill  and  bedazzle  the  eye  .  .  .  and  offer 
some  fair  excitement,  too  .  .  .  Pleasant 
story  of  the  strange  adventures  of  a  boy 
.  .  .  dragged  out  to  a  somewhat  tedious 
length."  —  CROWTHER,  N.  Y.  TIMES. 

"Should  have  been  a  natural  .  .  .  Hard 
to  see  why  it  should  have  emerged  as  a 
botch."  —  BARNES,  N.  Y.  HERALD 
TRIBUNE. 

"Handsome  film  version  of  the  Kipling 
story  .  .  .  Not  too  much  for  any  sober, 
analytical  adult  .  .  .  Belongs  to  all  the 
children."  —  PECK,  N.  Y.  COMPASS, 
ever  to  hit  a  movie  screen  .  .  .  Young 
blood  will  tingle  a  little  extra  at  the  news 
that  there  is  no  romantic  affair  at  all  .  .  . 
Full  time  is  devoted  to  the  wild  adven- 
tures of  Kim."  —  COOK,  N.  Y.  WORLD 
TELEGRAM. 

"Eye-jabbing,  earpleading  version  of 
Rudyard  Kipling's  lusty  tale  .  .  .  What 
it's  all  about  leaves  no  strong  or  lasting 
impression.  What  it  shows  is  dispropor- 
tionately memorable."  —  WINSTEN, 
N.  Y.  POST. 

"Highly  entertaining  adventure  yarn 
.  .  .  Excellent  choice  as  the  Music  Hall's 
holiday  attraction."  —  PELSWICK,  N.  Y. 
JOURNAL  AMERICAN. 

KING  SOLOMON  S  MINES' 

MGM 

"More  than  a  trace  of  outright  hokum 
in  this  thriller  .  .  .  but  there  is  also  an 
ample  abundance  of  scenic  novelty  and 
beauty  "to  compensate  .  .  .  Stampede  .  .  . 
is  one  of  the  most  terrific  wild-life  shows 
you've  ever  seen."  —  CROWTHER,  N.  Y. 
TIMES. 

"Magnificent  in  Technicolor  and  Afri- 
can background  .  .  .  Neither  a  great  story 
nor  great  cinema,  the  raw  film  material 
is  great,  the  best  footage  of  its  kind  ever 
to  have  come  out  of  Africa." — WINSTEN, 
N.  Y.  POST. 

"Fascinating  world  of  adventure  and 
danger  and  escape  .  .  .  Big,  fanciful  tale 
.  .  .  seldom  filmed  so  stunningly,  against 
such  beautiful,  authentic  African  scenery, 
in  such  epic  style  ...  A  fine  entertaining 
time  at  the  movies."  —  PECK,  N.  Y. 
COMPASS. 

"Not  to  be  taken  seriously  as  screen 
drama,  but  as  a  startling  close-up  of 
Africa  it  is  something  to  see."— BARNES, 
N.  Y.  HERALD  TRIBUNE. 

"A  lot  of  fun  .  .  .  Large-scale  Techni- 
color adventure  yarn  .  .  .  Highly  colorful 
entertainment."  —  PELSWICK,  N.  Y. 
JOURNAL  AMERICAN. 

'UNDERCOVER  GIRL' 

Universal 

"There  are  no  surprises  .  .  .  Story  too 
pat  to  be  stimulating."— T.  M.  P.,  N.  Y. 
TIMES. 

"Smart  staging  fights  a  losing  battle 
with  an  inane  script  .  .  .  Punches  clean 
round  holes  in  the  familiar  fabric  of  a 
police  investigation  melodrama  .  .  .  It's 
wasted  marksmanship  on  material  al- 
ready riddled  by  dialogue  loaded  with 
heavy-caliber  cliches."— BARSTOW,  N.  Y. 
HERALD  TRIBUNE. 

"Taut  melodrama  .  .  .  Unusually  well- 
made  thriller  .  .  .  Cops-and-robbers  story 
told  at  full  speed."— CREELMAN,  N.  Y. 
WORLD  TELEGRAM. 

"Picture  (is)  better  than  its  parts  .  .  . 
Determination  to  crossbreed  melodrama 
with  brevity  .  .  .  works  very  well,  if  this 
good  return  on  old  material  is  any  indi- 
cation."—WINSTEN,  N.  Y.  POST. 

"Lively  cops-and-robbers  melodrama,  a 
fast-moving  gangster  yarn."  —  PELS- 
WICK, N.  Y.  JOURNAL  AMERICAN. 


'RIO  GRANDE' 

REPUBLIC 

"If  there  is  no  .reason  to  cheer  out  loud 
...  it  is  still  possible  to  have  a  pretty 
good  time  at  it  .  .  .  Has  more  rip-roaring 
battles,  more  thrills,  greater  tautness, 
less  romantic  goo,  fewer  frills  and  fur- 
belows." —  PECK,  N.  Y.  COMPASS. 

"John  Ford  has  made  another  vivid 
pictorial  record  of  Indian  warfare  .  .  . 
Engrossing  and  remarkably  convincing 
.  .  .  vastly  entertaining  western."  — 
BARNES,  N.  Y.  HERALD  TRIBUNE. 

"Gradual  descent  of  that  great  talent, 
John  Ford,  into  dull  repetition  of  his 
favorite  scenes,  story  and  characters  con- 
tinues .  .  .  Just  another  Western  from  a 
frequently  used  stencil."  —  WINSTEN, 
N.  Y.  POST. 

"He  (Ford)  is  traveling  a  deeply  rutted 
road  .  .  .  But  the  horsemanship  never  was 
better,  the  Indians  more  dastardly  and 
the  cavalry  never  answered  a  bugle  call 
more  quickly  .  .  .  Mr.  Ford  needn't  worry. 
Chances  are  his  public  will  eat  it  up."  — 
A.  W.,  N.  Y.  TIMES. 

"Full  of  the  familiar  and,  to  horse  op- 
era fans,  endlessly  welcome  Ford  trade- 
marks ...  He  slips  into  the  routine  West- 
ern class,  turning  out  pictures  exactly 
like  those  of  his  imitators."  —  COOK, 
N.  Y.  WORLD  TELEGRAM. 

"Large-scale  Westerner  .  .  .  spins  out 
its  familiar  action  against  effectively 
photographed  outdoor  settings." — PELS- 
WICK, N.  Y.  JOURNAL  AMERICAN. 

THE  FIREBALL' 

20th  Century-Fox 

"Never  let  it  be  said  that  Mickey  Roon- 
ey  doesn't  try  .  .  .  He  has  never  been 
flashier  .  .  .  However,  those  who  take  Mr. 
Rooney's  histrionics  with  a  grain  of 
salt  had  better  make  it  a  handful  this 
time  .  .  .  Trimly  budgeted,  fairly  pictur- 
esque handling  of  a  new  sports  angle." — - 
H.  H.  T,  N.  Y.  TIMES. 

"An  awful  lot  of  rollerskating,  rink 
variety,  and  an  awful  lot  of  Mickey  at 
his  most  offensive.  Still,  you  have  to  give 
Mickey  credit  as  a  tireless  and  versatile 
performer.  He  can  act  out  anything  con- 
vincingly."—WINSTEN,  N.  Y.  POST. 

"Has  captured  a  lot  of  the  color  and 
excitement  of  roller-derby  racing;  that's 
about  all  there  is  to  'The  Fireball'."  — 
BARSTOW,  N.  Y.  HERALD  TRIBUNE. 

'THREE  FLAGS  WEST* 

20th  Century-Fox 

"All  of  the  popular  elements  of  a  good, 
rousing  cavalry  film,  plus  something  a 
little  better  than  usual  in  the  way  of  a 
story  line."— CROWTHER,  N.  Y.  TIMES. 

"Cavalry  Western,  a  bugle-haunted  out- 
door drama.  .  .  .  Simple  but  surefire 
movie  melee.  .  .  .  Violent  enough  to  im- 
press the  most  blood-thirsty  Saturday 
matinee  schoolboy.  .  .  .  Diverting  war- 
horse  opera."  —  GUERNSEY,  N.  Y. 
HERALD  TRIBUNE. 

"Storming  of  a  lonely  U.  S.  Army  fort. 
...  As  fierce  and  riproaring  and  spec- 
tacular an  adventure  as  we  have  seen  in 
a  long  time.  .  .  .  However  ...  up  to  then 
...  a  solemn  and  torpid  and  spiritless 
film  short  on  action  and  long  on  talk." 
—PECK,  N.  Y.  COMPASS. 

"Has  one  of  the  biggest  battles  you  ever 
saw  around  and  in  a  fort.  .  .  .  Adherence 
to  conventional  style  is  symptomatic  of 
the  picture's  weaknesses." — Cook,  N.  Y. 
WORLD  TELEGRAM. 

"Slowly  paced  costume  drama." — PELS- 
WICK, N.  Y.  JOURNAL  AMERICAN. 


16 


FILM  BULLETIN 


BOXOFFICE 


IS 


as  good  as  your 

SHOWMANSHIP! 


EXPLOITATION  PICTURE 


BELVEDERE  MAN  DDES  IT  AGAIN 


Webb,  Stars  Are  "Heavens"  Angles 


DISPLAYS 


NOT  SO  ANGELIC 

Angel  Clifton  W  ebb  In  An  Earthier  Moment  With  A  Very  Material  Joan  Blondell 


CLIFTON  WEBB,  20th  Century-Fox's  "discovery"  whose  comparatively  brief 
screen  career  has  skyrocketed  him  to  an  enviable  spot  in  Hollywood's  stellar 
array,  has  had  four  successful  films  in  a  row.  After  stealing  the  show  in 
''Laura,"  playing  a  serious  role,  the  amazing  Mr.  Webb  turned  his  talents  to 
comedy  and,  starling  with  the  famous  "Mr.  Belvedere"  in  "Sitting  Pretty," 
ground  out  three  hilarious  films  that  earned  a  pretty  penny  for  his  studio  and 
exhibitors  His  latest,  a  comedy-fantasy  called  "For  Heaven's  Sake,"  looks  like 
his  phenomenal  record  will  remain  unblemished. 

Exploitation-wise,  showmen  have  a  bountiful  aggregate  of  selling  angles 
to  tickl?  the  public's  fancy.  There  is  Webb  who  has  proved  himself  a  potent 
draw  at  the  boxoffice  in  his  Belvedere-type  role.  He  has  the  additional  benefit 
of  a  top-notch  supporting  cast,  including  Joan  Bennett,  Robert  Cummings, 
Edmund  Gwenn,  Joan  Blondell  and  Gigi  Perreau.  The  story,  a  "Mr.  Jordan" 
idea,  is  from  the  pen  of  Llarry  Segall,  who  originated  that  delightful  charac- 
ter. The  director-writer  is  George  Seaton,  who  performed  the  same  chores 
for  "Miracle  on  34th  Street."  All  of  these  are  important  factors  in  implement- 
ing the  want-lo-see  on  the  part  of  the  public,  particularly  the  more  discrim- 
inating moviegoer.  Webb's  role  in  "For  Heaven's  Sake"  —  an  angel  who 
materializes  into  a  Gary  Cooper  type  of  westerner  for  his  earthly  mission  and 
succumbs  to  not-so-angelic  temptations  —  offers  another  vital  angle  for  the 
campaign.  "That  Belvedere  Man"  in  western  garb,  rolling  cigarettes  with  one 
hand,  knocking  out  a  movie  tough  guy  in  the  duly  prescribed  western  hero 
manner,  spouting  the  lingo  in  a  laconic  drawl,  and  a  host  of  other  comic 
highlights  gleaned  from  the  imaginative  script  can  be  utilized  to  excellent 
effect. 


Clifton  Webb's  parody 
of  Gary  Cooper  as  he  ap- 
peared in  "The  Westerner" 
is  a  lulu  for  display  pur- 
poses. You  can  mount  an 
eye-catching  cut  out  of 
Webb  (pictured  left)  as  a 
cowpoke  on  your  marquee 
or  for  special  lobby  dis- 
play piece.  Taken  from  the 
3-sheet,  it  will  stand  77 
inches  high,  more  than 
life-size.  Play  up  Webb's 
irresistible  flair  for  off- 
beat comedy  in  the  copy. 

The  lobby  can  be  treated 
in  a  multitude  of  ways  to  conform  with  the  ''heav- 
enly" theme.  It  can  be  turned  into  a  celestial 
entrance,  at  the  same  time  pointing  up  that  this 
picture  is  something  special,  by  pasting  silver  stars 
on  walls  and  ceiling,  simulating  clouds  with  cotton 
over  cardboard,  with  angels  perched  atop  them, 
etc.  The  angels  could  have  dubbed-in  faces  of  the 
six  top  players,  thus  publicizing  the  stars  in  con- 
junction with  the  theme. 

STAR  BALLY 

While  Webb  is  a  natural  for  exploitation  as 
'  that  Belvedere  man,"  with  accent  on  his  two 
previous  "Belvedere"  characterizations  and  his 
additional  popularity  as  the  father  in  "Cheaper 
By  The  Dozen,"  the  other  players  should  be  played 
up,  also.  There's  the  Miracle  Man  of  34th  Street, 
Edmund  (Santa  Claus)  Gwenn;  Joan  (the  Beauti- 
ful I  Bennett,  star  of  "Father  of  the  Bride";  Robert 
(the  Suave)  Cummings;  Joan  (the  Bombshell) 
Blondell;  and  Gigi  (the  Prodigy)  Perreau. 

NEWSPAPER  ADS 

Below,  some  of  the  larger  display  ads  featuring 
"That  Belvedere  Man,"  and  (far  left)  two  of  the 

teasers. 


..  ....  ...... 


18 


FILM  BULLETIN 


EXPLOITATION 
PICTURE 


EXPLOITATION 
PICTURE 


of  the  issue 


of  the  issue 


HEAVEN 
CAN  WAIT 

1,,  one  ol  the  most  unusual  and 
imaginative  screenplays  of  the  year, 
writer-director  George  Seaton  and 
producer    William    Perlberg  (the 
same  team  that  concocted  the  de- 
lightful "Miracle  on  34th  Street'  ) 
have    inspirationally   cast  caustic, 
lovable  Clifton  Webh  and  gentle, 
lovable  Edmund  Gwenn  as  a  pair 
of  angels  (and  what  did  you  think 
an    angel    looked    like?).  Their 
mission  on  earth  is  to  persuade  a 
cherub,  Gigi  Perreau,  who  has  been 
hanging  around  earth  seven  years 
waiting  to  be  born,  to  return  to 
heaven.    Her  chosen  parents,  Rob- 
ert Cummings  and  Joan  Bennett, 
too    imbued    with    their  separate 
careers  in  the  theatre,  have  been 
given  up  by  the  Big  Chief  upstairs 
as  a  lost  cause  to  have  children. 
Deciding   to   give   the  conception 
one  more  chance,  Webb  assumes  au 
earthly   character   as    a  westerner 
from   "God's    country,"  patterned 
hilariously  on   Gary   Cooper's  in- 
terpretation,    and     becomes  en- 
tangled   with    earthly    desires  — 
particularly  when  the  buxom  Joan 
Blondell  sets  her  cap  for  him  — 
that   are   far  from   angelic.  How 
the  Webb  is  untangled  climaxes  a 
funny  and  original  movie.     In  a 
composite  of  all  the  gangster  roles 
ever  conceived  by  Hollywood,  Jack 
La  Rue  steals  several  scenes.  Other 
standout  bits   include   Harry  Von 
Zell's  Texas  millionaire  and  a  sad- 
faced  cherub  named  Tommy  Rettig 


"Just  call  me  Slim"  Webb 
<  right  I  as  a  westerner  a  la 
Gary  Cooper;  beloiv,  angel 


A  Movie  Man  With  Faith 


CITY  j 
EDITION ! 


gSS  m.t oute  (Blobc-Ucmorrat.  f'Z 
TO  MARKET  COLLAPSES  AFTER  RECORD  DAY 

Goldman   Forms   $1,000,000  Theater  Company 

a.  U^^W  i^,^,^.,,^- $1(10,000.000 Power  Stone  from  St.  Paul's  Presented    .    !Fw  Qatstiooed  b  MQTUiS  LEAD 
t*l2Z£   "TZ^TZ*   Plant  Cwnbmarioo      to  Missouri  Journalism  College      Fergasarfldfo*.   411  SHARES  M 
  <*»  r^A;„  TJ~.  k„  RL„U;  "  J»T  Probe  ^jjj^jj, 

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lb.  Cor- 


I 


MARKET  CRASHES,  GOLDMAN  CONSTRUCTS 

His  Daring  Made  Headlines  in  1925,  Too 


(Continued  from  Page  9) 

the  industry.  The  Warner  outfit  had  a 
stranglehold  on  all  the  first  runs  and  most 
of  the  key  runs  in  the  city,  and  all  thea- 
tres were  having  a  hard  time  staying 
open  in  that  era  of  the  Great  Depression. 
On  top  of  that,  Goldman's  experience  in 
the  affiliated  chain's  management  assur- 
ed him  that  it  would  be  next  to  impos- 
sible getting  product  from  the  big  film 
companies  with  the  powerful  Warner 
circuit  enjoying  first  call.  His  friends 
looked  at  him  askance. 

But  both  his  well-intentioned  advisers 
and  his  powerful  adversaries  underrated 
his  wealth  of  experience,  his  canny  under- 
standing of  the  movie  business  and  his 
bulldog  determination.  He  bought  up 
several  neighborhood  theatres  in  Phila- 
delphia and  its  environs,  acquired  a  tiny 
newsreel-reissue  house  in  the  central  city 
sector  and  a  deluxe  theatre,  the  Erlanger, 
on  the  fringe  of  the  midtown  area,  which 
had  played  roadshow  movies  and  legiti- 
mate shows  —  when  it  was  open. 

After  exhausting  all  avenues  of  obtain- 
ing product,  Goldman  methodically  set 
out  to  break  up  the  first-run  monopoly. 
Using  the  Erlanger  as  his  legal  lever,  he 
filed  an  anti-trust  action  against  the  War- 
ner chain  and  the  major  distributors,  un- 
covering a  mass  of  evidence,  carefully 
documented  from  negotiations  with  the 
film  companies.  The  rest  of  the  case  is 
industry  history.  He  was  awarded  $375,- 
000  in  damages,  first-run  product,  and,  in 
a  subsequent  action  against  the  same  de- 
fendants, received  a  settlement  reputedly 
around  a  million  dollars  in  cash  and  thea- 
tres. 

Defies  TV  Spectre 
Bill  Goldman's  continued  reaffirmation 
of  his  faith  in  the  industry  reached  its 
high  point  in  recent  years.  When  the 
spectre  of  Television  scared  most  thea- 
tremen  into  the  doldrums,  and  post-war 
manufacture  of  TV  sets  reached  a  mass 
level,  Goldman  constructed  the  first  new 
Philadelphia  central-city  theatre  in  more 
than  a  score  of  years,  the  Goldman. 
Within  the  last  year,  he  has  opened  two 
more  beautiful  mid-city  first-runs,  after 
a  complete  remodeling  job  on  each  that 
ran  into  hundreds  of  thousands  of  dollars. 
The  first,  the  Randolph,  was  opened  one 
year  ago.  His  latest  deluxer,  the  Mid- 
town,  made  its  debut  on  the  past  Christ- 
mas weekend  with  the  world  premiere  of 
"The  Goldbergs." 

The  Midtown  opening  was  another  ex- 
ample of  Goldmans  aggressive  showman- 
ship to  back  his  faith  with  action.  The 
campaign  preceding  the  opening  was  aim- 


ed at  a  renaissance  of  midtown  moviego- 
ing.  Sedate  Chestnut  Street,  shopping 
center  of  the  central  area,  became  a  blaze 
of  lights  as  the  town's  most  prominent 
citizens,  including  the  mayor  and  the 
president  of  the  Chamber  of  Commerce, 
inaugurated  a  drive  to  dub  the  stem,  "The 
Gay  White  Way."  Hundreds  of  thous- 
ands of  Christmas  shoppers  basked  in  the 
festive  lights  and  were  reminded  that  it's 
nice  to  "go  out." 

Even  the  choice  of  the  picture  that  was 
to  open  the  house  was  made  with  an  eye 
to  recapturing  the  hibernating  video  ad- 
dicts. Thousands  of  erstwhile  TV  fans 
thronged  the  premiere  and  were  impress- 
ed with  the  sumptuous  appointments  as 
"The  Goldbergs"  TV  show  plugged  the 
opening  and  the  cast  appeared  in  person 
at  the  theatre. 

The  pros  and  cons  of  the  television  vs. 
movies  arguments  are  well  known  to 
Goldman.  As  a  theatreman  who  has  time 
and  again  demonstrated  shrewd,  often 
uncanny,  judgment  in  plotting  his  future 
course,  his  opening  of  three  new  deluxe 
theatres  within  four  years  is  a  compell- 
ing answer  to  the  TV  bogey. 

While  he  doesn't  deny  video's  initial 
impact  on  moviegoing  generally,  "you 
can't  just  wash  out  50  years  of  motion 
pictures,"  he  points  out.  "The  assets  are 
there,  the  know-how,  the  background  and 
technique.  Motion  pictures  are  still  the 
greatest  form  of  mass  entertainment." 

Always  A  Crisis 
TV,  Goldman  feels,  will  gradually  find 
its  level  in  the  entertainment  scheme, 
just  as  radio  has.  "The  mounting  cost 
of  TV  is  going  to  make  it  possible  for 
say  only  about  ten  of  the  biggest  busi- 
nesses to  put  on  the  top  network  shows," 
he  says.  "The  rest  will  be  what  we  call 
'B'  pictures.    That  brings  TV  down  to 


radio's  selective  audience  and  people 
won't  stay  home  if  they  can't  see  what 
they  want." 

As  for  the  so-called  "crisis"  that  many 
industryites  are  wailing  about,  he  can't 
remember  a  time  in  his  40  years  in 
movies  when  there  wasn't  one.  "We 
cried  in  our  beer  over  radio,"  he  recalls, 
"and  awoke  one  morning  to  find  it  had 
become  the  right  and  left  arm  of  our 
business.  They  were  plugging  our  songsr 
they  fawned  over  our  actors  and  actress- 
es." 

TV  May  Prove  Blessing 

The  TV  scare  can  well  turn  out  to  be 
another  blessing  in  disguise,  he  believes. 
"It's  making  our  producers  hustle. 
They're  like  big  league  ballplayers  with 
hundreds  of  eyes  keeping  track  of  their 
hits,  runs  and  errors.  The  profit  and  loss 
sheet  points  out  the  producer  that  fails, 
and  he  doesn't  continue  unless  he  can 
give  the  public  something  it  wants." 

Exhibitors,  too,  must  "fall  in  line"  by 
refurbishing  their  moviehouses  and  serv- 
ice so  that  a  theatre  "is  more  than  just 
a  place  you  go  to  see  a  movie,"  Goldman 
advises.  "It's  comfortable,  glamorous,  it 
makes  the  little  housewife  feel  like  she's 
really  had  an  evening"  when  going  to  a 
well-appointed  theatre. 

As  for  talk  that  Hollywood  producers 
will  switch  their  allegiance  to  the  TV 
market,  Goldman  tersely  sums  up:  "Exhi- 
bitors still  flash  most  of  the  green  at 
the  cash  register." 

It's  difficult  to  argue  with  success. 
William  Goldman's  ability  to  measure 
the  future,  and  come  up  with  the  right 
answers,  gives  his  faith  in  the  motion 
picture  indusfry  an  aura  of  authority 
that  should  give  heart  to  the  doubting 
Thomases  who  fear  for  the  future  of  the 
movie  business. 


20 


FILM  BULLETIN 


Short  Subjects 


By  BARN 


REPUBLIC  president  Herbert  J.  Yates' 
talent  for  selling  new  western  stars  is 
now  legend.  It  will  be  .remembered  how, 
having  built  Gene  Autry  into  a  boxofnce 
powerhouse  who  outranked  virtually  all 
of  the  major  companies*  top  luminaries 
and  then  losing  him  to  the  armed  serv- 
ices, Yates  plucked  Roy  Rogers  from  an- 
onymity and  made  him  a  hinterland  dy- 
namo even  before  Autry  had  finished 
basic  training.  While  Rogers  still  con- 
tinues to  hold  sway  as  the  No.  1  Cowboy, 
Yates  is  turning  his  fine  hand  to  a  new 
boy,  Rex  Allen.  In  the  last  few  months, 
Allen  has  covered  57,000  miles  to  make 
personal  appearances  in  87  cities  and 
towns  throughout  the  nation.  He  has 
appeared  at  some  18  exhibitor  conven- 
tions to  ingratiate  himself  with  the  all- 
important  men  who  play  his  pictures.  In 
no  time  at  all,  his  CBS  weekly  radio  show 
has  skyrocketed  to  seventh  place  in  na- 
tion-wide popularity,  according  to  the 
latest  Nielsen  national  radio  rating.  With 


INSTITUTIONAL  SLUGS 

M-G-M  Extra  Service 


the  industry  in  dire  need  of  new  stars, 
Republic's  Yates  deserves  exhibitors' 
gratitude  for  proving  once  again  that 
stars  are  made,  not  born.  His  example 
could  well  be  emulated  by  every  studio 
to  give  movie  business  a  much-needed 
shot  in  the  arm. 


AMONG  THE  industry's  biggest  boost- 
ers  in  the  newspaper  field  is  the  New 
York  Journal-American.  It  has  most  con- 
sistently evidenced  its  friendship  and 
support  of  the  movie  industry  through 
unsolicited  plugs  (though  it  not  infre- 
quently succumbs  to  the  tabloid  sensa- 
tionalism that  plasters  movie  stars'  in- 
discretions all  over  the  front  page).  Its 
latest  boost  is  in  the  form  of  a  series  of 
institutional  ads,  about  100  lines  by  two 
columns,  with  each  ad  highlighting  an 
individual  movie  in  current  release.  De- 
pending on  the  subject  and  mood  of  the 
film  are  headlines  like:  "Movies  Bring 
You  Action,"  "Movies  Bring  You  Adven- 
ture" ".  .  .  Comedy,"  ".  .  .  Thrills,"  etc. 
Under  the  headline  is  a  squared  repro- 
duction of  a  still  from  the  movie,  with 


title  and  company  credit  indicated,  then 
a  plug  for  the  Journal-American's  movie 
pages  and  its  featured  columnists. 


J^AUGHTER  IS  needed  in  the  world 
these  days.  M-G-M  production  chief 
Dore  Schary  thinks  Red  Skelton  is  the 
answer  and  with  Schary  the  action  never 
lags  far  behind  the  thought.  Consequent- 
ly, the  studio  head  has  sent  out  the  word 
to  his  underlings  to  dig  up  (if  you'll  ex- 
cuse the  expression)  the  "greatest  story 
properties  possible"  for  the  carrot-topped 
star  and  is  assigning  the  company's  top 
producers  and  writers  to  the  preparation 
of  his  future  productions. 

'The  international  popularity  of  Red 
Skelton  has  never  reached  its  current 
peak,"  Schary  says,  "and  certainly  the 
people  of  the  world  never  needed  laughs 
as  badly  as  they  do  today.  As  morale 
builders  for  both  civilians  and  the  Armed 
Forces,  the  type  of  entertainment  repre- 
sented by  Skelton  is  in  demand  to  a 
greater  extent  throughout  the  world  than 
ever  before.  We  are  going  to  do  every- 
thing possible  to  supply  that  demand." 


J^S  PART  OF  a  direct  rebuttal  to  TV's 
inroads  into  movie  attendance,  M-G-M 
has  inaugurated  a  campaign  in  its  press- 
books  to  impress  the  fact  that  the  scope 
and  stature  of  the  motion  picture  theatre 
screen  makes  it  a  medium  that  surpasses 
any  other  form  of  entertainment.  Leo, 
who  hopes  that  such  a  campaign  will  be 
adopted  by  all  companies  and  theatres, 
launched  this  advertising  angle  in  con- 
nection with  "King  Solomon's  Mines"  and 
will  make  it  a  standard  part  of  all  future 
pressbooks.  There  will  be  eight  slugs 
of  two  different  sizes,  (see  cut)  all  on  one 
mat,  for  use  in  newspaper  advertising, 
heralds,  etc.  Where  the  actual  slug  can- 
not be  spotted  in  the  smaller  layouts,  it 
is  suggested  that  variations  of  the  head- 
ing, "Only  a  Motion  Picture  Theatre 
Screen  Can  Present  a  Show  Like  This," 
and  the  other  copy  be  used. 


COVIET  SHOWING,  as  reported  in  an 
^  AP  dispatch,  of  Columbia's  satire  on 
U.  S.  politics,  "Mr.  Smith  Goes  to  Wash- 
ington," made  in  1939,  had  the  industry 
pounding  on  the  door  of  the  State  De- 
partment. MPEA  president  Eric  John- 
ston, asking  the  Government  to  make  an 
immediate  investigation  of  the  "unau- 
thorized" showing,  pointed  out  that  at  no 
time  had  Columbia  or  the  Association 
offered  the  film  for  exhibition  in  Russia. 
Since  the  MPEA,  which  distributes  films 
of  its  member  companies  in  Europe,  has 
no  representative  in  Moscow,  Johnston 
noted,  "we  are  entirely  dependent  on  the 
State  Department  to  protect  the  legiti- 
mate interests  of  our  Association  and  of 
Columbia  Pictures  Corporation."  He 
asked  the  embassy  in  Moscow  to  check 
on  the  report  and,  if  verified,  "to  make 
the  strongest  representations  to  the  Sovi- 
et government  to  stop  these  unauthorized 
showings  immediately."  He  further  re- 
quested that  all  prints  and  negatives 
should  be  turned  over  to  the  American 
embassy  for  return  to  Columbia,  adding, 
"we  are  also  anxious  to  find  out  how  the 
Soviet  Union  obtained  this  picture." 


THE  PASSING  of  Toby  Gruen,  Nation- 
al Screen  Service  vice-president,  last 
Wednesday  (27th)  after  a  lingering  ill- 


ness, saddened  the  industry.  One  of  the 
original  founders  of  NSS,  he  was  a  key- 
stone  in  its  business  structure  and  growth. 
His  23  years  as  treasurer  and  vice-presi- 
dent established  an  enviable  reputation 
for  Gruen  as  an  executive  with  a  heart. 
When  ill  health  limited  his  activities  some 
years  ago,  he  continued  to  have  a  hand 
in  National  Screen's  administrative  poli- 
cies, which,  in  recent  weeks,  paid  off  hand- 
somely as  exhibitors  throughout  the  coun- 
try rallied  \p  the  support  of  the  com- 
pany after  it  was  threatened  by  an  anti- 
trust suit.  The  late  vice-president  is  sur- 
vived by  his  wife,  Ethel,  and  son  and 
daughter,  Bob  and  Dorothy. 


QF  MEN  AND  THINGS:  Universal-In- 
ternational has  launched  a  17-week 
sales  drive  to  mark  the  recent  appoint- 
ment of  Charles  J.  Feldman  as  domestic 
sales  manager.  The  campaign  will  hon- 
or Feldman  for  his  record  of  perform- 
ance during  his  20  years  with  the  com- 
pany .  .  .  U-I  revealed  that  Peter  T.  Dana, 


MOVIES  BRING  YOU 
ADVENTURE 


JOURNAL- AMERICAN  AD 

A  Newspaper  Pitches  In 

another  20-year  man,  has  moved  up  to 
Feldman's  former  post  of  Eastern  sales 
manager.  Dana  comes  up  after  branch 
managerships  in  Albany,  Buffalo,  Cleve- 
land. Detroit  and  Pittsburgh  .  .  .  Jack 
Felix  has  been  named  branch  manager 
of  Monogram's  Portland  exchange  to  suc- 
ceed the  late  William  Grant  .  .  .  ELC's 
general  sales  manager,  B.  G.  Kranze,  has 
made  three  new  appointments:  Ralph 
Amacher,  former  Portland  branch  head, 
moves  over  to  the  San  Francisco  ex- 
change, replacing  Sam  Sobel,  resigned; 
S.  F.  Powers  moves  up  from  Portland 
salesman  to  head  the  exchange,  and  J.  C. 
Swonson  becomes  branch  manager  in  the 
Salt  Lake  City  exchange,  replacing  Ar- 
thur Jolley,  resigned  .  .  .  Morris  Finkel, 
W.  Pa.  Allied  president  for  the  past  four 
years,  will  not  be  a  candidate  for  re- 
election at  the  organization's  annual 
election  during  the  annual  convention 
this  month,  noting  "During  my  tenure 
as  president,  I  made  many  friends  and 
contacts  all  over  the  country  which  I 
value  highly,  but  I  believe  other  exhibi- 
tors should  be  afforded  the  same  oppor- 
tunity." 


JANUARY   1,  1951 


21 


LEO'S  SCHARY 

Fulfilling  a  Promise 


TWO  NEW  PARA  COMPANIES 
END  PROFITABLE  FIRST  YEAR 

The  two  independent  segments  that 
once  comprised  Paramount,  Paramount 
Pictures  Corp.  and  United  Paramount 
Theatres,  were  doing  quite  well,  thank 
you,  as  they  ended  their  first  year  of  op- 
eration. 

Paramount  Pictures  president  Barney 
Balaban,  in  a  letter  to  stockholders,  pre- 
dicted that  the  last  quarter  of  the  year 
would  be  "g.reater  than  any  one  of  the 
prior  three  quarters,"  and  estimated  the 
film  company's  net  for  the  year  at  be- 
tween S6  0C0  C00  and  $7,000,000. 

From  UPT  head  Leonard  Goldenson, 
addressing  a  special  meeting  of  company 
stockholders,  came  the  prospect  of  at 
least  a  $12,000,000  net  for  the  first  year 
of  operations.  Eleven-month  earnings 
were  estimated  at  $11,560,000  and  even 
though  he  pointed  out  that  December's 
traditionally  lower  earnings  would  not 
keep  pace  with  the  monthly  average  for 
the  first  11  months  of  1950,  it  seemed  cer- 
tain that  the  new  theatre  company  would 
top  the  12  million  mark.  He  reported 
October-November  earnings  at  $2,126,000, 
including  capital  gains. 

Balaban's  letter  revealed  that  Para- 
mount would  receive  a  $15,000,000  loan 
from  the  Prudential  Insurance  Company 
of  America.  He  also  notified  stockhold- 
ers that  500,000  shares  of  common  stock 
would  be  purchased  on  the  open  market 
fo.~  retirement  purposes. 

M-G-M  BREAKS  OUT  IN  RASH 
OF  NEW  FILMS;  NINE  ON  MARK 

Dore  Schary's  promise  of  more  nrouuet 
in  1951  came  a  step  closer  to  fulfillment 
last  week  when  the  M-G-M  production 
chief  announced  that  the  studio  will  be- 
gin its  new  year's  studio  activity  with 
nine  new  pictures  set  to  go  before  the 
cameras. 

Schary  arrived  in  the  East  for  con- 
ferences with  president  Nicholas  M. 
Schenck,  sales  v.  p.  William  F.  Rodgers, 
and  other  home  office  executives,  after 
approving  the  nine  new  ones.  Current- 


BULLETIN 


Volume  19,  Number  1 
January  1,  1951 

News 
and 
Opinion 


ly,  he  added,  there  are  seven  films  on 
the  stages,  with  twenty  others  in  final 
phases  of   filming,  editing    or  printing. 

The  nine  about  to  tee  off  are  "Strictly 
Dishonorable"  (Ezio  Pinza-Janet  Leigh); 
"The  Law  and  Lady  Loverly'  (Greer 
Garson-Michael  Wilding);  "The  People 
Against  O'Hara"  (Spencer  Tracy); 
"Scaramouche"  (Stewart  Granger-Ava 
Gardner-Ricardo  Montalban) ;  "Texas 
Carnival"  (Esther  Williams-Red  Skelton- 
Howard  Keel);  "The  Bradley  Mason 
Story"  (Walter  Pidgeon);  "The  StriD" 
(Mickey  Rooney-Sally  Forrest);  "The 
Man  on  the  Train"  (Dick  Powell),  and 
"Man  With  a  Cloak." 

Schary  also  revealed  that  "Quo  Vadis," 
the  company's  biggest  picture  since 
GWTW,  is  being  given  top  priority  in 
preparation  for  its  1951  release. 

WARNER  BROS.  &  GOV'T  AGREE: 
DIVORCEMENT  WITHIN  27  MOS. 

Warner  Bros,  and  the  Department  of 
Justice  finally  saw  eye  to  eye  after 
months  of  negotiation  for  a  consent 
decree.  It  calls  for  divorcement,  pat- 
terned on  the  RKO  and  Paramount  de- 
crees, within  27  months  and  divestiture 
of  at  least  55  theatres,  possibly  as  many 
as  80,  of  present  holdings.  The  divorce- 
ment plan  is  to  be  submitted  for  ap- 
proval by  stockholders  within  90  days 
of  entry  of  the  decree. 

The  terms  will  be  presented  to  the 
Statutory  Court  for  its  approval.  If  the 
tribunal  gives  it  the  nod,  as  it  is  almost 
certain  to  do,  only  Loew's  and  20th-Fox 
will  be  left  of  the  original  eight  defen- 
dants in  the  industry  anti-trust  suit.  Fox 
is  also  reportedly  on  the  verge  of  con- 
cluding a  consent  decree  with  the 
Government. 

As  in  the  other  consent  judgments, 
controlling  stockholders  —  in  this  case 
brothers  Jack,  Albert  and  Harry  War- 
ner must  sell  their  holdings  in  one 
or  the  other  of  the  two  companies  that 
will  emerge  from  divorcement.  It  was 
expected  that  the  brothers  would  elect 
to  stick  with  the  production-distribution 
company,  while  Harry  Kalmine,  WB 
theatres  head,  will  probably  become  chief 
executive  of  the  decimated  circuit. 

Divestiture  is  ordered  in  some  56  cities, 
covering  13  states.  Wording  of  the  di- 
vestiture clause,  however,  contains  quali- 
fications that  leave  the  exact  number  of 
houses  vo  be  sold  indeterminate.  In  some 
cases,  Warners  may  divest  either  one 
theatre  in  a  town,  or  two  others  that 
would  relieve  the  same  situation  in  that 
community.  Half  of  the  specified  thea- 
tres must  go  within  one  year,  the  bal- 
ance by  the  end  of  the  second  year. 


ALLIED'S  KIRSCH 

"Partners  In  This  Emergency" 


NCA  PETITIONS  DISTRIBUTORS 
FOR  MEETING  ON  RENTALS 

Burdensome  film  rentals  will  be  the 
main  event  at  a  proposed  meeting  be- 
tween midwestern  exhibitors  and  distri- 
bution toppers.  Conceived  and  presented 
by  a  North  Central  Allied  committee, 
headed  by  Henry  Greene,  a  "fair  rental 
plan"  has  been  approved  by  NCA's  board 
of  directors  and  a  proposal  that  distribu- 
tion executives  meet  with  the  committee 
in  New  York  on  Jan.  8  to  discuss  the 
plan  was  submitted  to  the  film  companies. 

The  NCA  action  followed  a  plea  by 
Jack  Kirsch,  president  of  Allied  Theatres 
of  Illinois,  for  a  conference  between  ex- 
hibitors and  distributors  "in  order  that 
some  fruitful  measures  shall  be  develop- 
ed for  the  alleviation  of  our  suffering 
business  .  .  .  We  are  partners  in  this 
emergency.  Distributors  cannot  live  with- 
out us  —  neither  can  we  live  without 
them.  The  quicker  we  get  together  for 
specific  remedies  for  the  individual  Chi- 
cago exhibitor  in  his  presently  burden- 
some state,  the  quicker  our  industry  here 
will  return  to  good  health  and  normalcy. 
We  cannot  do  it  alone." 

The  NCA  plan  was  described  as  a  yard- 
stick for  determining  what  is  a  "fair 
basis  of  rentals  and  to  prevent  the  closing 
of  theatres."  The  relief  offered  in  the 
plan,  it  was  said,  would  apply  both  to 
distributors  and  exhibitors. 

THREE  MAJOR  FILMS  LAUNCH 
PHONEVISION  TEST  JAN.  1st 

Warner  Brothers,  M-G-M,  and  Para- 
mount pictures,  of  comparatively  recent 
vintage,  featuring  some  top  name  stars, 
kick  off  the  Phonevision  test  period  be- 
ginning New  Year's  Day. 

The  "premiere"  of  the  oft  -  postponed 
experiment  to  determine  the  value  of 
"subscription  television,"  to  take  place 
January  1,  will  have  the  three  films. 
"April  Showers,"  starring  Jack  Carson 
and  Ann  Sothern;  "Welcome  Stranger," 
Bing  Crosby,  Joan  Caulfield  and  Barry 
Fitzgerald,  and  "Homecoming,"  Clark 
Gable  and  Lana  Turner.    Each  will  be 


22 


FILM  BULLETIN 


News  a  ml  Opinion 


•shown  for  three  days,  alternating  the 
times  4,  7,  and  9  p.  m.  The  balance  of 
the  features  for  the  90-day  test  in  300 
Chicago  homes  were  not  revea'ed  in  the 
announcement  by  Zenith  president  E.  F. 
McDonald,  Jr. 

1  Four  companies,  20th-Fox,  Republic, 
Universal  and  Columbia  have  indicated, 
either  by  statement  or  by  ignoring  De- 
partment of  Justice  inquiries  concerning 
availabilities  of  films  for  the  test,  that 
they  do  not  plan  to  supply  any  features 
to  PV,  at  least  for  the  test. 

Remembering  how  he  had  been  burned 
before  when  the  Federal  Communica- 
tions Commission  cracked  down  on 
Zenith  for  implying  in  news  releases 
and  in  advertising  that  Phonevision 
had  received  official  approval,  McDonald 
emphasized  that  the  PV  broadcasts  were 

i  "a  test  only."  He  also  stressed  that 
Zenith  does  not  propose  PV  as  "a  sub- 

I  stitute  for  any  of  the  established  or  po- 

I  tential  uses  of  regular  television  broad- 
casting, radio,  motion  pictures  or  other 
extant  communications  and  art  forms.'' 

i  He  saw  it  rather  as  a  "new  and  distinct 
service"  to  distribute  entertainment  and 
education  for  which  people  are  accus- 
tomed to  pay  an  admission  charge  or  a 
tuition  fee. 

EXCHANGE  EMPLOYES  GAIN 
MILLION-PER-YEAR  WAGE  HIKE 

Some  5000  film  exchange  employes  will 
receive  a  wage  increase  of  more  than 
$2,000,000  in  the  next  two  years.  This 
was  determined  after  an  impending  wage- 
freeze  order  in  line  with  the  President's 
emergency  declaration  speeded  up  nego- 
tiations between  IATSE  and  distributors 
that  resulted  in  contracts  assuring  a  $4 
weekly  boost  for  mployes  of  eight  film 
companies.  Four  more  are  expected  to 
sign  the  new  pacts. 

The  wage  hike,  retroactive  to  Decem- 
ber 1,  date  of  expiration  of  the  previous 
pact,  applies  to  employes  of  Columbia, 
Loew's,  Paramount,  RKO  Radio,  Repub- 
lic, 20th  Century-Fox,  Universal-Interna- 
tional and  Warners.  Remaining  contracts 
a.re  due  to  be  signed  with  Eagle  Lion 
Classics,  Monogram,  National  Screen 
Service  and  United  Artists. 

The  new  minimum  established  under 
the  pact  is  $38  per  week.  Both  front 
office  and  back  room  exchange  employes 
are  included  in  the  agreement. 

AT  LONG  LAST,  DECREE  IN 
GRIFFITH  CASE  FINALIZED 

The  curtain  was  rung  down  on  another 
long-pending  industry  anti-trust  suit 
when  the  final  decree  in  the  Griffith  case 
was  handed  down  in  Oklahoma  City 
Federal  District  Court.  Judge  Edgar  S. 
Vaught's  decision  was  an  exposition  of 
future  behavior,  but,  in  the  light  of  re- 
vision of  the  circuit  since  1946,  ordered 
no  drastic  divestiture. 

Judge  Vaught's  decree  was  based  on  a 
Supreme  Court  decision  two  years  ago 
which  found  Griffith  guilty,  '  reversing 
the  original  District  Court  edict  absolv- 
ing the  defendants  of  anti-trust  viola- 
tions. Since  then,  three  of  the  four  cir- 
cuits cited  in  the  original  suit,  filed  in 
1939,  have  changed  ownership.  Vaught, 
however,  pointed  out  in  an  opinion  ac- 
companying the  decree  that  the  firms 
now  operating  the  theatres  held  by  the 
defendants,  will  come  under  the  juris- 
diction of  the  decision. 


REPUBLIC'S  YATES 

$2,000,000  Worth  of  Faith 


PARAMOUNT  TO  EXPLOIT 
NEW  FACES,  SAYS  YOUNGSTEIN 

Recognition  of  the  need  for  new  faces 
in  the  top  ranks  of  stardom  was  pointed 
up  last  week  when  Max  E.  Youngstein, 
Paramount  ad-publicity-exploitation  vice- 
president,  announced  that  the  company 
would  intensify  and  accelerate  its  pro- 
gram to  develop  and  popularize  new 
stars. 

Pointing  out  that  Paramount  was  well- 
heeled  with  popular  established  stars, 
such  as  Crosby,  Hope,  Hutton  and  Ladd, 
Youngstein  named  several  newcomers 
destined  fcr  all-out  promotion  to  lift  them 
to  stellar  proportions.  Among  these  were 
Thelma  Ritter  ("the  most  human  and 
lovable  actress  to  hit  the  screen  since  the 
heyday  of  Marie  Dressier"),  Jan  Sterling, 
Charlton  Heston,  Lyle  Bettger,  Nancy 
Olson,  Barbara  Rush  and  Peter  Hanson. 

"These  are  all  new  names,"  Youngstein 
said,  "young  actors  and  actresses  which 
first  caught  the  public  imagination  during 
1950.  We're  going  to  do  our  best  in  the 
coming  year  to  see  that  the  natural  tal- 
ent of  these  new  personalities  gets  the 
full  benefit  of  expert  exploitation." 

LESIEUR  REPLACES  BRANDT 
AS  ELC  AD-PUBLICITY  CHIEF 

Howard  LeSieur,  long  associated  with 
United  Artists,  moved  over  to  Eagle  Lion 
to  head  the  advertising-publicity  depart- 
ment following  the  .resignation  of  Leon 
Brandt.  Brandt  steps  out  January  1  and 
LeSieur,  who  ended  his  15-year  tenure 
with  UA  on  December  22,  comes  in  the 
following  day. 

LeSieur  reached  the  top  spot  with  UA 
in  a  steady  succession  of  promotions  dat- 
ing from  1935,  when  he  joined  the  com- 
pany as  production  manager.  He  became 
successively  trade  paper  copy  writer,  sales 
promotion  manager,  advertising  manager, 
assistant  director  of  ad-publicity  and  final- 
ly took  over  the  key  executive  post  in 
1948. 


YATES  SETS  $2,000,000 
REPUBLIC  EXPANSION  PLAN 

Republic  will  spend  two  mi. lion  dollars 
to  expand  its  North  Hollywood  stutios, 
its  physical  properties  in  exchange  cen- 
ters and  in  Great  Britain  and  Eire  Some 
$500,000  will  be  expended  in  the  British 
Isles,  where  on  January  1st,  Republic 
assumed  all  control  of  sales  and  distribu- 
tion of  its  product.  A  new  British  home 
office  building  and  ten  branch  offices  will 
be  set  up  in  ten  cities  in  the  British  fsles. 

Yates  made  the  announcement  of  the 
expansion  program  after  completing  a 
personal  six-month  survey  of  business 
conditions,  here  and  overseas.  Convinced 
that  the  future  of  the  industry  is  "sound ", 
Yates  told  an  executive  conference  at  the 
studio,  "Competition  from  TV  and  other 
counter  attractions  has  levelled  off  and 
with  the  present  high  quality  of  product, 
people  are  finding  their  way  back  to  the 
theatres  realizing  the  self-evident  truth 
that  motion  pictures  still  are  and  always 
will  be  their  cheapest  and  best  form  of 
entertainment." 

He  evidenced  his  conviction  that  "on? 
of  the  moving;  features  for  the  mounting 
return  of  ticket  buyers  is  the  powerful 
concentration  on  the  'point-of-purchase' 
exploitation  which  has  been  generated  by 
producers." 

Yates  promrcd  that  Republic  will  "pos- 
itively" film  its  announced  program  of 
52  pictures  for  the  current  yea.?. 

20th  FOX  WALKS  OFF 
WITH  N.  Y.  CRITICS  AWARDS 

The  first  clean  sweep  by  a  film  com- 
pany in  the  15-year  history  of  the  New 
York  Film  Critics  awards  was  registered 
in  1950.  The  company  to  make  the  grand 
slam — best  picture,  direction,  actor  and 
actress — was  20th  Century-Fox. 

The  highly  touted  "All  About  Eve"  took 
the  best  English  language  picture  on  the 
first  ballot.  Two  more  honors  were  at- 
tached to  the  film— Joseph  Mankiewicz 
for  his  direction  of  "Eve"  and  Bette  Davis 
for  her  performance  in  the  picture. 
Rounding  out  the  quartet  of  the  Fox 
sweep  was  Gregory  Peck  as  best  actor 
for  his  role  in  "Twelve  O'Clock  High." 

Runners-up  to  "Eve"  were  "Sunset 
Boulevard"  (Paramount),  "Asphalt  Jun- 
gle" and  "Devil's  Doorway"  (both 
M-G-M). 

Mankiewicz  triumphed  over  John-  Hus- 
ton ("Asphalt  Jungle")  and  Billy  Wilder 
("Sunset  Boulevard")  on  the  fourth  bal- 
lot. 

Stiffest  competition  was  registered  in 
the  best  actor  battle.  Peck  was  tied  with 
Jose  Ferrer  ("Cyrano  de  Bergerac")  and 
Alec  Guinness  ("Kind  Hearts  and  Coro- 
nets") with  three  each  with  six  other 
actors  receiving  votes.  He  won  out  on 
the  sixth  and  final  ballot,  with  nine  votes, 
followed  by  Ferrer  (6)  and  Guinness  (1). 

Actress  honors  were  fought  out  in  a 
three-way  battle,  Miss  Davis  finally  top- 
ping Judy  Holliday  ("Born  Yesterday") 
and  Gloria  Swanson  ("Sunset  Boule- 
vard") on  the  sixth  ballot. 

Best  foreign  language  film  was  "Ways 
of  Love,"  distributed  by  Joseph  Burstyn. 
Other  contenders  included  "Bitter  Rice," 
"Difficult  Years,"  "L'Affaire,"  "Jofroi" 
and  "Cossacks  of  Kouban." 


JANUARY   1,  1951 


23 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1943-50  Features  Completed  (81)      In  Production  (1) 

Serials  Completed  (2)     In  Production  (0) 

Westerns  Completed  (24)     In  Production  (0) 


RELEASE  CHART 

IN  PKODUCTION 

Title — Running    Tlmt  Cast 

Siruc;o   Eos  rt-Toren   


Details 

. .11-20. 


COMPLETED    1949-50   

Aeroii  tht  Badlands   Starrett-Burnettt   4-10  

Al  Jem.l  gs  of  Oklahoma   (T)   Duryea-Storm   5-8  

•eiuty  On  Parade   H  otton-Warrlek   11-7  

Beware  of  Blondie  (66)   Singleton-Lake   8-29... 8-.0. 

Bluing  Son   Autry-Gwynne   5-8  

Born  Yesterday   Crawford-Holllday   7-3  

Brave   Bulls,   The   Ferrer-Quln   3-27  

Uftlve  Girl   Welsmuller-Crabht  ...10-24  

Chain   Gang   Kennedy-Lawrence   6-5  

Ceng*  Bill   MeGilrt-Moere   5-1C   

Counterspy  Meets  Scotland  Yard   Blake-St.  John    6-19  

Conv  leted    ( 91 )   Ford-Crawford   1-2 ...  8-50 . 

Cow  Town    (70)   Autry-Davls   5-23.  .  .  5-50. 

Criminal    Lawyer   0  Brien-Wyatt   12-18  

David  Harding,  Counter  Spy  (71)   Parker-Long   1-30... 7-50. 

Dick  Turpin's   Bide   ^y*ard-Mcd  na   11-6  

Firefighters,   The   wilCams-Reynolds   2-27  

Flying    Mist  le.    The   Ford-Llnfors   7-31   

Fort   Savage   Raiders   Starrett-Burnett   9-25   

Fortunes  of  Captain  Blood   (91)   Hayward-Mtdina   11-21  .  6-50. 

reller  Brush  Girl.  The   Ball-Albert   2-27  

Ftrv  of  the  Congo   Weismoller-Taltot   7-3  


Gasoline  Alley 

Globetrotters.  The   

Good  Humor  Man  (82)   

Harriet  Craig  (94)   

Her  Wonderful  Lit    

Detail-  under  title:  Tht  Eternal  Melody 

Hero,  The   

He's  a  Cockeyed  Wonder  (77)   


.  Beckett-Lydon 
.  Goirez-Dandridge 

Car  on-Wallaee 
.  Crawford-Corey 
.Kltpora-Eggtrth   11-10 


10-  9  

11-  6  

6-6 .. . 6-50 . 


Derek-DaRe  .  .  . 
Rooney-Moore  . 
Arnold-O'Mahoney 

Hurricane    Island   Hall-Windsor  ... 

In  a  Lonely  Place   Bogart-Grahame 

Indian   Territory   Autry-Buttram 

Kill  the  Um-ire    (78)   Bendlx-Henry  ... 

Killer  That  Stalked  New  York   Ke.cs-Korvln  .... 

Last  of  the  Buccaneers  (T)   Henreld-Booth 

Lightning  Guns   Starrett-Burnett 

Lorna  Doone  (T)   Hale-Greene  ... 

M?gic  Carpet   Ball-Agar   

Mask  of  the  Avenger   Oerck-Lawrence  . 

Mountles,    The   Aotry-Buttram 


. .6-19  

 10-50 ...  340 . . 11-20 

. . .7-4. . .6-50  

.10-23  

. .11-7. . .8-50  

. .4-10. . .9-50  

. 10-24 . . . 5-50  

.  .12-5  12-18 

. . .3-27  

...6-5  

...6-5  

.12-18  

.10-23  

.6-19  


My    True   Story   Parker-Walker   12-18  

No  Kelp  From  Heaven   Clark-O'Uonmll   12-18  

No  Sad  Songs  For  Me  (89)   Snlllvan-Corey   10-24.  .  .3-r0. 

Outcast  of  Black  Mesa   (54)   Starrett-Bornett   11-7.  .. 4-50. 

Palom:n-    (T)   Courtland-Tyler   8-1... 3-50. 

Pygmy    Island   Weissmuller-Savaqe  ....6-19  

Petty  Girl,  The  (T)    (87)   Cummlngs-Caulfield     .  .9-26.  .  .S-50. 

Prairie   Roundup   Starrett-Bornett   7-31  

Raiders  of  Tomahawk  Creek   Starrett-Burnett   6-19  

Retenoa  Ag?nt   Kennedy-Wiles   7-31  

Rldin'  the  Outlaw  Trail   Starrett-Burnette   8-28  

Riders  of  the  Whistling   Pines   Aotry-Whltt   7-5  

Details  onder  title:  Wln|<  Westward 

Rogues  of  Sherwood  Forest   (T)    (80)   Derrick-Lynn   9-12... 7-50. 

Romantic  Age,   The   O'Brien-Martin   8-28  

Rookie  in  Korea   McAllister   11-6  

Smuggler's  Gold   Mitchell-Blake   11-20  

Santa  Fe   (T)   Scott-Carter   7-3   

Snake  River  Desperados   itarrett-Burnett   11-6  

711  Ocean   Drive   (102)   0'8rien-Dru   7-50. 

Texans  Never  Cry   Autry-Davls   7-31  

Tt-as  Dynamo   (54)   Starrett-Burnett   2-27... 6-50. 

That   Bedside   Manner   Parks-Hale   ...4-10  

Tougher  They  Come,  The   Foster-Morris   7-31  

Two  of  a  Kind   Scott-Moore   10-23  

Tyrant  of  the  Sea  (70)   Williams-Randall   8-29... 4-50. 

Valentino   Parker-Dexter   6-19  

When  the  Redskins  Rode   Hall-Castle   8-28  

When  You're   Smiling    (75)   Courtland-Albright   9-50. 

Wh.rlwind   Autry-Burnette   12-18  


EAGLE-LION-CLASSICS 


Completed  (45)     In  Production  (0) 


COMPLETED 

Title — Running  Time 
Alice  In  Wonderland   (A)  .. 

Amulng   Mr.    Beecham  (85) 


RELEASE  CHART 

  1949-50   

Cast 

 Marth- Murray   

 Parker-Matthews  ... 


Details 
.Fertile.. 

.Foreign 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  the  ' 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  ap- 
peared.   "Rel."  is  the  National  Release  Date.    "No."  is  the 
Release  Number.     "Rev."  is  the  issue  in  which  the  Review 
appeared.    There  may  be  variations  in  the  running  time  inipQ 
States  where  there  is  censorship.    All  new  productions  are-  Cow 
on  1950-51  programs  unless  otherwise  noted.     (T)  immedi-i  M 
ately  following  title  and  running  time  denotes  Technicolor,  Dr 
(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 


Blackjack   

Border  Outlaws  (58) 

'C'-Man  (75)   

Cat'.le  Queen   

Congolaise  (68) 
Cry  Murder  (94)  .  .  . 
Destination  Moon  (T) 
Eye  Witness  (104)  . 
Fighting  Stallion  (C2) 
Flying  Saucer   


.11-2. 


.  Marshall-Sanders  .... 
.  Cooley-Hart   

Jagper-Carradlnt   

.Hart-Smith   10-23  

African  Natives   

.  Mathews-Lord   

.Anderson-Archer   11-21  

.  Montromery-Banks   9-1. 

Edwards-Merrick   M«r. 

.  Conrad-Garrison   


5-h 

  . 

5-22    he  I 


.5-22 


Forbidden   Jungle   Harvey-Taylor   5-22 

Four  Days  Leave   Wilile-Day   

Glass  Mountain,  The  (90)   Corttsa-Denlson   Foreign ...  May  012  

Golden   Gloves  Story,   The   Dunn-Westerfall   11-21... Mar  023  

Golden  Salamander   (96)   Anouk-Howard   Foreign ...  12-1  

Good  Time  Girl   Ktnt-Robson   

Grtat  Rupert   (86)   Duran't-Moore   Mar.  .  .  .019.  .  .1-1* 

High  Lonesome  (T)   Barrymore  Jr.-Botler   .  11-16    .  Jint  

Hit  Tht  let  (81)   Abbott-Costtllo   Rtlsstt  .  .  .  Feb  943  

I    Killed   Geronimo   Ellison-Htrritk   6-19  

I'll  Bt  Seeing  Yog   Rogers-Cotten   Reissue  

Kangaroo   Kid    (73)   0  Mano  ey-Borg   10-22  

Kid  from  Mexico   Rooney-Hcndrix   12-25  

Kind  Hearts  and  Coronets  (106)   Golnneis   Foreign  6-5 

Korea    Patrol   Encry-Fong   10-9  

Levablt  Cheat,  Tht  (77)   lugglts-Garner   1-31... 4-15  4-U 


.11-15. 


...3-27. 
.  Foreign.  . 
.  Foreign .  . 
.  .  Foreign. 

. . .5-8. . 


10-1. 
9-22. 


11-1. 
10-7. 


010 


Mr.    Univtrst   Carson-Palgt   

Narcotic   Agent   Henry-Blake   

One  Minute  to  Twelve  (76)   Hanson-Brost.om 

Paper  Gallows    (80)   Anderson-Bentley  . 

Passport  to  Pimlito     Ruthtrftrd-Holloway 

Prehistoric  Women   Lviz-Nlxon   

Projtet  "X"    (60)   Celton-Andes   

Rapture   (79)   Langan-Alblln   

Rebecca    (SRO)   Fentalnt-Ollvltr   Rtlttii. . . Jily  

Rogut  River   Calhoun-Lldell   8-14..  11-15  

Salt  to  the  Devil   Wanamaker-Padovanl   Jan. 

Sarumba   (65)   Dowling-Whaltn   Jm  014. 

Starth  for  Danger  (63)   Calvtrt-Dtll   1-3  4-8  

Stcond   Fact,  Tht   Btnnctt-Johnson   5-8 .  .  10-15  

So  Long  at  the  Fair  (SO)   Simmons-Bogardt     ...  Foreign .  .  10-15  

Stronghold   Lake-Scott   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27... 11-8  

Taming  of  Dorothy  (75)   Kent-Beatty   Foreign  .  . 9-29  

They  Were  Not  Divided   Underdown-Clanton    .  .  Foreg  n  11-15  

Timber  Fury  (63)   Bruee-Lynne   2-27  ..June  63. 

Tlmt  Running  Out   Clark-Signortt   

Tinderbox    (C)   Cartoon   Feature   12-25  

Torch    Tht    (83)   Goddard-Armendarlz   June....  025. 

Two  Lost  Worlds   fciliott-Arness   10-29  

Vicious  Ytars   Cook-Mcrritt   

Winslow  Boy,  The  (96)   Donat-Hardwicke   Forelon .  .  .  May  027. 

When    I   Grow  Up   Prcstoi.-Scott   12-18  

White    Heather   Milland-Roc   12-31  

Wind  Is  My  Lover.  Tht   Llndfors-Ktnt   

Young  Lovers,  The   Forrest-Brasselle   Jan. 

Details  under  title:  Never  Fear 


1948-49  Features 


LIPPERT 


Completed  (45)     In  Production  (0) 


RELEASE  CHART 

COMPLETED    1949-5(1   

Title— Running  Time  Cast  Details 

Bandit  Queen   Britton-Parker   9-25. 

Border    Ranger   Barry-Lowery   

Colorado  Ranger   Ellison-Hayden   

winked  River   (55)   Ellison-Hayden   11-21. 

Fast  on  the  Draw   cllison-Hayden   1-2. 

Gunnr,   Barry-Lowery   

Hijacked   Davis-Jones   5-8. 

Holiday   Rhythm   Hughes-Street   6-5. 

Hrntile  Country   Ellison-Hayden   12-5. 

I  Shot  Billy  the  Kid   (58)   Barry-Lowery   5-8. 

Marshal  of  Heldorado   Ellison-Hayden   

Ma<k  of  the  Dragon   Travis-Ryan   12-18. 

Motor   Patrol    (67)   Castle-Nigh   3-13. 

Operation   Haylift   Brown-Hayden   1-16. 

Return  of  Jtsst  Jamtt  .(75)   Ireland-Dvorak   6-5. 

Steel   Helmet.  The   £dwards-B*rody   11-6. 

Three  Desperate  Men   Fo>tcr-Davis   10-23. 

Details  under  title:  The  Dalton's  Last  Raid  . 
Tnla  To  Toeihitena   Barry-Lowtry   5-8. 

I** .f  Bri«   Eimw-HiSn   12-19 . 


12-15. 
.10-6. 
.4-21. 
. .5-5. 
.5-19. 
8-11. 
.7-14. 
10-13. 
. 3-24 . 
. .9-8. 
. .4-8. 


.4933.  . . . 

.4925  

.4926.... 
. 4929 .... 

.4932  

.4920  

.4911  

.4927  

.4931. . .9-11 
.4928  


.5-12. 
.4-28. 
. .9-8. 


.4923... 

.4910  

.4907... 10-9 


FILM    B ULLKTIN 


ETRO-COLDWY  N -  MAYER 


1948  49  Features 


Completed  (76)      In  Production  (G) 


NEW  PRODUCTIONS 


iO  QUESTIONS  ASKED 
iomedy— Started  December  12 
ast:    Barry  Sullivan,  Arlene  Danl 
•irector-  H  Kress 

ory-    Marital  mix-up  brings  down  holocaust  on 

RELEASE  CHART 


IN  PRODUCTION 

TlBM 


•pll 

id.  Ymiii 


and  Pretty  (T) 


Beat  (T)   

OMTLETED 

m  tli  IU<  Bl.iMri   

iMftoM  la  rvli  (T)   

|mh  M  Tin        (T)  (107) 

rt.lt   j.atl«  (112)   

f  f   H  aneoier    Tit  <t2) 
lllag    HIKii  Drammend   

lint  ftr  Alarae   

Ule  (9*)   

nil's  Beerway  (84)   

I  Ml   1119  (75)   

t  Retail,   pater  IIIM:  Standoff 

tttcaa  tt  Idahe  (T)   (98)  .. 


tut 

.  Bar^atore-Eians 
'  Tay:oi-Parkk 
.  Millan J-Hodiak 
,  poweil-Damone 
.Gardner-Keel 

1949-50   

.Tirner-Plnia 
.Kelly-Carers  ... 

Hutton-Keel    .  .  . 

Hayden-Haaen 

fayltr-Jihnson  . 
.Pldieen-Ltlphton 
.Yttna-S«lli»an 

Gnat-Ferrer  ... 


Producer:  N.  Nayfack 

young  couple's  heads. 


.  12-4. 
12-18 
12-18 
.  12-4 
.  .12-4. 


ir.ompion-neld 


.8-14  . 
. .8-14. 
.10-24  . 
.11-21 
.8-29 
.8-28. 

..1-16. 
.8-29. 

. .3-27 


.Ft*. 
Jt:y. 
.Sept 

.  Hov. 


Colorado  Aaikosk   Irown-H  II 

Caeaterfeit    OoFee-Klat 

Ceenty  Fair   (C)    .1  e.n  n.r  . 

Father    Makes  Good   *  him-sun 

Fatter* i  Wild  Game   (61)   Wa:burn-<;ray 

Gaa   Sltngers    (55)   Wilson-Clyde 

Hat   Ui    (61)   Lydeo-*to;tr» 

Latky  Losers   2artey-Hall  ... 

Ilea-  aad   at  a  pi  i  r  lit  West   (66)   Vele-Riane  .... 

lot  P»le«*a   la  Htmphrey  Taket  a  Cb»«ct  Klrkwoed-Errel 
Jm  Piloeka  In  the  Squared  Circle  (63)  .  .  Klrkwoad-Gleasen 

Killer   Shark    (76)   McDowell-Berrls 

Massacre   VaMty   Brown-Terhine  . 

■  rileaa    Sil.ee     wil«.»-ciTde  .. 

Modern   Marriage,   A    ((6)   C:arke-Fkld  ... 

Mystery  tf  Borlesan   (,8)   Macb-Penwee 

Navy   Bund   Ncal-To  m  > 

Botlaw  Geld  <il)   Brows-Adams  . 

•ettisae  tf  Ttias   Wl !»o»»-ciytlt 

Rhythm    Ian   Fraz;e-Grant 

lid.    Shea    .  .  .deOtlrt-utlllti  . 

Sierra    Passage   Morris-Hale 

Silk  ■eoec  Laadli-Callela  . 

tat*   Dap   Grant-Vcrdago 

Heart  Dance  Katy   (76)   Vagte-Darte  ... 

Oatalb  eaier  title:  Barter  la  tie  Air 

Trail    Oast   AlJrtrit-winten 

Trttrlt    Trouble   «.oceey-»all 

WttnaH.    Tat   Klrkaoe4-«leisin 

ALLIED  ARTISTS 

■taaatrt  Hear  (78)   

"•talis  eader  title-  Wiee  t  Maa't  a  Maa 

Set'hslde  1-1COO  (73)   

SWt  frase   


My  Heart  (86) 


13-27      1-14  1355 

.    7-3 ...   

4-21       8  I  

.10-9     12-3. . .5123. 

8-14     10-22  4918 


11-5 
3-19 
11-26 


4909 
4<»12 
5117 
4907  . 
4954 


11-6  2-25 

7-31  11  26 

'-11  12 -10 

12-18  2-11 

■e-iu  .6 

 1-7. 

Bessie  .7-9 
5-8  -716 

 y-ib 

10-23  12-31 
5-8  8-13 

.9-11  


.9-27  .7-20  » 

 11-12  17 

12-84 18 

10-25        8-1   15 

.8-1      1-.0  16 


7-17 
6-5 


 Willlaras-Johnssn 

|  uk.  My  Dait   (T)   5i  Kan-Forrest 

atkar  af  tkt  Brldt.  Tkt  (93)   Bennett-Tracy  . 

atker  .  Llttlt  OI.MtBd   Tracy-Taylor  .. 

a  Far  traki   lohnstn-Anderson 

raat   Carese.  Tkt ."!!"!!  Lan»-6lyth  ... 

raMas  For  Marriape   (91)   Jol.nson-G  ayson 

,.„  Vtan.  Tkt  (T)   (110)   Steekwell-Beekett 

WK  Stralpht   Bnan-0»hl  .... 

A  Sif  Ceeatiy    *"  st" 

Fiat   (T)    (112)   Flyr.n-Slockwell 

Roman's  Mines  (T)   (102)   ""^'TIL 

a*y  Wlthatt  Passpart   (72)   Lamarr-Hodsak  . 

jf,  of  Htr  Own.  A  (108)   l*\*W~ZVL,  " 

lagnificint   Yankee   (89)   r.al.iern-riard;ng 

I  Halter  Sttry,  Tkt  (104)   Gars0n-.p 

l  Br.  iBparltai   

Irs.  0  Mal  ey  and  Mr.   Malone  (6 

lattery  Strut  (93)   

tart  Volte  Yaa  Hear,  The  (82) 


..11-7. 
. .11-6. 
. . 1-30 
.10-23. 
. .10-9. 
..9-25. 


.33  .6-19 
.30. . . .6-5 


haSTta'an    (T)  (93) 
loan  Love  Song  (T)  (77) 
'anted   Hills.   The  (T) 
Ipitaat  BcJIni  Mi  (87)   .  . 

lap  vidn  (T)   

lad   Badge  If  Courage 

I  the  Redhead  < 


laMior's  Thru  (T)   

pUpper  Strprlsti  His  Wlfi,  Tht  (85) 

,nn  la  My  Creaa   

pwr  Stack  (T)  (109)   

rant  Ciye  haessd  Mlkt   

ram  Little  Werdi  (T)  (102)   

U  Pleeat  A  Laay  

Team  af  Ira  Brleaae.  Tkt  (T)  (97) 
Taa  Weeks  with  Lore  (T)    (92)    . . . . 

faaaaaaaa  Vallty  (T)   

Battri    tht  Birdie  (70)   


Gable-Holak    .  . . 
Ma  n-wn  ttnore 
Montalban-Forrest 
wnnraore-Davis 
tteCrea-Dakl  ... 
wniiams-Kcel 

Lwic-Ktlly   

.  <err-Johnsan 

Taylor-Kerr   

Murply-Mauldin 
.  Powell-Allyson 
powel-montaban 
^Astaire-Powell 
.Grangtr-Fidgeon 
.Walker-Ltslit  ... 
.  MeCrea-Drew    . . . 
.Garland-Ktlly  ... 
eVyntan-Johnson  . 
AiUlrt-Skiltao  . 
.Sakle-SUnayck  . 
Grayson- Lama 
.Poacll-MtnUlkaa 
.  Lancaster-*  a  I  ker 
Stelton-Srlttin 


6-5 

Jan  . 

.114. 

12-18 

9-26 . . 

.Jtly.. 

.  .32. 

.  .6-5 

.9-25.. 

.Apr.. 

. .4-24.. 

12-19  . 

.  Jan  .  . 

.115.' 

12-18 

. .11-/  . 

N0«.  . 

.10*. 

.10-9 

..1-16. 

.JtW.. 

..37. 

.7-31 

..2-13.. 

Stpt.. 

.101. 

.9-25 

7-17  . . 

Feb  . 

.  .f9 

10-10  . 

..Oct.. 

.106. 

10-23 

. .8-14  . 

Aor.  . 

. .6-19  . 

Dse 

.11-21. 

.Jily. . 

.35. 

.  .  3-13  . 

.  B:t. . 

.110. 

!8-23 

.  8-29  . 

.  .Apr.  . 

.  ?4. 

.3-13 

.  .4-24  . 

.  Dee  .  . 

.112. 

.  6-19  . 

Apr.  . 

. . .8-1. 

.May.. 

.  '.  .26  . 

..3-13 

...6-5. 

.9-11  • 

.  Mar  .  . 

.10-10. 

.May.  . 

!  .25. 

.  '.3^i3 

.  .4-10  . 

.  .  No* .  . 

.108 

. 10-23 

..7-17. 

.Mar. . 

. .11-6 

.11-21  . 

Jim.  . 

'.'.31. 

'.'.5-22 

. .6-20. 

...40. 

. .12-5. 

'.kin'.'. 

...38. 

.'.'«-14 

..8-14  . 

..Ftk.. 

..12-19 

Alt.. 

.'.'.3«'. 

Y.i-ii 

. .4-24 

.  Oct  . 

. .105. 

. .1-16. 

.Stct. . 

. .103. 

. .4-10  . 

..it!.. 

.10-23 

. .6-19  . 

.  Fek.  . 

. .5-22 

.  .Jan. . 

'.".113 

MONOCR  A  M 


1949-50  Features 
Westerns 
Allied  Artists 


Completed  (27) 
•Completed  (  7) 
Completed  (  9) 


In  Production  (1) 
In  Production  (0) 
In  Production  (0) 


NEW  PRODUCTIONS 

LION  HUNTERS,  THE 
Drama — Started  December  13 

Cast:    Johnny  Sheffield,  Tom  Whitfield  ,  , 

Director:  F.  Beebe  Producer:  Walter  Mirisch 

Story:    Further  adventures  in  the  Sheffield  series  of  jungle  stories. 


COMPLETED 

Title—  ftaaalai  Tlatt 

Akiltnt  Trail  (64)   

Aacaramf   to   Mrs.   HotHe    .  .  . 

Aeiiani  Territory   

Bit  Timber   

Btae  Blood  (C)   

Us.be  and  the  Hiddtn  City 
■aaika  and  tht  Last  Volcano 

Bowery  Battalion   

Ball   ot  the  Klondike   

Caearry    Scout  (C)   

Cfcerokee   Uprising  (57)   

Said  Billets   


RELEASE  CHART 

  1949-50  

Cast 


I  on 


.  .Byington-Chandler 
Wilson-Clyde  ... 
.  MaeDawtll-Dtnaell 
..Williams-Nigh 
.  Sheffield- England 
.  ;heffltld-Lord 
.  .  Gorcey-Hall  .... 
..Grant-Chinook 
,  ,  Cameion-Long 
. .  Hil  on-Clyde  ... 


DttaHi        h.i.  «■ 

.  .9-11  2-4  .  .4946 

.11-20. . .2-18  . .5122 

. .  .6-5  7-2  

..6-19  

.9-25. . .1-28.  .4904. 
...6-5  

. .3-27. . .6-25.  4905. 

.  . .8-14. . .1-21  

. . .10-9. .12-17  . .4920. 

. .10-9. . .2-25   . .5101. 

.  8-28. . .10-8. . .4944. 
.  11-20  


PARAMOUNT 


194D-50  Features 


Completed  (45)      In  Production  (3) 


NEW  PRODUCTIONS 

WHEN  WORLDS  COLLIDE 
Drama  -Started  December  18 
Cast:  Richard  Derr,  Barbara  Rush 
Director:  Rudy  Mate  Producer 

Story 


George  Pal 

Based  on  "the  current  non-fiction  success  of  the  same  name. 


RELEASE  CHART 


IN  PRODUCTION 


Title—  BjphIps]  That 

Cast 

Dettlle 

Bal 

Ha. 

Reo 

That's    My  Boy   

.  Martin-Lew:s   

12-18. 

COMPLETED   

1949-50   

Act  Is    The  Holt   

At  War  with  the  Army  (93)   

.  Martin-Lewis   

1-31 

:oi4 

12-18 

Branded   <T>  (103)   

Details   under   title:   Montana  Rifles 

.  Ladd-Frecdman 

.  .3-27 

1-51. 

5C0). 

12-18 

CtLatala  China   

Payne-Russell   

.  .4-25. 

2-50 

4911 

Carrie   

Olivier-Jones   

. .9-11. 

C&sslne  to  Korea  (59)   

.  Documentary   

10-50 

5008. 

.10-9 

Copper  Canyon   (T)  (85)   

.Mllland-Laaurr  ... 

..4-25. 

10-12. 

5003. 

.8-14 

•ark  dty   

.  Hestan-Stott   

. .4-24. 

10-50 

5004. 

Dear  Brat   

.  Freeman-Arnold     .  .  . 

.  11-6 

Eaalt  and  tht  Hawk.  Tht  (T)   (104)  .. 

.Payne-FleBli|  .... 

.  8-15. 

.6-50. 

.4916. 

.2-13 

Fancy  Putt  (T)  (92)   

Fort  Savapt  (T)   

Mope— Malt   

.Hayoen-Rush   

. . .7-4. 
. . . 12-4 . 

. .9-4. 

.5001 

.8-14 

Farias,  The  (109)   

.  Stanvyct-Cerey     .  .  . 

..12-5. 

.8-50. 

.4926. 

.7-17 

Celdkerp.  Tkt   

.Berg-Leek   

. .  8-28 

. .1-51. 

.5011. 

Great  Mlssairl  Bald.  Tkt  (T)   

.Cor:y-Carey   

. .  6-5 . 

.2-51. 

.5013. 

Last  Bitpost,  Tht  (T)   

.Reapan-Fltajlrta  ... 

. . 10-23 . 

Lawleet,  The  (83)   

.Carey-RMtall   

.  Hope-Maxwell     .  .  .  . 

. . 11-7 . 

.7-50 

4-51. 

.4923. 

.5018. 

.4-10 

Let's  Daaee   (T)  (112)   

Hittia-Astalri   

. . .7-18. 

11-23 

.5006 

8-28 

PiHm    (am  The 

1  lerney-Luna    .  . 

, . .6-5. 

.3-51. 
12-50 

.5016 

(•eta lis  eader  title:  A  Betathrt  Stranier 
Mr    Misli   (108)      .   eretbv-Hatia*   

11-7 

.5007. 

•-28 

6-19 
. .2-27 

My  Friend   Inaa  Gees  West  (90)   

■e  Maa  erf  Her  Bwa  (97)   

Plate   In  The  Sia.  4   

Wilson-Land   

Starwyek-Laad   

.  .Cllft  Wlatert   

...2-13 
....6-6. 
.10-24 

..7-50. 
. .5-50 

.4922. 
.  .4919. 

CtrantrecTs   Raiders  (T)   

.  LatM-Kermerly   

.  .11-20 

Bataat  <T>   

iarryrrore  Jr.-Cal»et 

. . .7-3. 

. .4-51. 
. .3-51. 

1017 

Redhead  a-.d  the  Cowboy  (82>   

Ford-Flemng   

.5015 

.  Fotfaiiie-Lind    .  .  .  . 

. .11-20 

Senttaibcr  Affair   

Lan-arr-Ptatirt   

.  Forr  air.e-Cotten 

. . 10-25 . 
8-29. 

. .3-51. 
.2-51. 

.  . 5010 . 
.  5012 

11-21 

Seen-thlne  To   Lhee  For   

.  .  Fofltaino-MiUand  . 

. . . .6-5 

Details  etider  title:  Mr.  and  Mrs.  Arson- 
ieaset   Boilevard  (110)   

irno-jj 

.  .  Holdia-Swaasan 

4-25. 

. .8-50. 

. . 4927 . 

. .4-84 

Trie  (91)   

Slaimons-Reanle 

.  ForeJ-n 

.11-6 

.  O'Hara-Payne   

3-27. 

.11-11. 

. .5005. 
.5002. 

.10-23 
. .7-11 

Holden-FiUgcrald 

...1-30. 

..9-50. 

linked  States  Mail   

. .  Udd-CaHert   

. . .8-15 

•atills   enter   title:  Postal  Inspector 
Warpath  (T)   

.  .  J'Brlca-Jigger 

...9-11. 

Title — Banning  Time 
All  Unlet  en  the  Western  Front 

Beyond    the  Senset   

Bowery   to   Broadway   (94)  ... 


RELEASE  CHART 

  1949-50   

Cast 

(103) 


Cyres-Wolheim   8-50  

Ford-O'Brien    .5-8  

O'Conner-Blyth   2-50  027. 


JANUARY    1  ,  1951 


Doad  Man's  Eyes  (64)   Chaney-Parker   5-50. 

East  Side  of  Heaven   (88)   Crosuy-Blondell  1-50. 

Flesh  and  Fantasy   (94)   Robinson-Stanwyck    .  4-50. 

Follow  the  Boys   (109J   Ratt-Dletrieh   2-50. 

Framed   (60)   Alhertson-Moore   3-50. 

Frisco  Sal    (94)   Fostor-Boy   2-;0 

Gollty   of   Murder    (80)   Sanders-Fitzgerald   6-50. 

«yp»y   Wildcat    (T)    (75)   Montel-Hall   6-50. 

Horo  Como  the  Coeds  (90)   AhLott-CosteMo  6-50 

II   I   Had  My   Way   (93)   Croshy-«ean   1-50 

imitation  of   Life   (109)   Colbert-Bcayon   12-49. 

I  Mole  a  Million   (80)   Raft-Trevor   3-50. 

Koop  'Em  Slagging    (61)   Dead   End  Kids   5-50. 

Leather  Pushers   (64')   Arlen-Devlne   4-50. 

Magnificent  Obsessison   (103)   Dunne-Taylor   1-50. 

Berry  Monahans  (91)   O'Connor-Blythe   6-50. 

Rlthtmare   (82)   Oonlevy-Barrymore   5-50. 

Mr.  Dynamite   (68)   f+olan-Hervey   4-50. 

Paris  Bombshell   (96)   Seott-RathUne   2-50. 

Parole  (67)   Hunter-Preston   3-r0. 

tnecct.  The   (85)   Lau"htcn-Raines   6-50. 

«*«t»w  of  a   Doubt    (108)   Wr  qht-Cntten   12-49. 

SulJivans.    The   Baxte -AOchell   1-51  

Towah   As    They   Come   (61)   Dead  End  Kids    . .  .5-50. 

Walk   in   the   Sun,    A  Aniirews-Con  e   1-51  

Y«i  Can't  Get  Away  With  It  (29)   Gangster   Documentary  3-50. 


.036. 
.023. 
.016. 
022. 
.041. 
.931. 
.032. 
.021. 
.018. 
.017. 
.039. 
.037. 
.028. 
.035. 
.033. 
.038. 
.024. 
.015. 
.042. 
.019. 


1949  50  Features 
Serials 
Westerns 


REPUBLIC 


Completed  (34) 
Completed  (16) 
Completed  (  8) 


In  Production  (1) 
In  Production  (0) 
In  Production  (0) 


NEW  PRODUCTIONS 

FIGHTING  U.  S.  COAST  GUARD 
Drama — Started  December  12 

"Cast:  Brian  Donlevy,  Forrest  Tucker,  Ella  Haines,  John  Russell 
Director:  Joe  Kane  Producer:  Joe  Kane 

Story:    Heroic  exploits  of  the  U.  S.  Coast  Guard  in  World  War  II,  told  against 
a  romantic  background  of  one  of  the  corps  members. 


COMPLETED 

Title— Rinning  Tin 

•alio  La  Grand".  WW.'.' 
Buckaroo  Sheriff  of  Texas 

•cwttorala  Panto*   

BMW  of  Ike  Silver  Sago  . 


Cotan  Fireball   

Death  in  the  Sand   

Details  under  title:  Terro 
••flottlM   Big  Homo 
rotor*)  Aionte  at  Large  . 

Fffco*  Tornado   

Heart  of  the  Rockies   

■  Mo   of  Oklahoma   

Hit  Parade  of  1951  (85) 
Moneyehile   


RELEASE  CHART 

  1949-50   


Carrell-Ralston 

.  Raiston-^arroll 
.Chap  n-Janssen 
.TucVor-Wara 
.  Lane-Waller  .. 
Lane-Walter  .  . 
.  Estelita-Vineont 
.  Stack-Pago   . . . 


.3-13 
.9-25 
.  .6-5 


.  Tavlor-Patrlek 

.  lano-Waller   

.  Rogers-Edwards  . . 
.  Allfn-«l«don  .  . . 
.  MacDona'd-Carroll 
.  Canova-Fov.  Jr.  . 


11-  21 
.  6-5 
10-23 
.1-30 
.5-22 

11-6 

12-  18 


Insurance  Investigator   Dcnning-Long 

Jaifta  Stampede   Na'ivo  Cast   

Uoiolv  Hearts   Bandit   Patrlok-Eldridge   4-24. 

Macbeth   Welles-Nolan   

Missing  Women   Edwards- Uvin   11-20 

Mlesourlans.    The   Hale-Hurst   8-28. 

Night  Raiders  of   Montana   Lane   12-4 

K«fth  of  tho  Great  Divide  (C>   ftoners-Edwards   5-22. 

Oh.  Susanna!   (C)   Cameron-Tucker   6-19 

•td  Front.or,  Tho   Hro-Hirst   4-10 

P*oooer    Marshal   Hale-Hnnit    9-26 

Powder  River  Rustlers  (CO)   Lane-Walter   9-12 

Pride  of  Maryland   C  crenis-strwart   10-9 

In   Petticoats   Perk'ns-Rockwell   5-8 

.Allen-Donnell   11-7 

.  Wayne-O'Hara   7-3 

Tueker-Mara   9-12 

.La-e-Towers   10-23 

.Lane-Waller   7-31, 

Lano-Waller   2-13. 

. .5-23 


Forest  Trail   

Rio   Grande  (105)   

Rock  Island  Trail  <Ci  (90) 
Rough  Riders  of  Durango   .  . 

Ristltrs  on  Horseback   

kit  Lake  Raiders   


Horde,   The   (SO)   Elliott-Booth  . 

Tho   Elliott-Brennan   

Silver  City  Bonanza   Ml  n-Ebsen   11-6 

Spoilers  of  the  Plains   Rogers-Edwards   8-28 

Sunset  In  the  West  (C)   Rogers-Edwards   3-27 

Sorreidor   Carroll-Mara   3-14 

Details  under  title:  Untitled 

Trail  of  Robin  Hood  (C)   Roge-s-Edwards   7-3 

Trial   Without  Jury   Patrick-Rockwell   2-27 

Trigger,   Jr.    (Tr.)   R»ger»-E»ans   12-19 

Under  Mexican  Stars   Mhn-Patrick   

Vanishing  Westerner   Hale-Hurst     

Vigilante  Hideout   Lano-Wallor   5-8 

Women  from  Headquarters   Huston-Rockwoll   1-30 


Rel. 

■•.  Dot 

. .  eVH!. 

. .4920  

. . . 1-31 . 

. . 12-15 . 

.5005. . ..... 

...3-25. 

.4963  

.  .  .6-30. 

.  .  . .6-1. 

.4918  

.  .  .3-12. 

,4Ti  

....9-6. 

.4967  

£i. 

\#>'r2. ' 

. .10-15. 

. 5002 . . 11-20 

. . . 7-29 . 

.4922  

.  .  P-29 . 

.40".  

. .10-20. 

.5003  

. . .2-23. 

.11-25. 

.4974  .WWW 

.  .11-1*. 

.4944  

. . .2-20 

. . . 7-29 . 

.4973  

.  l?-?4. 

..4971  

. .11-25. 

. . .1-20 

. . .9-18. 

.4929  

. . .9-18. 

.4953.. 

. .11-15. 

. 5004 . . 11-20 

. . .^-IX. 

.4914. ..a-22 

. . .1-30. 

. . 10-23 . 

.■mi".';;;; 

. ...  5-1 . 

.4964  

. . .5-22. 

.4°17;...7-3 

8-15 

4924  

 2-5  

. . .9-25. 

.4943  

...9-15. 

.5001  

.12-15. 

.4946  

...7-8. 

.4921  

6-30. 

.4945  

11-20. 

.4954  

3-31. 

.4t>"'2  

.  .  . .8-6. 

.4966  

.  .  .5-1. 

.4916  

RKO  RADIO 


1949-50  Features 


Completed  (78)     In  Production  (3) 


RELEASE  CHART 

IN  PRODUCTION 

—  amnio*    Tide  Cast  I 

flying   Leathernecks   Wayne-Ryan   

Thing.  The   fokcy-Shorldon     .  .  . 

Two  Tickets  to  Broadway  (T)  Lolgh-Martln   


.  12-4 
11-6. 
11-20 


GBOUP  SIX 

Dyaaalte  Pom   


1949-50 
Holt-Martin 


.4-2' 


Golden  Twenties,  The  (68)   March  of  Time  Feature    3-2  m 

Tarzan  and  the  Slave  Girl  (74)   Barker-Brown   9-12  3-2  , 

GBOUP  SEVEN  !» 

RidOr  from  Tieson   Holt-Martin   7-4  Jig 

Armored  Car  Roubery     McGraw-Jergens   1-30  Ill 

Details  under  title:  Code  3  Ijlrl 

Destination   Murder  (72)   MacKenzic-Clcments   6-1! 'I  im 

Where  Danger  Lives  (82)   Mitchum-Domergue   1-16  7-:~ 

White  Tower,  The   <T)   (98)   Valli-Ford   8-29  7-J 

SPECIALS 

Cinderella  (,,   i,5.   Disney  Cartoon  Feature   12-1< 

Ichabod  and  Mr.  Toad   (T)    (68)   Disney  Cartoon   *-HL_ 

Man  on  the  Eiffel  Tower  (A)    (97)   Tune-La  ighton  l-ijE!H 

My  Foolish  Heart  (99)   Andrews-Hayward   7-4  11-  ||! 

  1950-51   

GROUP  ONE  JJ 

Border   Treasure   Holt-Martin   A"|  V. 

Born  To  Be  Bad   (93)   Fon  aine-Ryan   7-4.  .  .8-30.  . !  9-1]  !' 

Bunco   Souad    (67)   Sterling-Dixon   2-27. ..Aug  8-21  , 

Outrage   (75)   Andrews-Powers   2-27... Sept  

Walk  Softly,  Strang;r   (81)   Co  ten-Valli   9-15  9~1]Wt 

GROUP  two  m 

Experiment    Alcatraz   Howard-Dixon  P* 

Never   a    D.ll   Moment   Dunne-MacMurray   ■» 

Rio  Grande  Patrol   Holt-Martin   If 

NOT  DESIGNATED 

Allot  In  Wonderland  (T)   Disney  Cartoon   ...ijl 

Capture,  The  (81)   Ayres-Wright  ... 

Company  She  Keeps   Greer-9' Keef e  ... 

Details  under  title:  Thr  Wall  Outside 

Crack  Down   Williams-Armstrong 

Cry    Danger   Powell-Fleming  . 

D»ul:»  Deal   Denning-Wmdsor 

Edg*  of  Doom   Andrews-Granger 

Footlight  Varieties   Paar-iuttons  ... 

Gamb'ing   House   Bendix-Malure 

Details   under  title:  Alias  Mike  Fury 

Gaoit  Woman,  The   Androws-Rains 

Gun  Notches   Holt-Martin   

Gin  Thunder   Holt-Martin   

Hunt  the  Man  Down   Young-Anderson 

Dcta.ls  under  title:  Seven  Witnesses 

iri  trnly  Monty   Slnatra-RtieoM  .. 

Jot  Pilot    (T)   Wayno-Lo.ih  ... 

Macao   tissell-Mitehum 

Man  Wednesday  i80)   lloyd-wa    >n,  iu-i 

Mad  With  Mueh  Heart   Ryan-Lupin*   5-8. 

Man  He  Found,  Tho   Re  d-T«!tle 

Mother  of  a  Cha.npioi 
My  Forbidden  Past  .. 
Oar  Very  Own  (93) 
Sotlaw,   Tht  (103) 

•utrage  (75)   'owors-Androws 

Pistol  Harvest   Hot-Martin  . 

Roadblock   McGiaw-Dixon 

Saddle  Logion   Holt-Martin  . 

Scant  Fary   (86)   Cclbort-Ryan 

Sana  of  tho  Musketeers   (T)   Wllde-O'Hara 

Story  of  a  Divorce   Davis-Sullivan 

forgot   MeGraw-Whlto 

Tarzan's  Peril   Sarkor-Huston 


.3-13. 

..6-19. 
. .6-19. 
..7-31. 

.12-3. 

8-14. 

.2-13. 

.8-14. 
.11-6. 
.10-24. 


1-1 


.12-6. 

.12-19. 
.9-11. 


.  Trovo  -Forrest 
Gardnor-Mitehi 
.  Grangcr-tllyth 


Troaiure  Island  (T) 
Toxai  Triagorman 
Uaaor  Arizona  Skies 


(96) 


SELZNICK  —  S. 


Completed  (6)     In  Production  (0) 


RELEASE  CHART 


COMPLETED 

Title — Running  Time 

Gone  To  Earth  (T)   

Third  Man,  The  (104)   


Cast 
.  jones-Farrar 
Cotten-Valll 


Details 
.  Foreign. 
.  Foreign . 


20th  CENTURY-FOX 


1951)  Features 
1949  Features 


Completed  (48) 
Completed  (44) 


In  Production  (5) 
In  Production  (0) 


NEW  PRODUCTIONS 

FROG  MEN,  THF 

Drama — Started  December  18 

Cast:    Richard  Widmark,  Dana  Andrews,  Gary  Merrill 
Director:  Lloyd  Bacon  Producer:  Sam  Engel 

Story:    Heroism  of  the  Navy's  underwater  demolition  crews  during  World  War 
II. 

WILL  YOU  LOVE  ME  IN  DECEMBER? 
Comedy — Started  December  20 

Cast:    Monty  Wooley,  Jean  Peters,  Constance  Bennett,  Marilyn 
Monroe,  David  Wayne 

Story:    Based  on  the  premise  that  romance  is  no  respecter  of  age. 


RELEASE  CHART 


IN  PRODUCTION 

Title— Domino  Time 
David  and  Bothshoha   

(T)   


Poet- Harvard   12-4  

O'Mara-Lawford   11-20  

.  Stewart-Dietrich   9-25 . . .  4-51 . 


FILM  BULLETIN 


OMPLETED    1949-50   

'  il  About  Em  (138)   Dam-Baxter 

iirican  Guerilla  in  Ph.lippines  (T)    (105)  Power-Prelle 

f   Lift.   Thi    (120)   Clilt-Doiglas 

Ditilli  inter  title:   Two  Corridors  East 
r*  of  Paradlsi   (T)   lordan-Paget 

I  'let  lot*,  TNe   (T)    (120)   'ower-Aubrey  . 

■  *■*■  Arrow    (T)    (93)   Stiwart-Pagit 

Jl  Me  Mliter  (T)   Grable-Dailey 

elM*  Trail   (C)   Seott-Wlillams 

i*arer  ly  The  Owen   (T)    (85)   Crain-Wrtb  ... 

,  resell  To  Teiterday   Deeas-mtary  . 

'  resell.    The   Roomy-Tyler 

ll»w  the  So*   Ford-Baxter  . 

r  Heavens  Sake   (92)   Weib-Bennett 

■osteon   Hoin   Ooyglas-Baiihart 

atfkUr    The    (84)   P«ek-Parker  ... 

lit  Aaael  (T)   Toing-Cotten    . . 

ills  ot  Monteioma.  The  <T)    (113)  Widmark-Gardner 

mm  on  Telegraph  Hill   Corlesa-lmdigan 

Con  Gat  It  For  Voi  Wholesale   Da  ly-hayward  . 

d  Clime  the  Highut   Mountain   (T)   Hayward-Lundigan 

II  Got  ly  (T)   (82)   Havcr-Unoigan 

««.p«t,   The    (85)   itewan-Medma 

iflon  of   tbe   Damned   Merrill-Basehart 

>*•  That  Irato  (85)   Do»|!as-Peters  . 

a*  Who  Cheated  Himself.  The   Cobb-Dall   

■tor  880   (90)   McGolre-lancastor   4-24 

odlark.  The   (99)   Dinne-Giiness   6-5. 

ly  8100  Hunn   (T)    (97)   Grable-Da:iey   12-19 

hjht  and  tha  City    (95)   Tierney-Widmark  8-29 

U  Way  Oat    (106)   Darnell-Widmark   11-7 

\»  the  Riviera  (T)   K.iye-Tierney   9-25 

sale  In  tko  StrooU  (93)   Widmark-Bel  Geddes   1-2 

rsb.Ui   Power-Hayward   1-30 

ftvlot  Pen,  The   Darnell-Br.ver   9-25. 

ketla   Sheridan-Matore   

rerd  of  Monte  Crista,  The   Montgomery-Corday   9-25. 

ake  Care  ol  My  Little  Girl   (T)   Drain-Ptters   11-6 

so  Flais  Wast  (T)   Darnell-Wlldo   4-24 

Data l is  ander  title:  Trumpet  to  the  M.icn 

"lebet  to  Tomahawk  (T)    190)   Dailey-Baxter   8-29 

■  S.S.   Teakettle   Cooder-Albert   11-6 

flare  the  Sidewalk  Ends  (95:   Andrews-Tierney   1-30 


4-  24 
.4-24 

. . .8-1. 

8-14  . 

5-  23 

6-  20  . 


10-10 
. .7-17. 

6-5 
9-11.  . 
. 10-23 . 
..6-5.. 


May 

4-51. 
Sept 
A.| 

3-51 
■  ■  Ai  | 
.  .Apr. 
.  Sopt . 

Oct 
.3-51. 


0  30 

032 

012 


om 

021 

023 


.7-3 
9-25 . 
.  .7-4. 


027  10-23 
031  .11-6 


Jone 

.1-51 
Oet 
5-51 
Sept 
.Jilts. 


016  .  5-22 

.  024.'  ' 


Set 


.  o-ll 
12-18 
.«  2j 

6-  13 

. .9-11 

7-  17 


.2-51. 
..Aog. 
.2-51. 


8-14 


029  

Oil. ..  5-8 
017. . .7-17 


UNITED  ARTISTS 


1949-50  Features 


Completed  (28)     In  Production  (0) 


COMPLETED 


RELEASE  CHART 

  1949-50   


dalral  Wai  a  Udy,  Thi  (87)   

•ftalli   andor  title:   The    Iron  Cage 


Details  under  title:  Cost  of  Loving 


totalis  under  title 
Socond  Woman,  The  (91) 
U  Yeeni.  So  Bad  (91) 


Cast 

..Hendrlx-E.  O'Brien 

Dotalh 

.11-21. . 

Rel. 

.  .8-4 

No. 

Iff. 

.Ferrer-Powers   

.  .O'Brien-Brltton   

.  Conway-Hamilton  . 

.  7-17 . 
9-12  . 

Roads'  ow 
4-21 
3-10 

Kr  . 
.  Pop 
.  Piz. 

.11-20 
8  14 

Loy-Cunmlns   

Montgomery-Marshall 
.  O'Brien-Morris   

.' .  10-24 

...9  8. 
.  616 

5-5.  . 

Rat 

Sm  . 
.  Boi. 
.  Kr. 

An 

.  .7-U 
. .7-17 
.8-11 

.  .Byres-Maxwell   

.8-25. 

.9-25 

.  1-2. 

.  .7-7 

W.I.  . 

.  .Heflin-Keyes   

. . . 4-24 

E.ifl 

.  .Avery-McGavin   

. .  10-9 

Ireland-McCambridgc 

. . .4-24 

G-C 

Young-Drake   

Pop. 

Henreld-McLeod   

5-26. . 

Danz 

«_to 

Lovejoy-Ryan   

Williams-Arden 
.  Sr  dges-Padavoni 

. . . 5-22 . 

 7-3 

.  .  .  .7-3. 

.  .1-15. 
.  .  Nov. 

Sfrn. 
G-C. 

12-18 

Dur\ea-Stnrni  ... 

C-E 

UNIVERSAL-INTERNATIONAL 


1949-50  Features  Completed  (61)      In  Production  (3) 


RELEASE  CHART 


IN  PRODUCTION 
Title—  Rinsing  T Ian 

Cattle  Drive  (T)   

Francis  Goes  to  the  Races   

Little  Egypt  (T)   

COMPLETED 


Don  Renegade   

•mmi  Hawk,  The  (T)  (77) 

Metal  and,   

UtlM  (90)   

►"WIT   (T)  (77)   

Saddle  Tramp    (T)    (76)    .  . 

Shakedown  (80)   

«l«rr»  (T)  (83)   


Cast 

Mecrea-S'ockwell 

Dr"H« 
...  12-4 

Rrl. 

No 

J  Connor— White  . 

 12-4 . 

Flcming-stevens    .  .  . 

12-4 

1949-50   

Abliott  &  Costello 

5-8 

Aug 

924 

McNslly-Russeil    .  .  . 

O'Connor-Arden 

Montalban-Charisse 
.  DcCarlo-Greene    .  .  . 
.  Roiers-Canon     .  .  . 

 2-28 

Jone  . 

.  .918. 

4-10  . 
.  .  .  .7-31. 

Aig.. 

.  £25 

.8-11 

Syington-Reagan  . 

2-13 

A  | 

6  1) 

.  J22 

.  .7-3 

Sept.. 

Sept 

.  .929 

.Contr-Gray   

11-7 

Se;t  . 
Jane.  . 

933 
.  .920 

9-11 
.7-31 

Joly 

o->l 

shoriran-O'Kede 
Smith-McNally  .... 

.   . .5-22 
. . . .5-22 

Oct 
.  Oct. 

932 
931 

Wyoming  Mall   (T)  (87)   

  1950-51   

Abbott  t  Costello  Meet  the  Invisible  Man  . Abbott  &  Costello   11-6 

AbMhl  Dm  ait    (T)   Grey-MeNally   8-28. 

■eerllBO   for   lento   Regan-Lynn   9-11. 


Bonaventaro   

.  Coll  ert-8lyth 

11-20 

Dcpor.ed  (88) 

.  1  r.  n-t  handler 

10-10 

No/ 

103 

owaolr   Cronbonei  T 

0  Cunnor-Cartrr 

10-10 

Fat  Man,  The 

imart-Meadowi 

rreaebie  a, 

McLrea-Winttrs 

.' .'  .'5-8  . 

Jan. 

G.-onm   Wore  Sprs 

Roger;- Carson 

7-31 

Details  inder  title:  Illegal  Bride 

NUMet  (142) 

.  Oll»lir-Slm»ioni 

N  v 

131 

hinriy  (101)   

tewart-Hill 

'  -N 

Jan 

10-23 

Holl>wood   Story.  The 

Contr-Adains 

12-18 

Kansas  Raiders  (80)    .  . 

.  hM  (.vy-.hapmin 

No. 

104 

11-20 

(•tie   

Blythe-Steveni 

6-19 

Ihbhti  Oat   

Oe«-Krnnedy 

8-28 

■a   and   Pa    Kittle   Back  Hume 

.  Mail-Kilkrlde  . 

2-27 

Milkman.   Tke  (87) 

.   .  J'Coniior-Duran'e 

5-8 

N  v 

102 

■  jrsttry  Submarine   

.  .  .  Carry-Toren 

7-31 

Dm 

106 

Prince  Who  Wai  A  Thlel,  lhe  (T)   .  . 

Cirtls-Lacrie 

9-25 

Prisoner  ol  War  

Slevens-Nicol 

9-11 

Seaotglor's   Island  (T) 

Keyev-Chandler 

.  .  .7-1/ 

Heflm-Detarle 

 6-5. 

Undercover  Girl  (83) 

.  SmiUi-Brady 

7-31 

D  c 

106 

.11-6 

Under  the  Gan  

Totter-Conte  . 

5-22 

Up  Front   

y-ayoe-Ewell  . 

10-9 

WARNER  BROTHERS 


1949-50  Features 


Completed  (65)      In  Production  (J) 


LN  PRODUCTION 


RELEASE  CHART 


COMPLETED 

Bright   Leal  (110) 


Captain    Horatio   Hornb  ower  (Ti 

Enforcer.  The   

50  Years  Before  Your  Eyes  (70, 
Flame  and  the  Arrow  (T)  (88) 

God   Is  My  Co-Pilot  (88)   

Great  Jewel  Robber  (91)   

J  m  Thorpe,  All-American   

Kits  Tomorrow  Goodbye  (102) 
Lightning  Strikes 


1949-50   

.  i.nrpcr-Nta!   12-5 

earker-Moorheao  8-1 

feek-Mavo   2-13. 

Bogirt- Roberts   8-14. 

Doeore  tary   

Lancas  er-Mayo   

Morgan-Clark   Reissue 

Brian-Reynoldt    ....  8-?9 

.  l^casler-Bickford   9-11 

Cagney-Adler   5-8. 

.  Todd-Roir.an   2-13. 


7-15 
7-22 
6-3 

7-1,. 


931  7-3 
930  7-3 

.524  

929  6-19 


Herts  ad  Ue  Rio  Grande  McCroa-Mayt   9-27 

Detalla  ander  title:  Colorado  Teritory 

Only   Thi   Valiant   Pe-k-Corev   8-14 

Raton  Pass   Mor-as-Aeal   7-31. 

ietssm  of  the  Frontiersmen    (T)    (74)...  MaeRao-Calhoan   4-25 

Streetcar   Named   Desire.   A   Brando-Leigh    8-28 

Till  Side  of  the  Law  (74)   Lindfors-Smith   10-25. 

  1950-51   

Aleatrai   Island    (64)   Ann    Sheridan   Reissue 

Breaking  Point.  The   (97)   Garfeld-Meil   4-10 

Breakthrough   v91j   Bnan-Aqar   6-19 

Dallas  (T)   (94)   Coa  cr-Rcman   

Folsom  Story.   The   Brian-cochrane  .11-6 

Glass  Menagerie,  The  (107)   Uwrcnce-Wyman   11-7. 

Goodbye.   Mv  Fancy   Crawford-Yoing   9-25 

Highway  201   (83)   Coihran-Andre  .2-13 

Lullaby  of   Broadway   Day-Nelson   9-11. 

Operation    Pacific   Waynt-Neal   9-11 

Pretty  Baby   (92)   Scott-Mortjan   1-2. 

Rooky  Mountain   (83)   Flynn-Wysaori   6-19. 

San  dentin   (70)   Rogart-Slerldan   Rehsve 

Stem  Warning   Rogers-Reagan   12-5. 

Details   under  title:  Storm  Center 

Tea  For  Two  (T)    (98)   Day-MaeRae   4-10 

Thrn  Secret!   (98)   Parker-Kral-Rorr.an   

Travelers,   The   Douglas-Mayo   11-6. 

West  Point  Story,  The  (107)   Cajney-Mayo   6-19 


6-24 
.6-11 


6-5 
6-5 


0r2 

00--. 

010 
Oil 


10-  28 

1-13 

! 1-27 . 
9-16 

11-  11 


007 
012 


013 

.004.. .7-31 

008  

003  

.008  


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  N»fl  Film  Carriers 

250  N.  Juniper  St.,  Phlla.  7,  Pa.  —  LOcust  7-4S23 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper  addressed   containers   and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  hate  left  after  the  last  thoic. 

HIGHWAY  EXPRESS  LINES.  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.  Phlltv  7 
LOcust  4-010* 

Member  National  Film  Carriers 


JANUARY  1,1951 


27 


The 


7  glorious  story  of 
one  valiant  patrol 
that  wrote  a  new  page 
.  in  heroism  and 
I  courage. 


NOW 
READY  FOR 
IMMEDIATE 
BOOKING 


introducing  ex( 
TERI  DUI 

sensatio 
oriental  actre 


25c  per  Copy 


BULLETIN 


JANUARY  15,  1951 


Looking  Over 
The  Film  Products: 

COLUMBIA — ".  .  .  The  overall  output  in  1950  was 
at  a  low  level  .  .  .  The  run-of-the-mill  product  looks 
cheaper  than  ever." 

MGM — ".  .  .  Bigness  will  be  the  pattern  for  Leo's 
'5  I  product  .  .  .  There  is  no  doubt  that  this  will  be  a 
big  Metro  year." 

PARAMOUNT — ".  .  .  Too  many  disappointments  in 
Paramount's  1950  program,  but  the  new  season 
gives  evidence  of  sharp  improvement." 

REPUBLIC—".  .  .  Has  definitely  moved  into  the 
ranks  of  the  majors. " 

20th  CENTURY-FOX—". .  .  Won  1950's  production 
honors  hands  down  ...  1951  will  be  another  banner 
year." 

WARNER  BROS.—".  .  .  Last  year  was  loaded  with 
failures  and  near-failures  .  .  .  The  new  year  has 
started  a  bit  more  impressively." 


Editorial  by  MO  WAX 
Page  Three 


M-G-M's  "KIM"  is  writing  new  shov 
business  history  in  Radio  City  Mush 
Hall.  "KIM7  set  the  second  highes 
single  day's  M-G-M  gross  and  its  tota 
for  4  weeks  is  M-G-M's  second  great 
est  in  the  entire  history  of  the  fame 
Music  Hall.  Still  going  strong! 


3 


P.S.  There's 
more  gold 
where  "King 
Solomon's  Mines' 
came  from. 


EDITORIAL 

Vol.  19,  No.  2  January  15,  1951 

Page  Three 


LDDKHVn  OVER  THE  PHDDUETS 


195]  ir-  a  crucial  year  for  the  motion  picture  industry. 
Exhibitors,  besel  h  the  critical  an. I  choose)  attitude  ol  a 
public  that  is  "hocked  up"  with  installment  payments  ami 
Ls  "free"  entertainmenl  available  in  the  Living  room,  are 
Btrainina  their  eyes  toward  Hollywood  and  offering  a  fer- 
veni  plea  thai  the  quantity  of  quality  pictures  >e  in- 
creased The  ~uu\\o>.  however,  find  themselves  impaled  on 
foe  horns  of  a  dilemma  that  poinl  in  one  direction  to  a 
,„„._,.  of  maki„g  more  films  to  reduce  the  cost  per  unit 
h  othe6r  direction,  to  making  bigger  pictures  to 
overcome  the  general  economic  stringency  and  the  com- 
petition  of  television. 

There  is  no  simple  panacea  for  the  problems  our  in- 
dustry faces,  but.  certainly,  the  one  most  vital  factor  in 
deciding  the  success  or  failure  of  any  movie  season  is  the 
Slit/of  the  product  Hollywood  deli  vers  So,  let  us 
Sauoj  over  the  1950  performance  and  the  19ol  promise 
ot  all  the  important  studios  lo  -lean  some  idea  of  what  we 
might  expect. 

COLUMBIA — The  overall  output  from  this  studio  in 
L950  was  at  a  low  level.  For  the  occasional  first-rate  film 
like  "All  the  King's  Men,"  the  exhibitor  was  burdened 
with  a  dozen  or  more  quickies  of  strictly  minor  league 
caliber.  _ 

The  new  year  dawned  bright  for  Columbia,  however, 
with  a  sensational  hit,  'Born  Yesterday,"  which  will  bring 
millions  of  people  back  to  the  movies.  But  beyond  that 
wonderful  comedy,  there  is,  again,  a  void.  The  run-of-the- 
mill  product  from  this  company  looks  cheaper  than  ever. 

EAGLE  LION-CLASSICS  -One  wishes  that  Mr.  Rob- 
ert  Young,  the  rail  magnate,  would  decide,  once  and  for 
all.  to  be  or  not  to  be  —  a  movie  man.  The  great  promise 
this  company  showed  two  years  ago  has  been  almost  en- 
tirely dissipated  in  aimless  wandering  from  policy  to  pol- 
icy. Eagle  Lion  can  still  be  a  potent  factor  in  the  indus- 
try if  Mr.  Young  will  put  his  mind  —  and  his  bankroll  — 
to'  it. 

LIPPERT—  Robert  L.  Lippert  is  a  dynamic  and 
shrewd  showman,  who  is  cutting  an  increasingly  wide 
swath  through  Hollywood.  He  is  delivering  as  good  and 
exploitable  a  product,  per  dollar-per  foot,  as  any  inde- 
pendent in  filmtown.  The  1951  program  is  off  to  an  aus- 
picious start  with  "The  Steel  Helmet,"  which  looks  like  a 
real  winner. 

M-G-M — The  second  half  of  1950  saw  Metro  busting 
out  all  over  with  big,  money-making  pictures,  mostly  mu- 
sicals and  comedies.  Then,  late  in  the  year,  came  a  couple 
of  walloping  good  adventure  spectacles,  "King  Solomon  s 
Mines"'  and  "Kim." 

True,  there  will  be  only  one  "Quo  Yadis"  (at  a  cost 
of  some  $6,000,000) ,  but  production  chief  Dore  Schary  has 
keynoted  Metro's  attack  against  television  and  all  other 
entertainment  competitors  with  the  pronouncement  that 
bigness  will  be  the  pattern  for  Leo's  "51  product.    And,  if 


one  may  judge  by  pictures  already  in  the  backlog  and  on 
the  early  production  schedule,  there  is  no  doubt  that  this 
will  be  a  big  Metro  year.  Exhibitors  can  l<>.>k  for  lavish 
Technicolon  il  musicals  iikc  ''Texas  Carnival*1  (Esther 
Williams-Howard  Keel'.  " \n  Vmerican  in  Paris"  (Gene 
Kelly).  "The  Great  Caru.»o""  I  Mario  Lanza  I.  "Belle  of  New 

><>i  k"  I  Fred  Astaire) ,  "Strictly  Dishonorable"  (Ezio 
Pinza).  In  the  spectacle  field,  then'  will  be  Buch  big  ones 
as  "Soldiers  Three"  I  W  alter  Pidgeon-Stewarl  Granger  . 
"Scaramouche"  (Stewart  Granger-Ava  Gardner  I.  in  addi- 
tion to  "Quo  Vadis."  Yes,  Metro  will  be  a  launch  bul- 
wark for  the  movie  business  in  '51. 

MONOGRAM  1950  was  a  -o-~(i  year  lor  Monogram- 
Allied  Artists,  hut  prospects  appear  lo  he  perking  up  for 
"5.1.  Wiih  nine  features  in  the  can  and  a  crew  of  scrip) 
writers  at  work  on  another  nine,  the  major  portion  of  the 
season's  program  of  28  (exclusive  of  westerns)  is  well 
under  way. 

PARAMOUNT  —  There  were  too  main  disappoint- 
ments in  Parainoiint's  1950  program.  A  couple  Man  Ladd 
vehicles  were  helow  par.  Efforts  in  the  adventure  field, 
like  "Eagle  and  the  Hawk.*"  "Captain  China"  and  "Tri- 
poli."' proved  disappointing,  as  did  some  of  the  musical?, 
particularly    Red.  Hot  and  Blue"  and  "Let's  Dance." 

The  new  season,  at  this  early  stage,  gives  evidence  of 
a  sharp  improvement.  The  first  Ladd  film.  "Branded,"  is 
better  than  anything  he  had  last  year,  and  another  Tech- 
nicolor western.  "The  Great  Missouri  Raid,*'  gets  the  new 
year  off  on  the  right  foot,  actionfully  speaking.  Dean 
Martin  and  Jerry  Lewis  will  be  sure-fire  money-getters  in 
"At  War  W  ith  the  Army  "  and  "That's  My  Boy.*"  Crosby 
has  one  of  his  hetter  vehicles  in  "Mr.  Music"  and  Damon 
Runy  on's  "Lemon  Drop  Kid"  looks  like  a  natural  for 
Hope.  Other  promising  Paramount  films  on  the  horizon 
are  "September  Affair.*'  "The  Mating  Season,"  "Carrie." 
and  "A  Place  in  the  Sun." 

This  will  be  the  year,  too.  of  DeMille's  "Greatest 
Show  on  Earth." 

REPUBLIC — This  company  has  definitely  moved  into 
the  ranks  of  the  majors.  The  actmisition  of  John  Ford, 
one  of  Hollywood's  foremost  producer-directors,  added  to 
the  great  drawing  power  of  a  topflight  star.  John  Wayne, 
has  firmly  established  Republic  in  the  big  time. 

"Rio  Grande"  offers  a  taste  of  the  kind  of  product 
Ford  will  deliver  under  the  Republic  banner,  and  there 
will  he  more  of  this  caliber.  Exhibitors  can  anticipate 
also,  hetter  casts  in  the  1951  program.  Deals  are  .  in  n  nth 
under  wax  for  several  high-ranking  personalities  that  will 
look  well  on  the  marquee.  Republic  will  move  ahead 
faster  than  ever  this  year. 

Dlr  l?K°— There  was  little,  very  little,  to  cheer  about  in 
RKO  s  19o9  program.  Too  much  of  it  was  comprised  of 
minor  melodramas. 

(Continued  on  Page  22) 


FILM  BULLETIN— An  Independent  Motion  Picture  Trade  Paper  published  every  other  Monday  by  Film  Bulletin  Company.  Mo  Wax. 
Editor  and  Publisher.  BUSINESS  OFFICE:  35  West  53rd  St..  New  York.  1!):  Circle  <i-!ll59.  David  A  Bader.  Business  Manager;  Leonard 
Coulter,  Editorial  Representative.  PUBLICATION— EDITORIAL  OFFICES:  1239  Vine  St..  Philadelphia  ..  Pa..  RIttenhouse  «-7f»|; 
Barney  Stein.  Managing  Editor:  Jack  Tavlor.  Publication  Manager;  Robert  Heath.  Circulation  Manager.  HOLL\WOOD  OFFICE:  659 
Haverford  Ave..  Pacific  Palisades.  Calif.,  Hillside  8183;  Jay  Allen,  Hollywood  Editor.  Subscription  Rate:  ONE  YEAR,  S3.00  in  the 
United  States;  Canada,  SL00;  Europe,  S5.00.    TWO  YEARS,  S5.00  In  the  United  States;  Canada.  *,..»<);  Europe.  S.9.00. 


Mr.  Showman 
FILM  DAILY  sa 


Trust  vs.  Mi -Trust 


Something  akin  to  a  miracle  has  been 
taking  place  in  the  motion  picture  field 
in  the  last  few  weeks. 

In  a  factional  industry  which  has  thus 
far  been  unified  only  in  an  emergency, 
or  when  attacked  by  outsiders  (let's  face 
it,  COMPO),  the  spontaneous  defense  by 
responsible  industry  elements  of  a  film 
service  company,  threatened  with  litiga- 
tion that  could  wipe  it  out,  is  little  short 
cf  the  miraculous.  Certainly,  it  deserves 
analysis.  So  let  us  examine  this  pheno- 
menon. 

Traditionally,  the  movie  business  is 
divided  into  three  principal  factions  — 
production,  distribution  and  exhibition. 
The  first  two  are,  for  the  most  part, 
mated.  They  are  the  sellers,  and  what- 
ever differences  crop  up  between  them 
are  those  that  normally  occur  in  a  manu- 
facturing establishment  between  the  shop 
and  the  sales  department  —  supply  and 
quality.  The  exhibitor  buyer,  the  third 
entity  —  with  divorcement  sharpening 
the  dividing  line  —  is  concerned,  too,  with 
an  ample  flow  of  quality  product,  but  the 
added  elements  that  have  disrupted  inter- 
industry relations  more  than  any  other, 
are  price  and  service. 

Functioning  as  an  important  link  be- 
tween producer-distributor  and  exhibitor 
is  a  fourth  entity  that  has  sprung  up 
comparatively  recently.  Its  invention, 
some  30  years  ago.  was  sired  by  the  ne- 
cessity to  coordinate  and  centralize  the 
growing  mass  of  materials  required  to 
merchandise  films  —  trailers  and  adver- 
tising accessories. 

Responding  to  the  vital  function  per- 
formed by  this  new  industry  baby,  Na- 
tional Screen  Service  Corporation,  both 
exhibitors  and  distributors  nurtured  its 
growth  —  the  former  because  it  simpli- 
fied their  advertising  problems,  the  latter 
because  it  relieved  them  of  the  burden- 
some and  often  unprofitable  trailer  and 
poster  departments  which  each  exchange 
had  been  forced  to  maintain. 

No  Discord 

The  original  service  company,  which 
pridefully  dubbed  itself  "The  Prize  Baby 
of  the  Industry,"  became,  for  most  of  the 
nation's  theatres,  the  sole  source  of  film 
advertising  material.  Only  two  major 
companies.  Warners  and  M-G-M.  contin- 
ued to  distribute  their  own  trailers.  Even 
they,  however,  allocated  the  other  ad  ac- 
cessory functions  to  NSS. 

Thus,  National  Screen  assumed  to  ex- 
hibitors the  same  position  in  the  industry 
economic  theme  as  the  film  companies. 
It  was  the  seller  —  or  renter  —  and  the- 
atremen  were  the  buyers.  Yet.  strangely, 
the  discord  which  had  jangled  relations 
between  distributors  and  exhibitors  were 
rarely  heard.  And.  when  sporadic  custo- 
mer gripes  arose  to  threaten  the  rosy 
relations,  they  died  a-borning  as  good- 


Bij  BARNEY  STEIN 


CxduMe  QL  BULLETIN  9t*twt 


will  emissaries  rushed  to  the  source  to 
rectify  the  complaints. 

This  policy  of  maintaining  harmoiv 
with  exhibitors,  conceived  and  pursue  1 
rigorously  through  the  years  by  NSS 
president  Herman  Robbins  and  the  late 
vice-president  Toby  Gruen.  became  the 
fountainhead  of  the  miracle  that  was  to 
come.  Implementing  that  policy  was 
George  F.  Dembow,  vice-president  in 
charge  of  sales,  and  William  B.  Brenner, 
v-p  in  charge  of  operations.  A  pair  of 
vice-presidents  doing  the  actual  leg-work 


£l  ials. 


in  hitting  the  occasional  trouble  spots,  as 
Dembow  and  Brenner  did,  gave  assur- 
ance to  exhibitors  that  their  complaints 
would  not  languish,  and  eventually  die, 
on  branch  managers'  desks.  They  had 
an  opportunity  to  pour  their  gall  right 
into  the  horse's  mouth  and  the  answers 
they  received  apparently  satisfied  them. 

Then  came  the  first  cloud  on  the  hori- 
zon. In  Philadelphia,  a  pair  of  fiim  post- 
er raon,  Mitchell  Pantzer  and  Charles 
Lawlor,  operating  as  Independent  Poster 
Exchange,  brought  an  anti-trust  suit 
against  national  Sc.een  and  the  film 
companies,  charging  that  the  national  or- 
ganization has  exclusive  contracts  for 
standard  advertising  accessories  with  the 
film  companies;  that  it  was  forced  to  ob- 
tain all  its  material  from  NSS  for  resale 
to  exhibitors  and  that  National  Screen 
had  engineered  a  squeeze  play  to  force 
Independent  Poster  out  of  business  by 
regulating  prices  and  delivery  of  max.:- 


Seven  Poster  Suits 


SUPPORT  FOR  NSS 

Impressive  Display 


Then,  within  a  year,  six  more  "inde- 
pendent' poster  companies  instituted 
similar  court  actions  against  NSS  and 
the  film  companies,  fortified  with  sub- 
stantially the  same  arguments.  The  var- 
ious suits,  emanating  from  Chicago,  Char- 
lotte. Washington,  Boston,  Dallas  and 
Baltimore,  were  all  assigned  to  one  of 
the  shrewdest  law  firms  in  the  business. 
Philadelphia's  Gray,  Anderson,  Schaffer 
&  Rome,  an  organization  which  typified 
the  famous  "Philadelphia  lawyer,"  and 
which  had  successfully  carried  off  the 
William  Goldman  suits  against  the  War- 
ner first-run  monopoly  in  that  city.  As 
each  suit  was  filed,  exhibitors,  reading 
the  accounts  in  the  film  trade  papers, 
shrugged  their  shoulders.  About  the  most 
interested  comment  was.  "Hey,  look,  an- 
other anti-trust  suit." 

The  bonfire,  however,  had  been  started, 
even  though  the  flames  were  still  smoul- 
dering under  the  logs  of  lethargy  that 
characterizes  man's  attitude  toward  some- 
thing which  does  not  apparently  affect 
him  directly. 

The  spark  that  touched  off  exhibitor 
sentiment  came  when  a  Pennsylvania  the- 
atreman,  Max  M.  Korr.  and  his  brother 
Leon,  filed  a  monopoly  suit  against  Na- 
tional Screen  and  the  distributors  in  the 
form  of  a  "representative  class"  action, 
asking  for  an  injunction  to  end  the  al- 
leged monopoly  and  seeking  damages. 
The  same  law  firm  which  had  instituted 
the  poster  suits  was  retained.  Legally, 
a  representative  class  suit  admits  all 
members  of  the  industry  involved,  who 
are  in  a  class  with  the  plaintiff,  to  be- 
come parties  to  the  suit  merely  by  au- 
thorizing original  plaintiff's  counsel  to 
intervene  on  their  behalf. 

To  insure  exhibitors'  cognizance  of  the 
action,  a  "National  Independent  Motion 
Picture  Exhibitors  Protective  Commit- 
tee," which  included  three  exhibitors  — 

(Continued  on  Page  8) 


JANUARY    15,  1951 


5 


'THE  MAGNIFICENT  YANKEE'  EXCELLENT  BIOGRAPHICAL  SKETCH 

Rates  ®  *  •  +  in  class  houses;  OK  elsewhere  if  exploited 

~~  for 


MGM 
89  minutes 

Louis   Calhern,    Ann    Harding,  Eduard 
Franz,  Philip  Obar,  Ian  Wolf,  Edith  Evan- 
son,  Guy  Anderson,  Richard  Anderson, 
James  Lydon. 
Directed  by  John  Sturges. 

There  is  spirit  and  faith  and  warmth 
in  "The  Magnificent  Yankee."  This  ex- 
ceptionally fine  treatment  by  M-G-M  of 
Oliver  Wendell  Holmes'  tour  of  duty  as 
a  Supreme  Court  justice  will  unques- 
tionably be  hailed  as  one  of  the  most 
significant  motion  pictures  of  1951.  And 
in  addition  to  being  qualified  as  worthy 
cinema  entertainment,  the  late  judge's 
never-dying  faith  in  his  government  and 
country  will  serve  as  a  timely,  important 
message  to  squelch  the  perennial  calam- 
ity criers  who  sprout  like  weeds  when 
things  get  rough. 

Boxoffice  prospects  for  this  Armand 
Deutsch  offering  look  brightest  for  class 
situations— art  houses  and  deluxers  that 
cater  to  adult,  discriminating  audiences. 
Students  in  every  class  or  school  will 
find  this  film  a  must-see.  However,  its 
slow,  talky  pace  will  doubtless  have 
some  effect  on  grosses  of  exhibitors 
whose  patrons  demand  a  maximum  of 


action  for  their  money.  Nevertheless, 
this  excellently  done  portrait  of  one  of 
our  truly  great  men  is  important  enough 
to  merit  a  showmanlike  selling  job  dir- 
ected at  every  type  of  moviegoer  in  every 
kind  of  situation  in  the  U.  S. 

"Magnificent  Yankee"  is  perfectly  cast, 
particularly  in  the  choice  of  Louis  Cal- 
hern in  the  title  role.  Portraying  the 
wise,  good-humored,  life-loving  Holmes, 
Calhern  demonstrates  a  versatility  of 
broad  range  in  a  performance  such  as 
has  seldom  been  viewed  on  any  screen. 
As  the  understanding,  encouraging  help- 
mate of  The  Great  Dissenter  (as  Holmes 
became  known),  Ann  Harding  is  also 
excellent,  aging  with  a  richness  and  mel- 
lowness, as  the  years  pass,  that  is  charm- 
ingly realistic.  Outstanding  in  support 
are  Eduard  Franz  as  Louis  Brandeis  and 
Ian  Wolf  playing  the  pessimistic  friend 
of  the  Holmeses.    John  Sturges'  direc- 


Review 

o 

Ratings 

•  POOR 

•  •  FAIR 

•  •  •  GOOD 

•  •  •  •  TOPS 

tion  of  the  screenplay  by  Emmett  Lavery 
leaves  very  little  to  be  desired. 

STORY:  Arriving  in  Washington  in 
1902  to  serve  as  a  justice  of  the  Supreme 
Court,  Oliver  Wendell  Holmes,  Jr.  (Louis 
Calhern)  wastes  little  time  establishing 
himself  as  an  honest  public  servant  whose 
often  discordant  opinions  earn  him  the 
title  of  The  Great  Dissenter.  Holmes 
lives  out  a  long,  happy  and  honorable 
life  together  with  his  wife,  played  by 
Ann  Harding,  during  which  time  he  is 
constantly  fighting  for  his  belief  that 
law  is  something  more  than  just  words 
and  established  precedents.  The  single 
unhappy  part  of  the  Holmes'  existence 
is  the  inability  of  Mrs.  Holmes  to  bear 
children  to  carry  on  the  famous  name. 
Holmes  tries  to  fill  this  void  by  treating 
his  assistants,  the  leading  graduate  of 
Harvard  Law  School  each  year,  as  his 
own  sons,  an  attitude  which  pays  off  with 
the  satisfaction  of  seeing  his  "boys" 
succeed  after  they  leave  his  office.  Holmes 
retires  after  his  wife  passes  away,  and 
the  "boys"  voluntarily  act  as  his  com- 
panions to  help  him  live  out  in  comfort  the 
last  years  of  his  life.  The  film  ends  as 
Holmes  proudly  awaits  the  visit  of  the 
late  Franklin  D.  Roosevelt  shortly  after 
his  first  inauguration  in  1933.  JACKSON. 


'THE  COMPANY  SHE  KEEPS'  GOOD  DRAM  A  ABOUT  WOMEN  PAROLEES 


Rates  •  •  •  —  for  femme  audiences;  sli 
RKO 

83  minutes 

Lisabeth  Scott,  Jane  Greer,  Dennis 
O'Keefe,  Fay  Baker,  John  Hoyt,  James 
Bell,  Don  Beddoe,  Bert  Freed,  Irene 
Tedrow.  Majorie  Wood,  Marjorie  Gross- 
land,  Virginia  Farmer. 
Directed  by  John  Cromwell. 


"The  Company  She  Keeps"  is  primarily 
a  woman's  picture,  telling  the  tender  love 
story  of  a  man  who  stubbornly  retains 
his  faith  in  the  woman  he  loves.  Lack- 
ing the  action  necessary  to  qualify  it 
as  a  strong  attraction  generally,  this 
RKO  release  should  bring  in  average 
boxoffice  returns  in  situations  other  than 
action  houses.  Best  reaction,  of  course, 
will  come  from  feminine  patrons.  Screen- 
writer Ketti  Frings  has  woven  a  strong 


ghtly  less  generally 

emotional  background  into  the  interesting 
tale  of  a  woman  parolee  which  Jane 
Greer  dramatically  projects  to  the  screen. 
Miss  Greer,  a  comparative  newcomer  to 
Hollywood,  carries  much  of  the  picture's 
burden  on  her  shoulders  and  does  a 
commendable  job  of  it. 

Lisabeth  Scott  plays  well  her  sympath- 
etic role  of  the  parole  officer  who  sacri- 
fices her  lover  to  another  woman.  How- 
ever, this  type  of  character  is  just  a  bit 
too  angelic  to  be  entirely  convincing. 
Dennis  O'Keefe  has  a  relatively  small 
part  as  the  man  in  the  triangle,  but  he 
makes  it  count.  John  Cromwell's  direction 
for  this  John  Houseman  production  is 
adequate,  as  are  the  performances  of 
the  members  of  the  supporting  cast. 

STORY:  Released  on  parole  after  a 
two  year  term  on  a  bad  check  charge, 
Jane  Greer  reports  to  her  parole  officer, 


Lizabeth  Scott,  who  has  already  obtained 
a  job  for  her  in  a  hospital  as  a  nurse's 
aid.  Although  Miss  Greer  is  displeased 
with  the  job,  she  accepts  it.  While  Den- 
nis O'Keefe  is  visiting  a  friend  in  the 
hospital,  Miss  Greer  recognizes  him  as 
.Miss  Scott's  boy  friend  and  maneuvers 
him  into  a  date.  They  begin  to  see  a 
lot  of  each  other  and  soon  find  they  are 
in  love.  O'Keefe  finds  out  about  Miss 
Greer's  past  through  Miss  Scott  and  still 
wants  to  marry  her  despite  her  prison 
record  but  has  to  wait  until  the  parole 
board  approves.  Miss  Greer  is  arrested 
for  trying  to  help  a  friend  in  the  hos- 
pital escape  arrest  and  has  to  return  to 
prison  for  breaking  parole.  While  Miss 
Scott  pleads  with  the  judge  for  Miss 
Greer's  release,  the  prisoner  runs  off, 
but  returns  for  the  verdict  which  gives 
her  back  her  parole.  GRAN. 


'EXPERIMENT  ALCATRAZ"  PRISON  FILM  LACKS  ACTION 

Rates  •  •  —  as  dualler 


RKO 

58  minutes 

John  Howard,  Joan  Dixon,  Walter  Kings- 
ford,  Lynne  Carter,  Robert  Shayne,  Kim 
Spalding,  Sam  Scar,  Kenneth  MacDonald, 
Dick  Cogan,  Frank  Cady,  Byron  Foulger, 
Ralph  Peters,  Lewis  Martin,  Harry  Lau- 
ter,  Raymond  Largay. 
Directed  by  Edward  L.  Cahn. 


This  RKO  quickie  melodrama  about 
five  Alcatraz  inmates  who  consent  to  be- 
come "guinea  pigs"  for  an  Army  medical 
experiment  in  exchange  for  their  freedom 
tries  to  be  different,  but  only  succeeds  in 
being  rather  corny  and  lacking  in  contin- 
uity. "Experiment  Alcatraz"  moves  along 
at  a  somewhat  erratic  pace,  but  moves 


along  quickly  enough  in  spots  to  be  mild- 
ly interesting.  As  the  second  feature 
of  a  dual  program,  the  Alcatraz  title 
can  be  exploited  for  the  action  houses, 
although  these  patrons  may  be  disap- 
pointed in  the  lack  of  jail  sequences  and 
exciting,  actionful  sequences.  The  names 
in  the  cast  have  very  little  to  offer  of 
value  for  the  marquee. 

Performances  by  John  Howard,  as  the 
doctor  who  is  conducting  the  experiment, 
Robert  Shayne,  as  a  convict  who  kills  an- 
other convict,  and  the  others  in  the  cast 
are  hardly  deserving  of  mention.  Edward 
L.  Cahn  doubled  as  producer  and  director 
of  a  mediocre  screenplay  by  Orville  H. 
Hampton. 

STORY:    Five  Alcatraz  convicts  agree 


to  an  Army  experiment  for  the  "wonder 
drug"  test  in  return  for  their  freedom. 
While  they  are  resting  in  bed  after  the 
effects  of  the  treatment,  Robert  Shayne, 
one  of  the  convicts,  fatally  stabs  one  of 
the  other  convicts  with  a  nurse's  scissors. 
H*e  is  acquitted  on  the  basis  that  he 
was  under  the  influence  of  the  drug  and 
did  not  know  what  he  was  doing.  The  I 
drug  is  then  condemned.  As  the  doctor 
who  has  worked  on  the  experiment,  John  i 
Howard  sets  out  with  the  nurse  on  the 
case  to  find  a  motive  for  the  killing  so 
that  he  can  continue  his  work  with  the 
drug.  Howard  follows  Shayne,  is  beaten 
and  then  killed.  The  law  is  then  able  j 
to  catch  the  murderer  and  the  drug  is 
accepted  by  the  government.  GRAN. 


6 


FILM  BULLETIN 


■SEPTEMBER  AFFAIR"  WILL  DRAW  THE  WOMEN 


Rates  •  •  •  less  in  action  spots 

Paramount 
104  minutes 

Joan  Fontaine,  Joseph  Gotten,  Franooise 
Bosay,  Jessica  Tandy,  Robert  Arthur, 
Jimmy  Lydon,  Fortunio  Bonanova,  Gra/ia 
Narciso,  Anna  Demetrio,  Lou  Steele 
Frank  Yaconelli. 
Directed  by  William  Dieterle. 


This  is  essentially  a  women's  picture. 
Among  them  it  will  earn  a  very  high 
rating.  There's  real  marquee  value  in 
the  cast.  Though  the  story  by  Fritz  Rot- 
ter, on  which  Robert  Thoeren  based  the 
screenplay  is  improbable.  Hal  Wallis' 
production  is  something  to  write  home 
about,  for  no  picture  has  ever  quite  con- 
veyed as  clearly  as  this  one  the  beauty 
and  atmosphere  of  romantic  Capri,  Flor- 
ence, Rome  and  Naples.  About  the  dir- 
ection by  William  Dieterle  there  is  a 
real  sensitivity  in  the  romantic  episodes, 
and  interest  and  movement  are  sustained 
throughout;  not  an  easy  matter  in  this 


sort  of  picture,  which  is  just  another 
story  of  forbidden  love. 

Joan  Fontaine  has  never  looked  love- 
lier, nor  been  more  at  home  in  a  part. 
It  might  have  been  written  for  her.  Cot- 
ten  turns  in  a  first-rate  performance  as 
her  millionaire  lover.  Francoise  Rosary 
as  Fontaine's  music  teacher  is  good.  Jes- 
sica Tandy,  as  the  maltreated  wife,  how- 
ever, tops  them  all;  it  is  a  characteriza- 
tion that  will  have  people  talking.  To 
the  photographers,  Charles  B.  Lang,  Jr., 
and  Victor  Milner,  a  special  sprig  of 
sweet-scented  mimosa  for  a  job  beauti- 
fully done. 

STORY:  Pianist  Joan  Fontaine  and 
millionaire  engineer  Joseph  Cotten  are 
on  a  Rome-New  York  transport  that  is 
forced  down  near  Naples.  They  set  out 
to  do  the  town  while  repairs  are  being 
made  and  miss  the  plane  on  their  return. 
Having  enjoyed  each  other's  company  so 
much,  they  decide  to  spend  a  few  days' 
holiday  together,  during  which  time  Cot- 


ten  tells  Miss  Fontaine  that  his  marriage 
has  been  on  the  rocks  and  she  explains 
that  she  is  about  to  begin  her  musical 
career.  Then,  of  course,  Capri  "gets 
them."  Joan  announces  she  is  returning 
to  Naples  before  they  become  involved. 
They  learn  the  plane  they  had  missed 
has  crashed  with  no  survivors  with  them 
listed  as  dead.  Taking  advantage  of  this 
opportunity  to  start  a  new  life,  the  couple 
live  together  in  a  sunkissed  Florentine 
villa  until  Cotten's  wife,  Jessica  Tandy, 
unexpectedy  arrives  on  the  scene  with 
her  son.  When  the  latter  recognizes 
Miss  Fontaine  as  one  of  the  victims  of  the 
plane  crash,  his  mother  realizes  her 
"dead"  husband  is  alive,  and  writes  him 
a  letter  offering  him  a  divorce.  But 
Cotten  cannot  cut  the  ties  of  the  past 
so  easily,  nor  can  Miss  Fontaine  ever  be 
happy  at  someone  else's  expense.  She 
makes  the  final  break  by  going  off  on  a 
concert  tour,  and  Cotten  returns  to  his 
wife  and  son.  LEON. 


THE  MAN  WHO  CHEATED 

Rates  •  •  •  generally 

20th  Century-Fox 
81  minutes 

Lee  J.  Cobb,  Jane  Wyatt,  John  Dall,  Lisa 
Howard,  Harlan  Warde,  Alan  Wells,  Tito 
Vuolo,  Mimi  Aguglia,  Charles  Arnt, 
Marjorie  Bennett,  Bud  Wolfe,  Morgan 
Farley,  Howard  Negley,  William  Gould, 
Art  Milan. 

Directed  by  Felix  Feist. 


Here  is  an  engrossing  crime  meller 
that  concentrates  on  suspense  and  human 
emotion  rather  than  the  mystery  element 
usually  found  in  detective  stories.  "The 
Man  Who  Cheated  Himself"  brings  Lee 
J.  ("Death  of  a  Salesman")  Cobb  back 
to  the  screen  in  a  simple,  yet  absorbing 
tale  of  a  crack  detective  who  foolishly 
sacrifices  his  career  to  protect  an  unde- 
serving female.  This  initial  Jack  M. 
Warner  production  is  an  odds-on  favorite 
to  succeed  in  areas  where  Cobb's  stage 
success  has  made  his  name  in  marquee 


HIMSELF'  TAUT,  ENGROSSING 

lights  an  assurance  of  high  boxoffice 
grosses.  Elsewhere,  receipts  should  be 
equally  gratifying,  particularly  in  the 
action  runs  where  chase  thrillers  are  sure 
crowd-pleasers.  There  is  plenty  of  ten- 
sion and  interest  created  by  Felix  Feist's 
taut,  adult  handling  of  the  directorial 
chores  as  well  as  the  all-round  good  act- 
ing by  everybody  in  the  cast.  Director 
Feist  has  very  wisely  used  the  hilly 
streets  and  bridges  of  San  Francisco  as 
an  authentic  backdrop,  making  the  film 
an  impresr.ive  visual  treat  as  well  as 
an  entertaining  detective  story. 

In  the  role  of  the  erring  detective  who 
lets  his  love  for  a  fickle  woman  lead  him 
astray,  Lee  J.  Cobb  turns  in  a  splendid 
performance.  It  must  be  said,  however, 
that  his  fortunately  infrequent  love  scenes 
with  Jane  Wyatt,  the  cause  of  his  down- 
fall, are  discomforting  and  could  easily 
have  been  dispensed  with.  John  Dall 
gives  a  favorable  account  of  himself  as 
the  rookie  sleuth  whose  determination  to 


DETECTIVE  STORY 

make  good  exposes  his  brother's  perfidy, 
and  Lisa  Howard  is  refreshingly  attrac- 
tive as  Dall's  bride.  Seton  I.  Miller  and 
Phillip  MacDonald  wrote  the  screenplay 
based  on  an  original  story  by  Miller. 

STORY:  Wealthy,  somewhat  fickle 
Jane  Wyatt,  with  whom  detective  Lee 
J.  Cobb  has  been  playing  around,  kills 
her  husband  when  she  discovers  he  had 
planned  to  murder  her.  Cobb  gives  in 
to  her  pleas  to  help  her  and  tries  to 
cover  up  the  killing.  Cobb's  kid  brother, 
John  Dall,  also  a  detective,  is  assigned 
to  the  case  when  the  body  is  found  at 
the  airport.  In  spite  of  every  effort  Cobb 
makes  to  convince  Dall  it  was  a  holdup 
killing,  the  latter  persists  in  following 
his  own  theories,  and  is  horrified  to  fin- 
ally learn  that  his  own  brother  is  an 
accomplice  to  Miss  Wyatt's  crime.  Cobb 
attempts  to  run  away  with  Jane  when 
he  realizes  his  goose  is  cooked,  but  Dall 
and  an  effective  police  dragnet  finally 
capture  the  fugitive  pair.  JACKSON. 


TRAIL  OF  ROBIN  HOOD'  ROUTINE  OATER  WITH  GUEST  STAR  GIMMICK 

Rates  9  •  +  in  action  houses 


Republic 
67  minutes 

Roy  Rogers,  Penny  Edwards,  Gordon 
Jones,  Rex  Allen,  Allan  "Rocky"  Lane, 
Monte  Hale,  William  Farnum,  Tom  Ty- 
ler, Ray  Corrigan,  Hermit  Maynard, 
Tom  Keene,  Jack  Holt,  Emory  Parnell, 
Clifton  Young,  James  Magill,  Carol  Nu- 
ffent,  George  Chesebro,  Edward  Oassidy. 
Directed  by  William  Whitney. 


An  ordinarily  routine  Roy  Rogers  west- 
ern, "Trail  of  Robin  Hood"  packs  an  extra 
boxoffice  wallop  for  the  Saturday  matinee 
crowds  and  faithful  devotees  of  cowboy 
films.  The  additional  attraction  lies  in 
the  presence  of  such  old-time  boots-and- 
saddle  favorites  as  Jack  Holt,  William 
Farnum  and  Tom  Tyler,  in  addition  to 


present-day  Republic  stars  Rogers,  Rex 
Allen,  Allan  "Rocky"  Lane  and  Monte 
Hale.  The  marquee  value  of  t  ese  ?ia-nes. 
plus  the  Trucolor  photography  and  an 
actionful  cow  country  yarn,  make  cer- 
tain good  grosses  for  the  above-mentioned 
situations. 

Performances  by  Rogers,  his  horss, 
Trigger,  and  the  rest  are  par  for  th:'s 
type  of  film.  The  old  and  new  western 
stars  appear  in  guest  roles,  with  Jack 
Holt  handling  a  key  pa^t  in  his  usual 
fashion.  Production  by  Edward  J.  White 
and  direction  by  William  Whitney  of  an 
uninspired  story  by  Gerald  Geraghty  are 
adequate.  The  songs  are  treated  in  the 
usual  manner  by  Rogers  and  the  Riders 
of  the  Purple  Sage. 

STORY:  Christmas  tree  contractor 
Emory  Parnell's  attempts  to  buy  forest 
land   is    balked  by  Jack    Holt,  retired 


western  star  who  wants  to  sell  the  trees 
cheaper  to  make  the  holiday  better  for 
more  kids.  Parnell's  agent,  Clifton 
Young,  double-crosses  him  and  tries  to 
get  the  land  for  himself.  When  Roy 
Rogers,  district  chief  of  the  U.  S.  Soil 
Conservation  Service,  becomes  involved, 
Young  and  his  henchmen  try  to  pin  a 
murder  on  Rogers.  Parnell  is  told  of 
the  trouble  by  his  daughter,  Penny  Ed- 
wards, he  goes  to  thwart  Young,  but  is 
held  prisoner  while  the  crooks  try  to- 
beat  Holt  to  the  market  with  the  first 
trees.  When  Holt's  drivers  are  frightened 
away  by  Young's  men,  a  number  of 
Holt's  famous  movie  pals  volunteer  to 
drive  the  wagons.  While  they  are  racing 
to  the  railhead  with  their  loads.  Young 
sets  fire  to  the  big  bridge,  but  is  subdued 
by  Rogers  and  the  wagons  get  safely 
across.  LEON. 


JANUARY    15,  1951 


7 


Trust  vs.  Anti-Trust 


GOLDMAN  STORY 
'No.  I  SCOOP" 

St.  Louis,  Mo. 
January  9,  1951 

Mr.  Mo  Wax,  Editor 
FILM  BULLETIN 
My  Dear  Mr.  Wax: 

Knowing  Bill  Goldman  since 
1910  in  St.  Louis  and  having 
watched  his  meteoric  success 
with  admiration,  I  heartily  con- 
gratulate the  FILM  BULLETIN 
for  the  No.  One  scoop  story  of 
1951  in  the  show  business. 

Kindest  regards, 
TOMMY  JAMES 

Ed.  Note:  Mr.  James'  reference  is 
to  the  feature  article,  A  MOVIE 
MAN  WITH  FAITH,  by  Barney 
Stein,  which  appeared  in  the  Janu- 
ary 1,  1951,  issue. 


{Continued  from  Page  5) 
Korr,  B.  C.  Bordonaro,  of  Olean,  N.  Y., 
and  J.  E.  Pennington,  of  Topeka,  Kansas 
—  was  formed. 

The  Committee  circularized  the  nation's 
exhibitors  with  a  letter,  outlining  in  es- 
sence  the  charges  against  NSS,  inviting 
them  to  join  the  litigation.  A  form  was 
included,  authorizing  the  Committee  to 
institute  suit  on  behalf  of  the  exhibitor, 
emphasizing  that  "in  order  legally  to 
share  in  the  recovery,  an  authorization 
to  intervene  in  our  suit  must  be  given." 
It  was  also  noted  that  the  Committee 
would  foot  the  bill  for  costs  of  prose- 
cuting the  litigation  and  that  counsel 
would  recover  as  fee  40  per  cent  of  the 
triple  damages  that  might  be  awarded  to 
each  plaintiff. 

Flood  of  Support 

It  seemed  like  a  "you-have-nothing-to- 
lose,-everything-to-gain"  proposition. 

Then  it  happened.  The  bread  that  Na- 
tional Screen  had  cast  upon  the  waters 
returned  in  an  impressive  display  of  sup- 
port from  all  parts  of  the  industry.  Re- 
sponsible independent  exhibitor  organiza- 
tions throughout  the  country  advised 
their  members  to  refrain  from  joining 
the  suit.  Their  advice  after  consultation 
with  expert  industry  counsel,  was  based, 
principally,  on  three  factors: 

(1)  National  Screen,  they  said,  had 
been  satisfactorily  rendering  a  necessary 
service  to  the  industry.  They  recalled 
the  burdensome  situation  before  NSS  had 
coordinated  and  centralized  the  distribu- 
tion of  those  vital  elements  necessary  to 
merchandise  movies  in  theatres. 

(2)  The  question  of  the  expense  and 
time  involved,  such  as  traveling  to  Phila- 
delphia to  attempt  to  prove  extent  of 
damages  in  testimony,  paying  costs  of 
the  case  if  NSS  proved  victorious,  and, 
even  if  successful,  whether  amount  of 
damages  could  compensate,  was  reviewed. 

(3)  They  recalled  National  Screen's 
willingness  and  readiness  to  discuss  any 
beefs  and  its  continuing  effort  to  com- 
promise on  the  problems  that  had  been 
brought  to  them — or  to  which  they  came. 

Significantly,  it  was  individual  units  of 
Allied  States  Association,  the  most  mili- 
tant of  the  exhibitor  organizations,  and, 
traditionally,  the  Peck's  Bad  Boys  of  the 
industry  insofar  as  the  film  companies 
were  concerned,  who  were  among  the 
mosr  vociferous  in  their  opposition  to  the 
plaintiff  Committee. 

Allied  of  Indiana,  headed  by  Trueman 
T.  Rembusch,  president  of  National  Al- 
lied, reminded  that  "we  in  Indiana  have 
always  been  able  to  take  our  problems 
and  complaints,  to  NSS  officials  and  get 
their  serious  consideration.  We  cannot 
forget  that  men  like  George  Dembow 
and  William  Brenner  traveled  to  Indian- 
apolis and  sat  around  the  table  and  dis- 
cussed complaints  with  an  ATOI  exhibi- 
tors' committee.  Secondly,  we  believe 
that  we  were  met  at  least  half  way  on 
those  things  that  most  needed  attention 
and  that  there  has  been  a  continuing 
effort  to  compromise  on  the  problems 
that  have  been  brought  to  NSS  since  that 
time." 


From  Pete  Wood,  Ohio  Allied's  fire- 
brand, came  the  admonition  that  "it  is 
not  generally  regarded  as  sound  policy 
to  commit  one's  affairs  to  the  uncon- 
trolled discretion  of  strangers." 

He  cited  as  deterrents  the  likelihood 
that  each  exhibitor  joining  in  the  suit 
would  have  to  travel  to  Philadelphia's 
Federal  Court  to  prove  the  extent  of  his 
own  individual  damages;  that  NSS  will 
incur  heavy  expense  in  defending  the 
case,  and  if  it  wins,  costs  would  have  to 
be  shared  among  the  plaintiffs;  that  ex- 
hibitors "are  asked  to  put  their  cases 
wholly  into  the  hands  of  these  volunteer 
attorneys  with  full  authority  to  make 
any  compromise  or  settlement  they  see 
fit.  If  3j000  exhibitors  would  sign  the 
authorizations,  and  National  Screen 
should  cave  in  and  settle  for  $1,000,000, 
the  attorneys  would  be  assured  of  a  fee 
of  $400,000  and  the  remaining  $600,000 
would  be  distributed  among  the  exhibi- 
tors, making  $200  each."  Thus,  he  added, 
a  compromise  offer  would  tempt  counsel 
to  settle  "however  much  the  exhibitors' 
claim  may  be  curtailed." 

Among  the  other  Allied  unit  leaders 
who  advised  members  to  keep  "hands 
off"  the  suit  were  North  Central  Allied, 
Wisconsin,  Indiana,  New  Jersey,  Iowa- 
Nebraska,  and  Texas.  National  Allied, 
however,  has  refused  to  take  a  stand  on 
the  matter. 

Court  Costs  'Pennies' 

Independent  Theatre  Owners  Associa- 
tion of  New  York  recorded  its  condem- 
nation of  the  suit  as  "harmful  to  the 
best  interests  of  the  independent  exhi- 
bitor," pointing  to  the  "many  years  of 
amicable  relations"  between  its  members 
and  NSS. 

The  plaintiffs'  side  of  the  story,  how- 
ever, also  presented  some  persuasive  ar- 
guments. Seated  behind  a  desk  piled 
high  with  documents,  described  as  docu- 
mentary evidence  of  National  Screen's 
alleged  monopoly,  Committee  counsel 
Francis  T.  Anderson  deliberately  and 
calculatedly  replied  to  the  arguments 
advanced  in  the  exhibitor  bulletins. 

Yes,  he  said,  it  was  "within  the  realm 
of  possibility"  for  exhibitors  to  collect 
damages  without  appearing  in  Philadel- 
phia. If  NSS  should  win.  court  costs 
would  be  negligible,  he  said,  pointing  to 
the  requirement  by  the  court  in  the 
poster  company  suits  of  $100  per  case 
as  a  deposit  for  costs  in  case  of  loss. 
With  several  hundred  exhibitors  involved 
in  the  case,  he  noted,  individual  costs 
could  be  "pennies." 

As  to  the  temptation  to  settle,  he  ruled 
out  such  an  eventuality  as  virtually  im- 
possible. It  was  pointed  out,  also,  that 
the  Court  would  have  to  rule  on  a  settle- 
ment in  any  case. 

A  "substantial"  number  of  exhibitors 
have  already  filed  their  authorizations 
with  Committee  counsel,  Anderson  dis- 
closed, but  refused  to  divulge  the  exact 
number  or  their  affiliation  with  any  ex- 
hibitor organization.  "We  don't  even 
know  whether  they're  members  of  Allied 
or  any  other  group,"  he  added.  "It's  of 
no  consequence  in  this  case."  Following 
upon  the  heels  of  this  statement,  how- 


ever, was  the  notation  that  Max  Korr, 
original  exhibitor  plaintiff  in  the  suit,, 
was  an  Allied  member. 

Of  the  "hundreds"  of  exhibitors  whose 
complaints  about  National  Screen  had 
reached  his  office,  the  price  element  was 
the  principal  factor,  he  said.  NSS  cus- 
tomers, he  added,  were  paying  a  double 
profit  —  to  National  Screen  and  to  the 
distributors,  who,  he  charged,  were  re- 
ceiving a  "substantial"  slice  out  of  each 
order  placed  with  NSS.  The  alleged 
monopoly,  by  virtue  of  the  exclusive 
contracts  NSS  enjoyed  with  each  of  the 
ten  co-defendant  film  companies,  pumped 
up  prices,  limited  choice  of  material  and 
subjected  exhibitors  to  "unfair  and  dis- 
criminatory practices"  such  as  having 
to  pay  for  trailers  and  other  materials 
even  tnough  they  were  not  used,  accord- 
ing to  the  charges. 

'Good'  Monopoly? 

The  arguments  in  four  of  the  poster 
company  cases  are  scheduled  to  be  heard 
at  the  end  of  January.  Much  remains 
in  the  area  of  conjecture.  It  is  possible 
that  the  monopoly  charge  may  be  settled 
at  that  time.  It  may  turn  out  good  or 
bad  for  National  Screen  Service.  It 
may  absolve  the  company  from  the  taint 
of  anti-trust  violation,  or  it  may  damn 
it  to  a  long  parade  of  appeals  and  pos- 
sible dissolution  eventually. 

An  intriguing  question  has  been  raised 
if  NSS  should  be  proved  a  monopoly: 
Can  there  be  such  a  thing  as  a  "good" 
monopoly?  Can  those  who  have  been 
"victimized"  by  the  trust  laws  violator 
force  its  perpetuation  because  they  be- 
lieve it  to  be  good  for  their  industry? 

There  is  a  legal  answer  to  this  —  a 
monopoly  is  illegal.  Period.  But  the 
phenomenon  that  has  been  witnessed  in 
the  motion  picture  industry  in  recent 
weeks  evokes  a  moral  aspect  that  must 
certainly  have  a  bearing  on  any  legal 
indictment. 

One  fact,  however,  is  certain.  The 
"Prize  Baby"  has  discovered  he  has  a 
host  of  friends  in  the  motion  picture  in- 
dustry. He  can  feel  justly  proud  that 
his  policy  of  maintaining  good  relations, 
rectifying  any  malpractice  quickly  and 
efficiently,  -providing  the  industry  with 
a  service  that  was  sorely  needed  and 
keeping  pace  with  the  industry's  growth, 
has  paid  handsome  dividends. 


8 


FILM  BULLETIN 


yhe  £K0  StAAtnan  JaceA  Oppteithn 


Howard  Hughes'  Year  of  Destiny 


Out  in  Texas  the  grapefruit  are  so  big 
they  go  nine  to  the  dozen.  Howard  Ro- 
bard  Hughes,  who  hails  from  Houston, 
is  in  the  true  Texan  tradition.  He  likes 
'em  big.  Everything  about  him  is  big, 
too.  He  stands  6  ft.  3  in.  At  the  age  of 
18,  when  he  was  still  at  the  university, 
he  inherited  $80,000,000.  With  it,  he  de- 
parted to  Hollywood  to  spend  a  mammoth 
$4,000,000  on  "Hell's  Angels."  The  jack- 
pot totalled  $3,000,000  net.  Aviation  fas- 
cinated him.  He  smashed  the  round-the- 
world's  aviation  record,  then  bought  him- 
self an  airline  (TWA).  He  spent  a  for- 
tune advertising  Jane  Russell's  architec- 
ture. And  when  he  decided  that  Fate 
had  cast  him  in  the  role  of  a  great  motion 
picture  producer,  he  wrote  out  a  cheque 
for  $8,825,690  and  became  the  owner  of 
929,000  shares,  thus  of  control,  in  the 
Radio  Keith  Orpheum  Corporation. 

This  addiction  to  the  outsize,  has  not 
pleased  everyone.  Paradoxically,  the  Wall 
Street  group  of  RKO  stockholders  who 
have  been  attacking  his  management  of 
the  studios,  don't  think  he's  big  enough. 
They  make  no  secret  of  the  fact  that 
they  wish  he  would  quit.  They  claim  to 
control  between  them  more  than  one  mil- 
lion shares  of  RKO  stock  —  which  would 
put  Mr.  Hughes  in  a  voting  minority  if 
they  ever  got  into  a  fight. 

Most  vocal  of  these  dissident  stock- 
holders is  Lester  Greenwald,  partner  in 
the  New  York  arbitrage  firm  of  B.  L. 
Taylor,  III  &  Co.,  a  charmingly  persua- 
sive gentleman  of  undoubted  ability  oc- 
cupying a  workmanlike  suite  of  offices 
on  the  20th  floor  of  the  Equitable  Build- 
ing on  downtown  Broadway.  Though  not 
a  dominant  stockholder  himself,  he  con- 
tends that  one  of  his  fellow-sufferers  in 
RKO,  Mr.  David  J.  Greene,  has  corraled 
at  least  500,000  shares,  and  is  now  the 
next  biggest  stockholder  to  Howard 
Hughes,  who  bought  his  interest  some 
two  and-a-half  years  ago  from  Flovd  B. 
Odium's  Atlas  Corporation,  after  it  had 
netted  $1.7,000,000  during  its  period  of 
ownership. 

May  Demand  Liquidation 

Greenwald,  who  is  rather  vague  about 
what  he  calls  Mr.  Hughes'  "mismanage- 
ment" of  RKO  production  ("I  can't  give 
you  any  specific  examples,  but  you  ou°:ht 
to  talk  to  so-and-so")  savs  that  if  Husrhe, 
doesn't  succeed  in  making  RKO  produc- 
tion pay,  he  and  his  Wall  Street  col- 
leagues will  be  on  the  warpath.  They 
would,  he  says,  even  be  prepared  to  Dress 
for  the  production  company's  liquidation 
if  the  worst  came  to  the  worst. 

Howard  Hughes,  however,  is  not  a  per- 
son lightly  to  be  tangled  with.  He  once 
said  of  himself  "I  am  supposed  to  be 
capricious,  a  playboy,  an  eccentric,  but  I 
do  not  believe  I  have  the  reputation  of 
being  a  liar.  For  over  23  years  nobody 
lias  questioned  my  word.'' 


By  LEONARD  COULTER 


CxcluMi)e         BULLETIN  feature 


That  was  around  the  time  when  Sena- 
tor Owen  Brewster  of  Maine  was  trying 
to  smear  Hughes  on  the  question  of  his 
war  contracts,  in  some  of  which  he  was 
partnered  by  Henry  Kaiser.  The  Senate 
War  Investigating  Subcommittee  which 
probed  those  activities  wanted  to  know 
what  the  Government  had  got  out  of 
the  $18,000,000  spent  on  the  development 
of  Hughes'  fantastic  212-ton,  750-passen- 
ger  flying  boat,  and  the  $22,000,000  which 
went  on  his  high-speed  photo-reconnais- 
sance plane  XF-11. 

Some  of  the  stories  spread  in  the  cam- 
paign were  extremely  tooty-frooty. 
Hughes'  one-time  crony  Elliott  Roosevelt, 
who  had  a  pull  with  the  Air  Force,  sold 


HOWARD  ROBARD  HUGHES 


Too  Much  Perfection? 


the  authorities  on  the  idea  of  the  XF-11. 
It  was  thanks  to  John  Meyer,  Hughes' 
press  agent,  that  young  Roosevelt  met 
Faye  Emerson  and  subsequently  married 
her. 

But  Hughes  got  better  than  he  gave. 


He  wrote  Senator  Brewster:  "Since  you 
think  it  is  so  horrible  for  anyone  to  ac- 
cept my  hospitality,  why  don't  you  tell 
about  the  $1400  worth  of  airplane  trips 
you  requested  and  accepted  from  me?" 

He  told  the  Investigating  Sub-Commit- 
tee that  he  had  been  given  abominably 
low  priorities  on  raw  materials,  and  was 
"worse  treated  than  any  other  aircraft 
manufacturer  in  the  country,"  a  state- 
ment borne  out  by  General  Barney  Giles, 
wartime  AAA  Chief  of  Staff.  He  admit- 
ted that  he  hired  Major-General  Bennett 
Meyers,  one-time  Chief  of  Procurement, 
to  entertain  Army  officers,  but  he  also 
disclosed  that  in  1947,  in  Senator  Brew- 
ster's suite  in  the  Mayflower  Hotel, 
Washington,  Brewster  told  him  that  if 
he  (Hughes)  agreed  to  merge  TWA  with 
Pan-American,  headed  by  Brewster's  good 
friend  Juan  Trippe,  nothing  more  would 
be  heard  of  the  investigation. 

Has  Made  Stars 

Hughes'  role  in  that  sorry  and  sordid 
chapter  was  that  of  a  good  and  plucky 
fighter,  and  when  he  had  finished  maul- 
ing the  Maine  Senator,  the  investigation 
collapsed  ignominously.  He  had  spent  at 
least  as  much  of  his  own  money  on  his 
'plane  projects  as  had  ever  been  drawn 
lrom  the  Treasury. 

Whatever  else  may  be  said  about  him, 
he  has  shown  pluck.  In  1946,  when  he 
crashed  on  a  test-flight  and  all  but  killed 
himself,  President  Truman  wired  him  "I 
feel  sure  you  will  win."  He  did.  Five 
weeks  after  his  discharge  from  the  hos- 
pital he  was  in  the  air  again,  flying  to 
Manhattan.  It  was  Hughes  who  built  the 
first  plane  to  have  flush  joints  and  rivets 
(i.e.,  a  smooth  metal  skin).  It  was  he 
who  conceived  the  vastly  successful  Lock- 
heed Constellation.  And  he  has  been  no 
mere  cipher  in  motion  pictures.  Apart 
from  "Hell's  Angels"  he  made  "Scarface" 
and  "Front  Page."  Though  he  is  usuallv 
thought  of  as  the  discoverer  of  blonde 
Jean  Harlow  and  bosomy  Ernestine  Jane 
Geraldine  Russell,  whom  he  found  in  a 
chiropodist's  office,  he  also  brought  to  the 
screen  Pat  O'Brien,  and  virtually  "made" 
Paul  Muni  and  Adolphe  Menjou. 

Not  all  of  these  ventures  have  paid  off. 
The  statistics  called  for  by  the  U.  S.  De- 
partment of  Justice  in  connection  with  di- 
vorcement proceedings,  hav<?  resulted  in 
the  disclosure  of  facts  and  figures  hither- 
to very  closely  guarded.  And  in  RKO's 
case,  they  reveal  that  whre  the  theatre 
side  of  the  business  has  been  consistentlv 
profitable  ever  since  RKO's  big  reorgani- 
zation in  1933.  the  production  division 
has  been  limpting  badly.  It  has  been  a 
money-losing  operation  for  some  time, 
according  to  the  pro-forma  statements. 
These  show  how  the  company  would  hav-> 
fared  in  the  past  five  years  if  its  two 
main  branches  had  been  operating  inde- 
pendently: 

( Continued  on  Page  12) 


JANUARY    15.  1951 


9 


Short  Subjects 


B  y   B  ARN 


'TWENTIETH  CENTURY-FOX's  sump- 
tuous  and  brass-studded  premiere  of 
its  "Halls  of  Montezuma"  on  Broadway 
has  paid  off  both  within  the  industry  and 
for  Uncle  Sam.  Following  the  invitation- 
al world  debut  on  January  4,  at  the 
Roxy,  the  huge  house  sported  its  big- 
gest non-holiday  opening  in  the  past  two 
years  with  a  fat  $17,000  racked  up  for  the 
opening  day.  Meanwhile,  Marine  recruit- 
ing officers  reported  a  record  surge  of 
enlistments  throughout  the  metropolitan 
area  in  the  two  weeks  preceding  the  open- 
ing, and  are  reported  to  have  attributed 
the  upswing  to  the  tremendous  co-op 
campaign  between  20th-Fox  and  the  Mar- 
ines for  the  premiere.  Results  of  the 
campaign  were  particularly  evident,  it 
was  said,  in  the  unprecedented  number 
of  enlistments  in  the  USMC,  compared 
with  normal  recruiting  in  the  Army, 
Navy  and  Air  Force.  The  affair,  itself, 
was  aglitter  with  notables  from  the  mil- 
itary, political,  social  and  entertainment 
worlds.  Passing  through  an  Honor 
Guard  of  Marines  in  dress  blues  at  the 
Roxy  entrance,  the  celebrities  were  in- 
terviewed over  a  p.a.  system  and  broad- 


CHARLES  EINFELD 

Another  Bulls-Eye 


cast,  while  thousands  milled  around  the 
theatre  to  welcome  the  members  of  the 
nation's  most  famous  fighting  organiza- 
tion and  to  catch  glimpses  of  the  celebs. 
It  was  quite  an  occasion. 

RICHARD  WALSH,  IATSE  prexy,  wants 
the  world  to  know  that  a  trade  paper 
report  that  projectionists  are  "satisfied 
with  their  present  scales  and  are  not 
likely  to  be  coming  up  with  new  de- 
mands," is  all  wet.  Explaining  that  he 
had  told  a  reporter  that  no  drive  for  op- 
erators' wage  increases  was  being  made 
by  the  General  Office  of  IA  "because  each 
local  has  the  right  to  negotiate  its  own 
contracts,"  adding  that  "when  asked  if 
the  locals  were  making  any  concerted 
campaign  for  raises,  that  they  were  not. 
Our  unions  do  not  act  in  concert  in  such 
matters;  the  act  individually."  The  IA 
president  called  the  alleged  statement  at- 
tributed to  him — "projectionists  are  con- 
tent wirh  salaries  as  they  are"  "a  bad 
misquotation  untrue,  harmful  and 
pretty  shocking."  Walsh  urged  trade 
press  editors  to  "be  aware  of  the  great 
responsibility  they  have  in  handling  news 
of  wage  negotiations.    Fortunately,  most 


of  them  are.  But  a  misquotation  like  the 
one  I  am  here  trying  to  correct  can  do 
vast  harm  in  prejudicing  employers 
against  the  just  demands  of  our  individ- 
ual local  unions." 

*  * 

/^OMPO  IS  plugging  away.  Close  to 
lOOd  manufacturers  and  distributors 
of  products  sold  to  the  movie  industry 
were  solicited  by  executive  vice-president 
Arthur  L.  Mayer  for  cooperation  in  pro- 
moting attendance  at  film  houses.  The 
various  companies  were  asked  to  cany  a 
message  in  all  their  advertising  urging 
people  to  go  to  the  movies.  It  was  also 
suggested  that  they  use  the  message  in 
their  sales  promotion  material  and  on 
their  own  stationery.  The  idea,  suggest- 
ed by  Sam  Roth  of  Pacific  Automatic 
Candy  Co.,  was  forwarded  to  COMPO  by 
L.  S.  Hamm,  head  of  California  Theatres 
Ass'n. 

*  * 

JyfONOGRAM  HAS  set  up  p.a.'s  by  five 
of  its  contract  stars  on  flying  trips 
to  52  cities  during  National  Monogram 
Week,  Feb.  11-17.  The  quintet  includes 
Whip  Wilson,  Johnny  Mack  Brown,  Leo 
Gorcey,  Kirby  Grant  and  Jane  Nigh. 
Each  will  cover  a  different  section  of  the 
country. 

*  * 

TMTTER  DENUNCIATION  of  "The  Mir- 
*-*  acle,"  an  Italian  film  which  has  met 
with  favorable  reaction  among  critics 
here,  was  unleashed  by  the  Reverend 
Thomas  F.  Little,  assistant  executive  sec- 
retary of  the  National  Legion  of  Decency. 
Also  coming  in  for  the  Legion's  wrath 
was  the  representation  that  the  film  has 
received  Vatican  approval.  The  two 
agencies  which  review  and  classify  films 
for  Catholics  in  Italy,  Pontifical  Fiim 
Commission  and  Catholic  Action  in  Rom?, 
says  Father  Little,  have  both  condemn- 
ed the  picture.  "Under  the  circumstan- 
ces," he  added,  no  other  action  would  be 
possible  for  the  picture  is  a  blasphemous 
mockery  of  Christian  belief  about  the 
birth  of  Christ."  He  called  its  continued 
exhibition  in  New  York  City  an  element 
which  "plays  directly  into  the  hands  of 
our  Communist  enemies  and  is  an  insult 
to  religious  minded  people  of  all  faiths." 

WARIETY'S  BIG  wheels  turned  out  in 
*  full  force  for  the  annual  banquet  of 
the  Philadelphia  Tent  which  honored  Tod 
Schlanger,  zone  manaager  of  Warner 
Bros.,  newly  elected  Chief  Barker  of  the 
Tent,  and  Dave  Supowitz,  retiring  chief. 
Col.  William  McGraw,  executive  director 
of  Variety  International;  Marc  Wolf,  In- 
ternational Chief  Barker;  Jack  Beresin, 
First  Assistant  Int'l  Chief,  and  C.  E. 
"Chick"  Lewis,  Int'l  Press  Guy,  were  all 
on  hand  for  the  gala  shindig,  with 
COMPO  executive  v. p.  Arthur  Mayer 
as  principal  speaker.  Chief  Barker  Wolf, 
incidentally,  has  had  a  busy  month's 
schedule.  The  rash  of  induction  banquets 
from  Dec.  16  to  Jan.  15,  saw  the  Variety 
head  hopping  around  the  country  to 
eight  different  Tents — Atlanta,  Charlotte. 
Philly,  New  Haven,  Indianapolis,  San 
Francisco,  Los  Angeles  and  the  new 
;'baby"  tent  whose  charter  application 
was  granted  last  October.  Las  Vegas. 

DEMINISCENT  OF  the  sensational  sel- 
ling  job  done  by  20th  Century-Fox 
in  its  fashion  tie-ups  for  the  "Black 
Rose"  campaign  is  the  current  promotion 
on  the  forthcoming  "Bird  of  Paradise." 
A  series  of  weekly  ads  in  Wome  n's  Wear 
Daily  "bible"  of  the  fashion  industry, 
has  brought  telephone  calls,  letters  and 


wires  from  hundreds  of  leading  retail 
fashion  outlets  throughout  the  country 
who  want  to  join  in  the  campaign.  Also 
barraging  the  20th-Fox  promotion  de- 
partment with  queries  and  suggestions 
for  tie-ups  have  been  a  flock  of  fashion 
manufacturers  who  want  to  add  their 
products  to  the  list  of  "Bird  of  Para- 
dise" merchandise.  Ring  up  another 
bulls-eye  for  Charles  Einfeld  and  his  ace 
staffers. 

T^ROGER  BABB,  Hallmark  Production's 
president  celebrated  his  44th  birth- 
day, Dec.  30,  by  taking  over  full  owner- 
ship of  the  six-year-old  company.  Babb's 
check,  finalizing  the  transaction,  was  de- 
livered to  his  partner  and  co-founder, 
J.  S.  (Jack)  Jossey,  whose  failing  health 
necessitated  his  reluctant  retirement  from 
business  activity.  Jossey,  however,  has 
been  retained  by  Babb  for  life  as  finan- 
cial advisor.  Babb  now  is  sole  owner  of 
the  company's  distribution  contracts, 
star  pacts,  real  estate  properties  and 
equipment,  its  15  subsidiary  corporations 
and  its  world-wide  distribution  organiza- 
tion. 


LEON  BRANDT 

Lopert  Acquisition 


QF   MEN   AND   THINGS:   Sidney  G. 

Deneau  and  Leon  Brandt,  both  of 
whom  left  their  respective  posts  with 
SRO  and  ELC,  at  the  year's  end,  have 
joined  the  newly  organized  Lopert  Film 
Distributing  Co.  As  with  SRO.  Deneau 
will  head  the  distribution  department  as 
vice-president  in  charge  of  sales,  and 
Brandt,  who  was  chief  of  the  ELC  ad- 
pubhcity-exploitation  department,  will 
perform  the  same  chores  for  Lopert.  .  .  . 
Another  25-year  veteran  of  Universal, 
James  J.  Jordan,  has  been  promoted  to 
the  newly  created  post  of  Circuit  Sales 
Manager.  As  a  member  of  the  U  home 
office  sales  cabinet,  Jordan  had  served  as 
assistant  to  W.  A.  Scully  on  major  cir- 
cuit sales.  .  .  .  Sam  Goldwyn  arrived  in 
New  York  January  3  for  a  two-week 
visit  to  view  Broadway  shows,  interview 
talent  and  talk  with  writers  who  are  pre- 
paring his  1951-52  vehicles.  .  .  .  Steohen 
Strassberg  has  resigned  as  ELC  publicity 
manager.  .  .  .  Mori  Krushen,  UA  exploita- 
tion director;  has  suffered  the  loss  of 
his  17-year-old  daughter,  Ruth.  The 
young  girl  died  New  Year's  Eve  after 
a  lingering  illness. 


in 


FILM  BULLETIN 


^at  wont  they  think  of  next?// 


BEDTIME  k)rBONZO„„,ronaio  reaoan  •  diana  lynn 

.-WALTER  SLCZAK  -  JESSE  WHITE 

Qt*d  Introducing 

BONZO 


Screenplay  by  VAL  BURTON  and  LOU 


BRESLOW  •  Directed  by  FREDERICK  de  CORDOVA  •  Produced  by  MICHEL  KRAIKE 
A  UNIVERSAL-INTERNATIONAL  PICTURE 


Hughes'  Year  of  Destiny 


{Continued  from  Page  9) 

1945:  Theatres,  $3,680,244  profit.  Pro- 
duction, $2,111,489  profit;  1946:  Theatres, 
$6,073,150  profit.  Production,  $6,271,157 
profit;  1947:  Theatres,  $6,359,635  profit. 
Production,  $1,787,417  loss;  1948:  The- 
atres, $3,974,137  profit.  Production,  $5,- 
596,154  loss;  1949:  Theatres,  $4,173,385 
profit.   Production,  $4,218,681  loss. 

Because  of  the  good  earnings  of  the 
RKO  Theatres,  the  Wall  Street  wolves 
have  nothing  but  praise  for  that  super 
salesman  Ned  E.  Depinet  and  for  Sol  J. 
Schwartz,  as  shrewd  a  showman  as  they 
come.  But  both  of  them,  they  say,  have 
been  begging  Hughes  to  deliver  more 
pictures  of  the  right  sort;  more  pictures 
like  some  of  the  independent  Goldwyn 
and  Disney  productions  which  RKO  is 
lucky  enough  to  handle. 

Overdoes  Perfectionism 

Where  his  own  pictures  are  concerned, 
say  Hughes'  foes,  he  is  too  much  of  a 
perfectionist.  His  films  are  scripted, 
shot,  cut,  edited,  reshot  and  recut  to  a 
point  at  which  they  cost  too  much,  lose 
their  freshness,  and  are  too  few  and  far 
between.  Other  RKO  studio  productions 
allegedly  receive  diametrically  opposite 
treatment.  They  are  made  too  hurriedly, 
too  economically.  And,  it  is  said  bitterly, 
whereas  all  other  major  production  com- 
panies have  been  substantially  increas- 
ing their  production  schedules  so  as  to 
cut  down  overheads,  RKO  has  not  yet 
done  so  on  any  worthwhile  scale,  so  that 
overheads  have  had  to  be  reduced  in  less 
efficient  ways. 

Hughes,  who  is  not  given  much  to  talk- 
ing, made  a  statement  soon  after  he  be- 
came RKO's  big  boss,  that  he  was  sure 
he  could  make  production  of  pictures 
profitable  to  the  company.  A  few  months 
later,  Dore  Schary,  who  had  been  in 
charge  of  production,  doing  a  magnificent 
job  on  the  company's  road  to  financial 
recovery,  handed  in  his  resignation  and 
went  over  to  MGM,  to  that  studio's  de- 
light and  financial  benefit. 

Sweeping  economies  were  ordered  by 
Mr.  Hughes.  Some  departments  were  cut 
by  as  much  as  50  percent.  By  the  timo 
Peter  Rathvon  relinquished  the  com- 
pany's chairmanship  in  the  summer  of 
1948,  when  the  deal  between  HughQs  and 
Atlas  had  been  completed,  some  700  em- 
ployees had  fallen  under  the  axe. 

For  a  time  RKO  jogged  along  with 
makeshift  studio  control,  until,  on  Janu- 
ary 17  last,  Hughes  picked  out  one  of  the 
company's  veterans  for  promotion.  Sid 
Rogell,  studio  manager  since  1936,  was 
the  man  smiled  upon.  But  instead  of 
slipping  into  the  swivel  chair  vacated  bv 
Scharv,  he  found  himself  a  member  of  a 
special  studio  committee  with  two  gentle- 
men of  vastly  different  experience  from 
his  own.  One  was  Bicknell  Lockhart.  an 
efficiency  engineer;  the  other  was  C.  J. 
Tevlin,  cost  accountant. 


This  unhappy  experiment  lasted  only  a 
short  time.  Rogell  was  next  shunted  in- 
to the  position  of  Executive  Producer, 
with  Gordon  Youngman  as  Vice-President 
in  charge  of  commitments.  Two  other 
outside  experts  were  imported,  both  Tex- 
as industrialists:  A.  D.  Simpson,  Vice- 
Chairman  of  the  National  Bank  of  Com- 
merce in  Houston,  and  Thomas  A.  Slack, 
Vice-President  of  the  Hughes  Tool  Co. 
(the  family  concern  in  Houston  from 
which  Howard  Hughes  inherited  his  for- 
tune). The  efficiency  engineer,  Mr.  Lock- 
hart,  had  meantime  been  promoted  Gen- 
eral Manager  of  RKO  studios.  After  a 
valiant  four-month  effort  to  fit  into  this 
complex  organization,  Rogell  finally  hand- 
ed in  his  checks. 

Then  followed  a  considerable  number 
of  top-bracket  changes.  Most  of  them 
were  designed  to  prepare  for  the  coming 
divorcement,  but  that  of  Frederick  L. 
Ehrman,  who  represented  the  Lehmann 
Brothers'  interest  on  the  RKO  Board,  was 
the  result  of  dissatisfaction  with  the 
Hughes  policy.  In  August  Mr.  Lockhart 
ceased  to  be  general  manager  of  the  stu- 
dio. Mr.  Youngman  ceased  to  have  charge 
of  the  studio,  and  was  succeeded  by  th? 
cost  accountant,  Mr.  Tevlin.  Was  Mr. 
Hughes  worried?  Not  a  bit.  He  pro- 
duced a  solution.  Jerry  Wald  and  Nor- 
man Krasna,  two  of  the  liveliest  crickets 
on  Hollywood's  hearth,  were  hired  on  a 
five  year  contract  to  make  pictures  for 
RKO.  Now,  at  last,  RKO  had  acquired 
some  recognized,  top-flight  production  tal- 
ent. The  first  of  the  Wald-Krasna  efforts 
are  due  on  the  1951  program.  If  they 
make  good  Mr.  Hughes  makes  good,  too. 
They  are  his  ace-in-the-hole. 

Want  To  Sell  To  TV 

Hughes  has  about  a  year  in  which  to 
prove  the  soundness  of  his  judgment, 
for  the  separate  production  distribution 
and  the  theatre  companies  which  have 
now  been  formed,  under  divorcement, 
need  not  hold  their  annual  meetings  and 
consider  the  re-election  of  directors  until 
January,  1952.  If  Mr.  Green  wald  and  his 
associates  are  not  satisfied  by  then  with 
the  RKO  Picture  Co's  financial  position, 
they  threaten  to  make  trouble. 

Their  argument  is  that  liquidation 
could  be  made  highly  profitable  to  stock- 
holders by  the  sale  of  RKO's  extensive 
stockpile  of  films  for  television.  These 
they  reckon  to  be  worth  some  $10  000.003 
—  equal  to  about  $2.50  a  share.  To  this 
could  be  added  about  $4  a  share  in  cash, 
which  the  theatre  company  must  pay  th~ 
picture  company  as  a  result  of  divorce- 
ment. This  would  erive  the  shares  a  book 
value  of  around  $5.50  a  share.  Mr.  Grep™ 
wald  computes,  compared  with  the  pres- 
ent approximate  Stock  Market  quotation 
of  $4  plus. 

There  are  as  many  "'fs"  in  this  view- 
point as  there  are  in  R"dyard  Kinling's 
famous  poem.  Only  a  tinv  fraction  of 
RKO's  films,  many  of  them  dating  back 
40  years,  would  be  worth  more  than  a 
dime  for  TV  rr-ogramming. 


Even  if  they  were,  the  suggested  valu- 
ation of  $10,000,000  is  a  purely  arbitrary 
one  based  on  an  offer  which  Mr.  Green- 
wald  says  he  has  "heard  of  having  been 
made"  by  a  television  company  for  a 
producer's  film  library. 

And  what  basis  is  there  for  the  view 
that  after  divorcement  the  motion  pic- 
ture industry's  objections  to  selling  its 
products  for  television  will  vanish?  Mr. 
Greenwald's  idea  is  that  "television  may 
keep  people  away  from  the  theatres,  but 
it  need  not  affect  the  earnings  or  financial 
position  of  the  producing  end  of  the  mo- 
tion picture  business." 

Moreover,  if  the  dissolution  value  of 
each  company's  assets  is  as  high  as 
Greenwald  claims,  (about  $5%)  Wall 
Street  must  have  been  suffering  from  a 
most  unusual  malady  in  opening  the  mar- 
ket quotation  on  January  2  at  41/4.  Final- 
ly, of  course,  if  dissolution  would  be  so 
beneficial  to  stockholders,  none  would 
benefit  more  than  Howard  Hughes  him- 
self. This  would  put  him  in  a  very  strong 
position  to  resist  liquidation  should  the 
issue  ever  be  carried  to  the  courts. 

The  fact  that  Hughes,  as  controlling 
stockholder,  has  elected  to  remain  with 
the  money-losing  production  company, 
rather  than  to  join  the  highly  prosperous 
theatre  company,  may  mean  anything  or 
nothing.  His  decision  could  have  been 
prompted  by  personal  vanity,  by  a  reluc- 
tance to  leave  the  undoubted  attractions 
of  Hollywood,  by  a  feeling  that  it  may 
yet  prove  possible  to  pull  another  "Hell's 
Angels"  out  of  the  skies.  But  it  is  at 
least  significant  that  he  is  not  the  only 
top-drawer  executive  who  has  made  that 
choice,  determined  to  prove  —  as  Para- 
mount, in  fact,  is  already  proving  —  that 
production  can  be  profit-earning  after  di- 
vorcement. 

Has  Plenty  of  'Dough' 
So  long  has  the  threat  of  divorcement 
been  hanging  over  the  industry,  that 
there  has  been  time  in  which  to  make 
many  preparations.  RKO's  heavy  pro- 
duction losses  could,  in  part,  have  been 
due  to  a  heavier,  faster  writing  down  of 
assets  —  studio  properties,  equipment, 
star  contracts,  continuities,  stories,  etc. — 
than  would  have  been  contemplated 
otherwise.  Even  good  films  could  have 
been  kept  on  the  shelves  ready  for  thn 
time  when  production/distribution  would 
have  to  stand  on  its  own  feet,  unsubsi- 
dized  by  theatre  earnings. 

To  all  these  speculations,  these  quer- 
ies, these  doubts,  these  criticisms,  1951 
should  provide  an  intriguing  answer. 
This  is  Howard  Hughes'  year  of  destinv, 
though  he  may  not  realize  it.  For  his 
Wall  Street,  assailants  admit  this  much: 
he  doesn't  even  know  they  exist  as  an 
integrated  fnrce.  As  one  of  them  said 
the  other  day:  "Even  if  he  did,  I  don't 
suppose  he'd  care.  He's  got  so  much 
dough,  he  doesn't  have  to  bother." 


12 


FILM  RULLETIl* 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 

CxduMH  ^BULLETIN  Jeature 


COLUMBIA 

CRAMER,  COHN  READY 
TO  INK  15-PICTURE  PACT 

3ARRING  some  unforeseen  hitch  at  the 
J  last  moment,  Stanley  Kramer  and 
Columbia  Prexy  Harry  Cohn  will  put 
Itieir  names  on  a  new  contract  before  the 
nd  of  the  week,  which  will  commit 
Kramer's  new  production  company  to  15 
rictures  over  a  five  year  period  for  Co- 
umbia  release.  The  major  obstacle  to 
he  agreement — that  of  final  authority 
■n  production  issues — has  now  been  re- 
noved  to  the  complete  satisfaction  of. 
:oth  sides. 

j  That  Columbia  is  sorely  in  need  of 
juch  a  tie-up,  there  can  be  no  question. 
Certainly  Cohn  has  announced  very  little 
production  of  note  for  his  own  company 
ind,  with  only  three  writers  under  con- 
ract,  one  could  scarcely  expect  any 
jreat  volume  of  new  scripts  to  be  forth- 
coming— especially  when  one  of  the  trio 
>f  writers,  Jesse  Lasky,  Jr.,  has  just  been 
granted  a  three-month  sabbatical  leave. 

Six  pictures  are  scheduled  to  roll  this 
tionth — none  of  them  in  the  class  that 
s  apt  to  create  any  great  stir  in  the  in- 
iustry.  First  of  the  sextet  of  new  entries 
to  go  before  the  cameras  is  "Sunny  Side 
af  the  Street"  (Jerome  Courtland-Terry 
iMoore).  with  Jonie  Taps  producing  and 
Richard  Quine  directing.  Next  to  roll  is 
"Cyclone  Fury"  (Charles  Starrett),  an- 
other Columbia  sagebrusher  with  Colbert 
Clark  producing  and  Ray  Nazarro  direc- 
ting. Of  a  slightly  more  impressive 
[nature  is  "Remember  That  Face,"  a 
(Broderick  Crawford  starrer  which  Jerry 
iBressler  will  produce  and  Robert  Parrish 
'direct.  The  remaining  starters  for  the 
I  month  are:  "The  Secret"  (John  Derek), 
produced  by  Robert  Lord,  with  Henry 
Levin  directing;  "Sure  Thing",  a  Sidney 
Buchman  production,  and  "China  Cor- 
sair," which  Rudolph  Flothow  will  mas- 
ter-mind. 

None  of  the  January  starters  appro- 
aches the  million  dollar  mark  on  budgets, 
and  shooting  schedules  are  similarly  un- 
impressive— ranging  from  14  days  to  20- 
odd  days. 

EAGLE  -  LION  -  CLASSICS 

TIDELITY  TO  DELIVER 
10  PICS  FOR  ELC  RELEASE 

/^\N  THE  basis  of  releasing  contracts 
signed  with  independent  production 
■companies  thus  far  in  the  New  Year,  it 
looks  like  1951  may  turn  out  to  be  one 
of  the  most  profitable  in  Eagle-Lion  his- 
tory. Undoubtedly,  one  reason  for  the 
rush  to  ELC  is  the  uncertain  fate  of 
United  Artists,  the  company's  oldest  and 
bitterest  rival. 

One  important  new  releasing  deal  sigrei 
since  the  turn  of  the  year  involves  the 


recently  formed  Fidelity  Pictures  Corp., 
headed  by  Joseph  H.  Seidelman,  former 
vice-president  of  Universal-International, 
A.  Pan  Blumenthal,  Howard  Welsch  and 
Attorney-Playboy  Gregson  Bautzer.  The 
new  contract  calls  for  Fidelity  to  deliver 
10  top  quality  features  between  now  and 
the  middle  of  1952.  Already  scheduled 
for  early  production  are;  "My  Fine 
Feathered  Friend,"  an  Alan  Campbell- 
Hunt  Stromberg,  Jr.,  comedy  being 
scripted  by  Dorothy  Parker;  "The  Re- 
luctant Bride."  written  bv  Frederick  Step- 
hani,  and  another  original,  "The  Gentle- 
man From  Chicago,"  by  Horace  McCoy. 
The  original  Fidelity  company,  which  did 
not  include  SQidelman  or  Bautzer,  pre- 
viously released  through  RKO  and  U-I. 

Other  deals  closed  this  month  include 
one  with  Horizon  Pictures  calling  for  two 
films  to  be  produced  at  a  cost  of  $500,000 
each;  another  with  Demyrtha  Productions 
for  a  single  picture,  "Double  Cross,"  due 
to  roll  in  March;  and  still  another  with 
Matty  Kemp  for  a  musical,  "The  Pan 
American  Way"  (Technicolor),  also  set 
for  a  March  start. 

METRO-GOLDWYN-MAYER 

SCHARY  TO  CONCENTRATE 
ON  LIGHTER  FARE  FOR  1951 

/^OMEDIES  will  receive  the  greatest 
^  emphasis  on  MGM's  new  production 
program  in  keeping  with  the  public's  de- 
mand for  lighter  type  screen  fare,  Dore 
Schary  has  told  his  production  assistants. 
Prior  to  his  take-off  for  meetings  in  New 
York  and  a  brief  rest  in  Florida,  Schary 
completed  assignments  on  an  even  dozen 
of  the  laugh-getters,  bringing  to  eighteen 
the  total  number  of  comedies  either  com- 
pleted or  scheduled  for  filming  during  the 
new  year. 

Comedies  already  completed  are: 
"Watch  the  Birdie"  and  "Excuse  My 
Dust,"  both  Red  Skelton  starrers;  the 
romantic  comedy  "Mr.  Imperium"  (Ezio 
Pinza-Lana  Turner);  "Grounds  for  Mar- 
riage" (Kathryn  Grayson-Van  Johnson); 
"Father's  Little  Dividend"  (Elizabeth 
Taylor-Spencer  Tracy),  and  "Three  Guys 
Named  Mike"  (Jane  Wvman-Van  Johnson- 
Howard  Keel-Barry  Sullivan).  Of  this 
group,  "Mr.  Imperium,"  "Father's  Little 
Dividend"  and  "Three  Guys"  were  all 
budgeted  in  the  million  dollar  bracket, 
with  the  remainine  three  produced  at 
approximately  half  that  figure. 

The  twelve  new  comedy  p^iiects  wh'ch 
have  been  assigned  are:  "Strictlv  Dis- 
honorable" (Ezio  Pinza-Janet  Leigh),  to 
be  produced  and  directed  bv  Melvin  Frank 
and  Norman  Panama;  "The  Law  and 
Lady  Loverly"  (Greer  Garson-Michael 
Wilding),  with  Edwin  H.  Knopf  doubling 
on  the  producer  and  megping  chores; 
"Texas  Carnival"  (Esther  Williams-Red 
Skelton-Howard  Keel- Ann  Miller);  "Too 
Young  To  Kiss"  (June  Allvson-Van 
Johnson),  Sam  Zimbalist  producing; 
"When  In  Rome"   and  "Angels   in  the 


HOLLYWOOD  EDITORIAL 

Star  Flivver 

Hollywood's  outmoded  star  system  took 
another  severe  setback  this  month  when 
the  bOXOfflce  tallies  were  run  up  on  1950's 
highest  grossing  pictures.  Not  one  of  the 
actors  or  actresses  whose  names  are  sup- 
posed to  be  strong  drawing  cards  on 
theater  marquees  were  to  be  found  in  the 
casts  of  any  of  the  first  ten  pictures  on 
the  list. 

"Samson  and  Delilah,"  Cecil  B.  De- 
Mille's  big  epic  of  the  year,  walked  off 
with  top  honors,  with  an  estimated  final 
gross  of  $11,000,000.  Yet,  no  one  has 
touted  its  stars,  Victor  .Mature  and  Hedy 
Lamarr,  as  great  boxoffice  leaders  for 
a  good  many  years._  So,  it  should  be 
self-evident  that  it  was  the  story,  plus 
the  spectacular  production  which  DeMille 
accorded  it,  plus  the  gigantic  promotion 
by  Paramount  which  were  responsible  for 
the  public's  wholesale  acceptance  of  the 
picture. 

"Battleground,"  with  an  estimated 
$4,500,000  final  gross,  ranked  second  on 
thp  list.  And  here  again,  the  star  names 
meant  nothing.  As  a  matter  of  fact,  one 
of  the  most  important  roles  in  the  picture 
was  played  by  James  Whitmore,  an  al- 
most complete  unknown  at  the  time  of 
its  release.  And  certainly  no  one  is  likely 
to  argue  the  point  that  it  was  the  H. 
Rider  Haggard  story,  and  not  the  star 
names  of  Stewart  Granger  and  Deborah 
Kerr,  that  pushed  "King  Solomon's 
Mines"  into  the  third-ranking  spot. 

Isn't  it  abor*  time  for  th~  men  who 
control  the  purse-strings  of  this  industry 
to  divert  a  little  of  the  fabulous  salaries 
being  accorded  the  stars  who  supposedly 
reign  as  the  boxoffice  kings  and  queens, 
and  put  that  money  to  better  use  in  buy- 
ing outstanding  story  properties? 

There's  no  getting  around  it,  Mr.  Wil- 
liam Shakespeare  had  something  when 
he  proclaimed  a  few  hundred  years  ago 
that  "The  play's  the  thing." 


Outfield",  both  to  be  produced  and  direct- 
ed by  Clarence  Brown;  "Callaway  Went 
Thataway,"  another  Melvin  Frank-Nor- 
man Panama  chore;  "The  Family  Man" 
(Van  Johnson),  Gottfried  Reinhardt  pro- 
ducing; "The  Big  Cast",  to  be  produced 
by  Joe  Pasternak;  "McHenry's  Civil 
War"  (Red  Skelton),  Carey  Wilson  pro- 
ducing, and  an  as  yet  untitled  sequel  to 
"Mrs.  O'Malley  and  Mr.  Malone." 

Outside  the  comedy  vein,  Metro  has 
signed  Fred  Astaire  to  do  two  films  to 
follow  "Belle  of  New  York."  The  initial 
of  this  duo  will  be  built  around  music 
by  Howard  Dietz  and  Arthur  Schwartz. 

MONOGRAM  -  AA 

MONOGRAM  WINDS  TEN  OF 
PROMISED  29-FILM  SLATE 

TTEN  of  the  announced  slate  of  29  fea- 
tures  were  completed  within  three 
months  since  they  were  promised  by  Mon- 
ogram. Prexy  Stevy  Broidy,  assuring 
Film  Bulletin  that  his  company  is  far 
from  heading  into  a  slump  production, 
Joints  out  that  nine  stories  are  currently 
in  preparation  for  early  production — set- 
(Continued  on  Next  Page) 


JANUARY    15,  1931 


IS 


STUDIO  SIZ6-UPS 

(Continued  from  Preceding  Page) 

ting  a  new  high  for  the  past  18  months. 

All  of  the  upcoming  productions  fall 
m  Monogram  and  Allied  Artist's  upper 
budget  bracket,  or— to  be  more  specific- 
are  budgeted  at  better  than  $300,000.  Of 
particular  interest  are  the  two  Allied 
Artist's  productions,  "The  Police  Story" 
and  "The  Highwayman,"  with  budgets 
considerably  above  the  others  in  the 
gropu.  However,  the  seven  Monogram 
entries  are  being  aimed  at  a  standard 
far  above  the  average  for  the  past  year. 
Story  properties  are  superior  in  quality, 
budgets  are  above  normal,  shooting 
schedules  will  be  expanded,  and  the  act- 
ors and  actresses  under  consideration  for 
the  starring  roles  all  fall  in  the  "name" 
class.  This  group  includes:  "The  Ottawa 
Story,"  "Casa  Manana,"  "Flight  To  Mars," 
"Ghost  Chasers,"  "The  Big  Top," 
"Father  Flies  High,"  and  "The  Maverich." 

Company  toppers,  who  made  them- 
selves fair  game  for  a  lot  of  fun  poking 
a  couple  of  months  ago,  when  they  an- 
nounced the  withdrawal  of  "Hiawatha" 
from  the  1951  slate  because  "its  theme 
might  be  construed  as  Communistic," 
have  reactivated  the  project  and  now 
plan  to  film  it  sometime  this  spring. 
Walter  Mirisch  will  produce. 

PARAMOUNT 

SELL  BING  AND  MOVIES 
WITH  FREE  CROSBY  TRAILERS 

OARAMOUNT  has  come  up  with  an  ex- 
ploitation gimmick  to  ballyhoo  its  No. 
1  star,  Bing  Crosby,  which  merits  the 
whole-hearted  cooperation  of  the  entire 
industry— both  production  and  exhibiton 
branches.  To  commemorate  Crosby's 
20th  anniversary  in  show  business,  Para- 
mount is  planning  a  world-wide  cele- 
bration, complete  with  special  radio 
broadcasts,  magazine  and  newspaper 
coverage,  and  special  Crosby  trailers 
which  are  being  made  available  to  all 
theaters  without  cost. 

It  is  in  connection  with  this  latter 
facet  of  the  anniversary  exploitation  that 
exhibitors  can  do  themselves  a  real  favor, 
as  well  as  Crosby  and  Paramount,  by 
showing  the  special  trailers.  Naturally, 
it  offers  a  plug  for  Crosby's  latest  film, 
"Mr.  Music,"  but  more  important,  it 
sells  Crosby,  which  is  practically  synono- 
mous  with  selling  movies.  Year  in  and 
year  out  Crosbv  wins  every  poll  as  the. 
public's  No.  1  entertainment  idol.  To  the 
average  person,  he's  the  greatest  person- 
ality in  Hollywood,  and  so  long  as  he  re- 
tains his  chief  identity  with  movies,  he 
should  be  exploited  whenever  and  how- 
ever possible. 

Hal  Wall  is  has  informed  Paramount 
that  he  will  hit  his  greatest  production 
stride  in  1951,  when  he  puts  five  pictures 
hr,fnre  tb°  cameras  and  completes  an- 
other which  was  started  early  in  Decem- 
ber. The  greatest  number  of  films  ever 
turned  out  by  Wallis  in  a  single  year 
before  was  four.  Two  of  the  upcoming 
films  will  be  Martin  and  Lewis  comedies. 
Two  dramas  already  set  will  star  Corirtne 
Calvert  in  "Peking  Express,"  and  Burt 
Lancaster  in  "Night  Man."  All  of  the 
pictures  are  budgeted  in  the  near-million 
dollar  bracket. 


14 


REPUBLIC 

EIGHT  TO  ROLL  AS  REP. 
TURNS  TO  LOW-BUDGET  POLICY 

OEPUBLIC  has  set  a  busy  schedule  for 
v  itself  in  the  opening  weeks  of  the  nevv 
year,  albeit  the  production  slate  as  a 
whole  indicates  the  company  may  have 
abandoned  some  of  its  amoitious  plans 
of  a  year  ago  in  favor  of  continuing  its 
previous  policy  of  turning  out  primarily 
the  type  of  pictures  known  as  program- 
mers. 

Eight  pictures  get  the  green  light  dur- 
ing January  and  February,  all  but  one 
of  them  in  the  lower  budget  brackets  — 
as  judged  by  the  standards  of  the  indus- 
try as  a  whole.  That  lone  exception  is 
"Wings  Across  the  Pacific,"  which  Asso- 
ciate Producer-Director  Alan  Dwan  is  pre- 
paring in  cooperation  with  the  U.  S.  Air 
v  orce.  This  particular  feature  is  budget- 
ed in  much  higher  brackets  and  will  be 
allotted  a  shooting  schedule  of  better  than 
50  days,  in  order  to  enhance  it  with  all 
of  the  top  production  qualities  essential 
to  the  current  market.  Others  in  t 
group,  however,  will  not  exceed  $200,000 
in  production  costs,  and  will  be  ground 
out  in  the  customary  10  days  to  two 
weeks.  These  include:  "The  Dakota  Kid," 
second  in  the  new  series  starring  moppet 
western  stars  Michael  Chapin  and  Eilene 
Janssen;  "In  Old  Amarillo"  (Roy 
Rogers) ;  "Thunder  In  God's  Country" 
(Rex  Allen);  "Alaska  Frontier,"  an  ac- 
tion melodrama;  "Havana  Rose"  (Estelita 
Rodriguez);  and  "Don  Daredevil  Rides 
Again,"  a  serial. 

In  addition,  Republic  announces  it  will 
.release  "A  Lady  Possessed,"  co-starring 
James  Mason  and  June  Havoc,  and  pro- 
duced by  Portland  Pictures,  Inc.,  an 
American  film  corporation  formed  recent- 
ly by  Mason. 

RKO 

EXPANSION  PLANS  INCLUDE 
MORE  FILMS,  LARGER  STAFF 

EXPANSION  appears  to  be  the  keynote 
of  RKO  Pictures  Corporation  during 
its  first  year  of  operation  as  a  separate 
entity.  Long  before  the  divorcement  of 
the  production  company  from  the  RKO 
theater  chain  this  month,  Headman  Ho- 
ward Hughes  had  been  busily  engaged  in 
plotting  a  broadened  program  for  the 
company,  encompassing  not  only  more 
pictures,  but  an  enlarged  executive  and 
semi-executive  staff. 

Sources  close  to  Hughes  tell  Film  Bul- 
letin that  he  plans  to  employ  additional 
producers  and  directors  with  established 
reputations,  as  soon  as  his  expanded  pro- 
gram starts  rolling. 

The  production  company  has  already 
been  bolstered  by  the  addition  of  such 
new  executive  personnel  as  Ernest  L. 
Scanlon,  formerly  vice-president  and 
treasurer  of  David  O.  Selznick's  Vanguard 
Productions,  to  serve  as  RKO  studio 
manager.  Others  on  Hughes'  executive 
staff  include  C.  J.  Tevlin,  vice-president 
in  charge  of  all  studio  operations;  Ross 
Hastings,  administrative  coordinator  in 
charge  of  contractual  commitments,  and 
Leonard  Picker. 

Indicative  of  the  type  of  production 
which  is  in  the  offing  for  RKO  are  the 
three  features  now  shooting.  "Two  Tic- 
kets To  Broadway,"  a  million  dollar  mus- 


20>h  CENTURY-FOX 

AWARDS  SPUR  ZANUCK  ON 
TO  GREATER  PLANS  FOR '51 


ical  with  color  by  Technicolor,  starrinj 
such  top  names  as  Tony  Martin,  Janc| 
Leigh,  Ann  Miller,  Gloria  De  Haven  and 
Eddie  Bracken,  has  now  been  shooting 
for  60  days,  and  will  require  another  tea 
to  fifteen  days  for  completion.  "Flying 
Leathernecks"  (John  Wayne-Robert  Rya3 
Don  Taylor)   also  carries  a  budget  o(jtiP  \ 
around  a  million  and  a  half  dollars,  and  hat  i 
a  shooting  schedule  of  60  days.     And  ,ead 
Winchester    Production's    "The    Thing,"  0  bet 
which  Howard  Hawks  is  producing,  has  lany 
already   passed  the   seventieth   day  ofi 
filming.  ,,, 
Also  indicative  of  the  forward  position  ^ 
RKO  is  taking  in  the  industry  in  1951, 
is  a  deal  just  consummated  with  Gabriel  jR) 
Pascal,  which  brings  Jean  Simmons  to 
the  studio  for  a  stipulated  number  oi  'lift1 
pictures,  in  addition  to  the  previously  )Hl/ 
announced,  "Androcles  and  the  Lion."  F 

I'l  is 
ip  ii 
nto 
dig:' 
Tin 
ilylti 
;in° 
Xhei 
IfleNs 

r\ARRYL  F.  ZANUCK  has  a  tremendous 

task  on  his  hands  if  he  is  to  uphold^ 
in  1951  the  tremendous  prestige  accorded  ;0y 
his  company  by  that  special  accolade  \m\ 
from  The  Saturday  Review  of  Literature  ,y  ci 
in  naming  Fox  the  "studio  of  the  year"  ^ 
for  1950.  Yet  business  associates  close  )ut  t 
to  Zanuck  say  the  accolade  had  the  effect  -m 
of  firing  him  with  new  ambition  and  mpn 
greater  plans  for  the  New  Year.  Hn; 

In  order  to  uphold  this  reputation,  Zan-iiei!i 
uck  is  expected  to  increase  budgets  Villi; 
wherever  necessary,  as  he  has  already  falar 
done  on  "Take  Ca,re  Of  My  Little  Girl"  _ 
.(Technicolor).  This  expose  of  the  evils 
of  the  college  sorority  system,  starrinj 
Jeanne  Crain,  now  passes  into  the  millio: 
and  a  half  dollar  class. 

As  of  this  writing,  Fox  has  virtuall; 
completed  all  of  the  features  schedule! 
for  release  during  the  first  half  of  1951. 
Of  the  nine  pictures  for  release  during 
January,  February  and  March,  four  are 
by  Technicolor  and  one  in  Super-Cine- 
color.  Add  to  that  the  lavish  production 
of  "David  and  Bethsheba"  now  before  th-> 
cameras,  and  it  would  appear  that  Zanuck 
is  well  on  his  way  toward  upholding  the 
studio's  reputation  as  the  No.  1  movie 
making  company  of  the  year. 


UNITED  ARTISTS 

McNUTT,  UA  STOCKHOLDERS 
SEEK  SHOWDOWN  IN  HUDDLE 

TTHIS  week  (January  17)  Paul  McNutt 
A  will  huddle  with  the  stockholders  of 
United  Artists  for  a  showdown  between 
the  owners  and  the  present  management 
in  an  effort  to  salvage  whatever  can  be 
saved  from  a  company  that  is  being  sabo- 
taged by  the  foolhardy  shortsightedness 
of  its  principal  stockholders,  Charles 
Chaplin  and  Mary  Pickford. 

In  all  fairness  to  Miss  Pickford,  it 
should  be  noted  that  she  has  on  more 
than  one  occasion  shown  a  willingness  to 
accept  plans  which  have  been  preferred 
by  Jacques  Grinieff  in  an  effort  to  un- 
tangle the  company's  snarled  affairs. 
Chaplin,  on  the  other  hand,  to  all  out- 
ward appearances  evinces  no  interest 
whatsoever  in  the  future  of  the  organiza- 
tion. 

Grinieff,  on  a  recent  visit  to  Hollywood, 
FILM  BULLETIN 


I  STUDIO  SIZ6-UPS 

g  I 

f     formed  the  press  that  he  had  arrange  1 
>p  w  a  sound  financing  program  for  UA 
•j,.,  hich  would  put  the  company  back  on 
d    Is  feet.    But,  so  far  as  anyone  in  the 
dustry  has  been  able  to  ascertain,  his 
Hp  was  for  naught.    It  is  understood 
■f  lat  George  Bagnall,    UA's  production 
-  lead  until  a  year  ago,  is  Grinieff's  choice 
1:i  1>  become  head  of  the  distributing  com- 
any. 

ia  UNIVERSAL-INTERNAT'L 

:» IRST  WEEKS  OF  NEW  YEAR 
iHOW  Ul  PRODUCTION  PICK-UP 

THE  first  three  weeks  of  the  New  Year 
\*-  is  witnessing  a  brisk  production  pick- 
jp  at  Universal,  with  four  films  going 
hto  production.     First  to  roll  was  the 
tigh-budgeted    feature    by  Technicolor, 
iThe  Golden  Horde"  (David  Farrar-Ann 
fcythe),  which  George  Sherman  is  meg- 
ling    for    Producer    Howard  Christie. 
§thers  are:   "The  Iron   Man"  (Stephen 
llcNally-Jeff     Chandler-Evelyn  Keyes), 
rjldth  Aaron  Rosenberg  producing  and  Jo- 
tofeph  Pevney  directing,  and  "The  Real  Mc- 
rjiKoy,"  an   Abbott  and  Costello  comedy 
laiIireeted  by  Charles  Lamont  and  produced 
^ly  Charles  Christie. 

^1  The  restoration  of  salary  cuts,  doled 
,|ut  to  some  of  U-I's  top  ranking  execu- 
lf«ves  back  in  1948,  clearly  indicates  the 
i:|nproved  financial  status  of  that  com- 
Lany  as  it  prepares  for  what  appears  to 
isle  the  biggest  year  in  U-I  history.  Both 
tflVilliam  Goetz  and  Leo  Spitz  had  their 
alialaries    restored    to    full  contractual 


terms,  which  are  reportedly  $260,000  and 
$104,000  per  year,  respectively. 

Enthusiasm  is  running  high  in  the  front 
offices  around  the  lot  over  "Lights  Out," 
which  Director  Mark  Robson  has  just 
finished  editing.  Incidentally,  Robson  cut 
only  200  feet  of  the  total  8,700  feet  shot 
due  to  what  he  calls  "pre-editing  in  the 
camera."  This-  is  the  same  policy  he  fol- 
lowed during  the  filming  of  "Champion" 
for  Stanley  Kramer,  and  is  the  result  of 
close  cooperation  with  the  cameraman 
throughout  the  picture's  filming. 


WARNER  BROS. 

TOPICAL,  TIMELY  FILMS 
GET  WARNERS'  NOD  IN  1951 

TTHE  start  of  "I  Was  A  Communist  For 
the  FBI"  this  month,  is  indicative  of 
the  type  of  film  making  which  Jack  War- 
ner is  planning  for  his  company  in  1951. 
Whenever  a  topical  subject  comes  up, 
Warner  plans  to  give  it  precedence  over 
all  other  production,  in  order  to  bring  to 
the  screen  newsworthy  subjects  while 
they  are  still  timely. 

"Communist"  was  rushed  before  the 
cameras  on  a  few  days  notice  when  W?.~- 
ner  long  distanced  Producer  Bryan  Foy 
from  Miami  to  lose  no  time  in  getting  it 
to  the  screen.  The  cast  is  headed  by 
Frank  Lovejoy  and  Dorothy  Hart,  and  is 
being  directed  by  Gordon  Douglas.  Those 
who  have  seen  the  script  say  it  is  d3- 
cidedly  superior  to  the  Warner  effort  of 
a  decade  ago  —  "Confessions  of  A  Nazi 
Spy,"  which  was  one  of  the  most  talked 
about  pictures  of  that  time.  The  budget 
and  shooting  schedule  aren't  particularly 
impressive,  but  Foy  says  money  and  time 


aren't  too  essential  to  this  particular 
script. 

'lopping  the  list  of  four  new  starters 
this  month,  is  the  million  dollar  musical, 
"Moonlight  Bay"  (Gordon  MacRae-Doris 
Day),  with  Roy  Del  Ruth  megging  for 
producer  William  Jacobs.  The  produc- 
tion, with  its  lavish  musical  number 
which  has  been  in  rehearsal  for  several 
weeks,  will  require  50-odd  days  to  film. 
Both  "Fort  Worth"  (Randolph  Scott-Da- 
vid Brian-Phyllis  Thaxter)  and  "Tomor- 
row Is  Another  Day"  (Ruth  Roman-Steve 
Cochran-Lurene  Tuttle),  are  budgeted  in 
the  half-million  dollar  class. 


INDEPENDENTS 

LIPPEKT  PRODUCTIONS 

DOBERT  LIPPERT  has  ordered  an  .all- 
out  exploitation  campaign  to  ballyhoo 
his  most  recent  high-budgeter,  "The  Steel 
Helmet.  '  And,  considering  the  prestige 
this  picture  is  bound  to  give  his  company, 
such  an  exploitation  campaign  would 
most  certainly  appear  to  be  in  order.  As 
an  example  of  the  investment  Lippe.'t 
plans  to  make  in  selling  the  picture,  he 
okayed  a  $5,000  expenditure  for  television 
plugs  for  a  single  day  in  Los  Angeles 
alone.  Fifty-five  spots  were  carried  on 
LA  stations  on  the  day  the  picture  opened 
in  five  local  theaters. 

It  is  interesting  to  note,  incidentally, 
that  both  "Steel  Helmet"  and  Lippe-t's 
other  sleeper  of  the  past  year,  "Rocket- 
ship  XM,"  were  written  and  directed  by 
one  man.  In  the  case  of  "Rocketship." 
Kurt  Neumann  doubled  as  megger-scriv- 
ener, and  on  "Helmet  '  Sam  Fulle~  drew 
the  duo  assignment.  And  now,  Lippert 
has  assigned  Charles  M.  Warren  to  the 
?nme  task  on  his  forthcoming  "Little  Big 
Horn." 


JANUARY    15,  1951 


15 


PARAMOUNT^  ZUKOR 

At  78,  Better  Pictures 


LOEWS  NET  UP  MILLION 
FOR  '50;  FIRST  QUARTER  UP 

Loew's  made  a  million  dollars  more  in 
1950  than  in  1949,  the  company's  annual 
jeportfor  the  fiscal  year  ended  August 
31,  I9o0,  disclosed.  Total  net  for  '50 
came  to  $(',854,000,  compared  with  $6,- 
744,000  for  the  preceding  year. 

The  iast  annual  period  included  $808,003 
net  from  trie  sate  of  capital  assets.  In 
the  corresponding  net  tor  '49,  $525,000  of 
an  allied  corpora cion  now  wholly  owned, 
and  $4b0,00u  from  reduction  of  prior 
years'  depreciation  on  certain  properties 
to  conform  to  rates  fixed  by  the  Inter- 
nal Revenue  Bureau,  was  included  in  the 
net  income. 

The  company  also  released  figures  for 
the  12  weeKs  ended  Nov.  23,  showing  net 
income  of  $1,995,000,  including  $779,436 
due  to  reduction  of  prior  years'  deptecia- 
tion.  In  the  corresponding  period  the 
preceding  year,  net  was  $l,b52,00U,  of 
which  $697,000  was  realized  from  sale  of 
capital  assets. 

Gross  income  for  fiscal  1950  dropped 
slightly  below  the  '49  total,  $178,0>:4,000 
from  $179,341,000.  Drop  was  most  notice- 
able in  gross  .receipts  from  film  rentals, 
theatre  receipts,  accessories  and  M-G-M 
Records,  where  the  1950  gross  slipped  to 
$167,913,000,  from  $170,542,000.  A  good 
portion  of  this  was  made  up,  however,  in 
the  company's  take  from  M-G-M  Radio 
Attractions  and  Broadcasting,  where  the 
gross  rose  to  $5,908,000,  compared  with 
$4,369,000  the  year  before. 

Realization  of  foreign  income  was  most 
noticeable  in  recovery  from  Italy,  where 
Loew's  converted  close  to  $3,000,000  of 
blocked  funds  as  part  of  the  production 
cost  of  "Quo  Vadis." 

Net  assets,  other  than  $3,425,860  cash 
in  foreign  countries,  amounted  to  $21,896,- 
000,  not  including  portion  of  cost  of  film 
productions  allocated  to  foreign  distribu- 
tion but  retained  on  books  here.  Of  the 
cash  figure  abroad,  $2,215,917  was  re- 
ceived in  the  U.  S.  during  the  year. 

Federal  income  taxes  came  to  $4,753,000 
for  1950,  compared  with  $4,043,000  the 
year  before. 


BULLETIN 


Volume  19,  Number  2 
January  15,  1951 

News 
and 
Opinion 

ZUKOR  CALLS  DIVORCEMENT 
FACTOR  IN  FILM  IMPROVEMENT 

Divorcement  has  been  the  moving 
force  that  pinpointed  Paramount's  con- 
centration on  product  "that  will  stand  up 
independently  at  any  box-office."  The 
words  were  those  of  the  dean  of  the 
motion  picture  industry,  Adolph  Zukor. 
The  occasion  was  the  eve  of  his  78th  birth- 
day, marking  almost  half  a  century  in 
the  movie  business  for  the  Paramount 
board  chairman. 

The  acclimation  process,  he  said,  took 
about  half  of  the  first  year  that  saw 
Paramount  divorce  itself  from  its  thea- 
tres and  stand  independently  as  a  produc- 
tion-distribution company.  "Our  forth- 
coming product,"  he  said,  "will  prove 
that  we  are  making  better  pictures  than 
ever." 

Audiences  will  no  longer  go  to  see  a 
poor  picture,  no  matter  whether  it  is 
Riven  preferred  playing  time  or  not,  he 
declared,  adding,  "Too  often  the  good  pic- 
ture has  been  denied  the  good  playing 
time  it  deserves.  Too  many  exhibitors 
would  play  a  poor  picture  with  a  cheaper 
rental  on  the  weekend,  reasoning  that  the 
house  would  be  full  regardless  of  the 
bill,  and  play  the  good  picture  at  the  be- 
ginning of  the  week."  Now,  he  noted, 
only  a  good  picture  can  fill  a  theatre  on 
weekends  and  the  exhibitor  who  gives 
the  eood  show  a  choice  spot  will  gain  "in 
the  long  run". 

Television,  he  vouchsafed,  was  a  "great 
new  medium"  that  will  find  its  place  in 
the  communications  field.  TV  has  a  prob- 
lem that  theatres  do  not  have  to  contend 
with,  he  added.  "Our  pictures  can  con- 
centrate on  entertainment;  if  our  prod- 
uct gives  the  audience  pleasure,  we  have 
attained  our  objective.  But  the  man  who 
produces  film  for  television  must  not  only 
entertain  an  audience  but  he  must  also 
sell  soap  or  refrigerators." 

COMPO  BARRIERS  DUE  TO 
'MISUNDERSTANDNG':  MAYER 

Lack  of  support  for  COMPO  was  due 
to  "misunderstanding"  of  the  ail-industry 
organization's  purposes,  executive  vice- 
president  Arthur  L.  Mayer  declared  at 
a  Variety  Club  testimonial  dinner  in 
Philadelphia  last  week.  The  testimonial 
honored  David  Supowitz,  the  Tent's  re- 
tiring chief  barker,  and  Ted  Schlanger, 
the  newly  elected  topper. 

Calling  upon  all  showmen  to  "make 
the  small  organizational  sacrifices  and 
financial  contributions  for  industry  unity 


COMPO'S  MAYER 

'Wo  Man  Can  Be  Opposed  . 


that  are  made  by  every  other  Americ 
business,  large  or  small,"  Mayer  cite« 
COMPO's  aims.  "Certainly  no  man  ii 
this  industry,"  he  said,  "can  be  opposei 
to  raising  our  standard  in  the  public' 
esteem  so  that  we  are  no  longer  classi 
tied  by  our  Government  with  gamblinj 
establishments  and  poolrooms.  No  mai 
in  this  industry  can  be  opposed  to  unil 
ing  all  of  its  various  branches  in  box 
office  drives  or  in  the  effort  to  creat 
new  stars." 

Urging  theatremen  to  greater  effort 
and  more  resourcefulness  in  meetinj 
competition,  Mayer  predicted  that  tele 
vision  can  be  converted  "from  an  enenr 
into  an  ally  that  will  sell  our  produc 
in  the  homes  of  America  as  it  has  neve 
been  sold  before.  He  reminded  that  ■ 
was  far  from  "free  competition"  notirif 
that  it  cost  set-owners  $100  a  year,  fa 
more  than  the  average  family  cost  fo< 
movie  entertainment. 

The  "old  stunts"  —  dish  nights,  beaut: 
contests,  stage  shows,  etc.  —  pulle. 
thousands  of  theatre  men  through  pre 
vious  crises,  and  "we  can  do  it  again, 
he  concluded. 


PHONEVISION  TEST  OFF  TO 
GOOD  START,  WINS  PLAUDITS 

Phonevision  went  into  the  second  wee 
of  its  Chicago  test  flushed  with  the  a< 
colades  of  television  newsDaper  critic 
and  many  of  the  300  families  in  whos 
homes  the  90-day  test  is  being  conductec 
Compared  with  the  misty,  jumpy  image 
of  o'd  and  battered  film  prints  that  hav 
filled  video  tubes,  it  was  said,  the  ne\ 
prints  and  expertly  developed  telecastinjj 
equipment  used  in  the  test  came  as  i 
revelation  to  the  eyesore  TV  watcher 
and  critics. 

All  was  not  light  and  gladness,  how 
ever,  to  Zenith's  E.  F.  McDonald,  spon 
sor  of  the  trial.  One  of  the  iesi  familie: 
was  that  of  H.  Leslie  Atlass,  vice-presi 
dent  of  the  Columbia  Broadcasting  Sys 
tern,  one  of  the  major  television  net 
works.  While  he  said  Phonevision  waj 
"fine,"  he  expressed  doubt  that  "it  lite 
our  broadcasting  system  or  that  it  car 
be  accepted  by  the  FCC."    He  recallee 


16 


FILM   BULL  E  TIF 


NetVS  and  Opinion 


.that  the  Commission  had  turned  down* 
subscription  radio.  "If  it  approves  phone-J 
vision,"  he  noted,  "I  don't  see  why  we 
couldn't  charge  a  fee  to  hear  Jack  Benny 
or  the  Lux  Radio  Theatre." 

In  authorizing  the  test,  the  FCC  em- 
phasized that  in  so  doing,  it  was  not 
indorsing  "pay-as-you-look"  television. 

Films  for  the  second  week  of  the  PV 
test  included  two  each  from  Paramount, 
M-G-M  and  RKO,  and  one  Warner 
picture. 

The  Paramount  films  were  "I  Walk 
Alone"  (1948)  and  "Golden  Earrings" 
(1947);  M-G-M,  "Song  of  Love"  (1947) 
and  "Tenth  Avenue  Angel"  (1948);  RKO. 
"Enchanted  Cottage"  (1945)  and  "Mur- 
der, My  Sweet"  (1944);  Warners,  "Voice 
of  the  Turtle"  (1948). 

The  Chicago  test  was  shown  over 
Channel  2.  Anyone  tuning  in  the  chan- 
nel received  a  jittery  image  that  made 
it  virtually  impossible  to  discern  out- 
lines. The  300  sets,  however,  which  had 
the  "key,"  unscrambled  the  jitters  and 
received  a  clear  picture.  Sound  was  un- 
affected and  was  received  by  all  TV  set 
owners  who  tuned  in  the  channel. 

Zenith  explained  that  the  station  had 
11  different  methods  of  interrupting 
patterns  and  that  the  one  currently  used 
was  the  simplest. 

COURT  APPROVES  WB  DECREE, 
LOEWS  BEGINS  NEGOTIATIONS 

The  Warner  consent  decree,  third  of 
the  Big  Five  to  come  to  terms  with  the 
Government  in  the  industry  anti-trust 
case,  was  signed,  sealed  and  delivered  as 
the  New  York  Statutory  Court  stamped 
its  approval  on  the  document  that  calls 
tor  divestiture  of  at  least  55  theatres 
by  the  present  Warner  chain  and  com- 
plete divorcement  within  27  months.  A 
plan  of  divorcement  will  be  presented  to 
Warner  stockholders  within  90  days. 

At  the  same  time,  Philip  Marcus,  at- 
torney of  the  Department  of  Justice's 
anti-trust  division,  informed  the  Cour: 
that  it  was  his  understanding  that  Loew's 
was  preparing  to  enter  negotiations  with 
the  Government  for  a  consent  decree.  He 
also  affirmed  that  20th-Fox  was  now  Li 
the  process  of  negotiating  a  settlement 
The  disclosure  that  Loew's,  which  had 
been  adamant  in  its  refusal  to  begin  set- 
tlement talks,  was  submitting  to  the  in- 
evitable had  been  forecast  earlier  when 
the  company  requested  and  .received  an 
extension  in  the  time  required  for  it  to 
file  its  own  plan  of  divorce  and  divesti- 
ture. 

As  approved  by  the  Court,  the  Warner 
decree  follows  the  pattern  of  the  Para- 
mount and  RKO  agreements,  both  of 
which  have  been  consummated.  All  pro- 
duction and  distribution  assets  will  be 
transferred  to  the  new  picture  company 
and  all  other  assets  to  the  new  theatre 
company.  Capital  stock  will  be  distri- 
buted pro  rata  to  WB  stockholders. 

For  12  months,  or  until  the  reorganiza- 
tion provided  for  in  the  Plan  shall  have 
been  completed,  WB  pictures  may  be  li- 
censed in  any  way  and  on  any  terms  to 
Warner  theatres,  but  thereafter  licensing 
will  be  subject  to  the  trade  practice  in- 
junctions in  the  Court  decree  of  last 
February. 

Within  two  years,  Warner  or  the  New 
Theatre  Company,  must  divest  itself  of 
at  least  54  theatres,  half  within  the  first 
year.  A  maximum  of  27  more  may  ba 
forced  on  the  block. 


HARRY  M.  WARNER 

Heads  K  B  Sahl^^  List 


Warner,  through  its  subsidiaries  which 
are  more  than  99%  owned,  has  436  the- 
atres, of  which  236  are  owned  in  fee,  191 
leased,  and  nine  partly  owned  and  partly 
leased. 

HARRY  M.,  LOUIS  B„  TOP 
WB,  LOEW'S  SALARY  LISTS 

Warner  Bros,  president  Harry  M. 
Warner,  with  $182,300,  and  Loew's  vice- 
president  Louis  B.  Mayer,  with  $300,000. 
topped  the  salary  lists  of  their  respec- 
tive companies  for  the  fiscal  years  ended 
in  1950. 

Runner-up  on  the  Warner  slate  of  di- 
rectors' and  officers'  salaries  which 
totaled  Sl.474,930  was  brother  Jack  L. 
Warner,  who  received  $182,050  as  pro- 
duction vice-president.  Following  in  or- 
der were  distribution  vice-president  Ben 
Kalmenson.  $132,500;  theatres  vice- 
president  Harry  M.  Kalmine,  $132,500; 
Robert  W.  Perkins,  v.  p.  and  general 
counsel,  $107,200;  vice-president  Samuel 
Schneider,  $107,200;  Albert  Warner,  v.p. 
and  treasurer,  $107,200;  vice-president 
Stanleigh  P.  Friedman,  $64,450,  and 
Samuel  Carlisle,  controller  and  assistant 
treasurer,  $52,080. 

Loew's  president  Nicholas  M.  Schenck 
placed  second  to  Mayer  with  $224,767,  of 
which  $130,357  was  salary  plus  expenses, 
and  $94,410  classified  as  a  bonus  and 
share  in  profits.    Mayer's  $300,000  (ac- 


LOUIS  B.  MAYER 

Chief  M-G-M  Moneymaker 


tually  $299,999)  represented  $156,428  in 
salary  plus  expenses,  and  $143,571  in 
bonus  and  profit-sharing. 

Also  sharing  in  bonuses  and  profits 
were  J.  Robert  Rubin  with  a  total  of 
$21-1,900  ($110,614  bonus  and  profits),  and 
E.  J.  Mannix,  with  $202,606  ($43,571 
bonus-profits).  Other  Loew's  salaries: 
Charles  C.  Moskowitz,  $156.42S;  Joseph 
R  Vogel,  $156,428;  Leopold  Friedman, 
$130,357;  William   F.  Rodgers,  $114,714. 

CENSUS  SHOWS  MOVIES  GET 
LESS  OF  AMUSEMENT  DOLLAR 

Amusements  other  than  movie  theatres 
have  usurped  eight  per  cent  more  of  the 
public's  entertainment  dollar  in  the  dec- 
ade between  1939  and  1948.  The  figures, 
released  last  week  by  the  U.  S.  Census 
Bureau,  reported  that  motion  picture 
theatres,  exclusive  of  outdoor  and  port- 
able theatres,  accounted  for  59'/^  of  the 
total  receipts  for  all  amusement  estab- 
lishments in  1948,  compared  with  67'/c 
in  1939. 

The  total  includes  taxes  and  receipts 
from  concessions,  candy  sales  and  oilier 
sources  of  theatre  income. 

While  drive-in  theatres  were  not  in- 
cluded in  the  figures  (there  were  no  re- 
liable drive-in  figures  in  1939,  according 
to  Census  Bureau  officials),  the  bulk  of 
the  movie  attendance  decrease  was  taken 
over  by  other  amusement  fields  such  as 
sports,  race  tracks,  legitimate  theatres, 
bowling  alleys,  pool  parlors,  etc. 

Total  receipts  of  all  U.  S.  amusements, 
including  taxes  and  concession  sales,  in- 
creased 168';;-  —  from  8998.079,000  in 
1939  to  $2,674,997,000  in  1948.  Motion 
picture  theatres  accounted  for  $1,616,- 
282,000  in  1948,  including  drive-ins  and 
portable  theatres.  Of  the  total,  outdoor 
theatres  accounted  for  $46,838,000. 

Other  Census  Bureau  figures:  50,347 
amusement  establishments  (17,689  in- 
door theatres,  820  drive-ins)  in  1948; 
44,917  amusement  establishments  (15.115 
indoor  theatres)  in  1947. 

Figures  for  other  amusements:  bowl- 
ing alleys,  pool  parlors,  up  from  $87,- 
450.000  to  $204,125,000;  race  tracks,  from 
S44.485.000  to  $187,905,000;  baseball  clubs, 
$130,797,000;  football,  from  $24,490,000  to 
$77,183,000. 

Payrolls  shot  up  almost  threefold: 
$225,481,000,  representing  223,687  em- 
ployes, in  1939  to  $610,834,000  for  342,031 
employes  in  1948. 

HEINEMAN  DENIES  ELC  SALE 
OF  NEWER  FILMS  FOR  VIDEO 

A  trade  paper  report  that  Eagle-Lion 
Classics  had  sold  exclusive  first-run  tele- 
vision rights  in  Chicago  to  19  films  was 
vigorously  denied  by  William  J.  Heine- 
man,  ELC  vice-president  in  charge  of  dis- 
tribution. The  news  release  said  that 
the  19  films  (made  in  '47*-48-'49)  repre- 
sented "the  latest  releases  yet  to  be  made 
available  for  TV,"  and  that  they  had  been 
purchased  by  station  WGN-TV  in  Chi- 
cago. 

According  to  Heineman,  no  deal  with 
the  station  in  question  or  any  other  TV 
outlet  has  either  been  consummated  or 
even  considered. 


JANUARY    15,  1951 


17 


SOCK  AD  CAMPAIGN  FDH  HAHVCY 

Novel  Presentation  Aids  Choice  of  Ads 

'  I  'HE  LAYOUT  pictured  above  is  taken  from  the  inside  spread  of  Universal- 
Intel-national's  press  book  on  "Harvey/'  It  is  indicative  of  the  intensive 
ingenious  campaign  upon  which  David  Lipton  and  his  staff  of  boxoffiecrs  have 
labored  both  wisely  and  well  —for  "Harvey"  is  a  film  that  merits  any  show- 
man's all-out  efforts.  U-I's  advertising,  publicity  and  exploitation  offerings 
grease  the  way  for  a  selling  job  that  will  undoubtedly  enhance  both  the  ex- 
hibitor's box  office  and  his  reputation  as  a  purveyor  of  good  entertainment. 

Four  separate  and  complete  ad  campaign  suggestions,  ranging  from  five 
to  eleven  days,  have  been  worked  up  from  the  comprehensive  selection  of  ad 
mats.  They  are,  in  addition,  so  displayed  that  the  exhibitor  can  tell  at  a 
glance  the  disposition  of  his  newspaper  campaign.  The  campaigns  can  be 
varied  and  augmented  from  the  tremendous  selection  of  provocative  and  gen- 
uinely clever  copy  and  illustration  that  feature  these  and  the  rest  of  the  ads 
pictured  in  the  press  book.  Because  of  the  highly  effective  manner  in  which 
ii  asere  < :an  be  employed  for  "Harvey,"  no  less  than  25  of  these  one-column 
-pot-  are  available  in  a  variety  of  st\ les.  In  addition,  there  is  a  special  off- 
the-movie-page  an"  tailored  for  run-of-paper  placement  that  can  be  a  valuable 
iupplemenl  to  an)  campaign  and  aims  to  garner  the  attention  of  those  who 
do  not  ordinarily  turn  to  the  movie  page. 

The  bonanza  of  advertising  suggestions  is  matched  by  a  host  of  exploita- 
tion ideas  and  supplemented  l>\  a  Bpecial  exploitation  kit,  available  without 
charge  upon  order  from  1  -Fa  Exploitation  Department  in  New  York. 


STUNTS 

"Harvey"  is  the 
ype  of  story  that 
lends  itself  most 
effectively  to  a 
large  variety  of 
stunts  that  could 
arouse  almost  as 
much  word-of- 
mouth  in  advance 
of  opening  as  the  film's  entertainment  value  will 
undoubtedly  do  after  it  reaches  your  screen. 

An  entire  bevy  of  such  tongue-waggers  has  been 
dreamed  up  by  the  U-I  exploiteers.  most  based 
around  the  invisible  rabbit  that  is  the  central 
figure's  constant  companion.  Simple  directions 
for  a  transparent  mirror  that  first  reflects  the  sub- 
ject, then  suddenly  switches  to  "Harvey",  are  con- 
tained in  the  press  book  and  should  be  a  won- 
derful eye-catcher  for  the  lobby.  Others  include 
a  "Harvey"  drawing  competition,  a  "Harvey  Was 
Here"  idea,  a  series  of  stunts  built  around  the 
mythical  "Pook.1"  that  Harvey  represents. 

A  search  for  "Harvey  People",  i.  e..  those  who. 
like  the  character  represented  by  James  Stewart, 
stand  out  for  their  friendly  acts  and  disposition, 
would  make  an  excellent  human  interest  angle  for 
co-op  with  the  local  newspaper. 


Stewart  deft)  and  co-star,  Harvey  {extreme  right  K  discuss  the  amenities 
before  confounding  the  group  of  goggle-eyed  matrons  at  a  tea  party. 


HARVEY 


TIMMY  STEWART  has  been  sing- 
J  ularly  successful  in  his  choice  of 
roles  in  recent  years.  Beginning 
with  "The  Stratton  Story",  Stewart 
has  had  a  string  of  unbroken  hits 
that  have  swept  him  into  a  renewed 
popularity  that  surpasses  the  most 
halcyon  days  of  his  long  screen  care- 
er. "Broken  Arrow,"  Winchester  73" 
and  "The  Jackpot"  were  all  films 
that  dipped  well  into  the  hlack  for 
their  makers.  In  his  latest  film,  "Harvey,"  the  rejuvenated 
Jimmy  is  destined  to  score  his  greatest  success,  for  this 
Elwood  P.  Dowd  is  the  type  of  role,  and  "Harvey,"  the 
type  of  film  that  will  capture  the  hearts  of  millions  every- 
where, just  as  its  stage  predecessor  did  in  the  six  years 
it  has  run  on  Broadway  and  throughout  the  country. 

"Harvey",  as  those  who  saw  the  stage  play  with  any 
one  of  the  seven  actors  (including  Stewart)   recall  so  de- 


lightedly, is  a  story  ahout  a  gentle,  genial,  bibulous  guy 
and  his  "Pooka",  a  six-foot,  four-inch  invisible  rabbit',  his 
constant  companion.  The  attempts  to  incarcerate  Elwood 
in  a  mental  institution  because  of  Harvey  are  the  jump- 
ing-off  point  for  a  potage  of  hilarities,  basted  with  poig- 
nancy,  that  should  lie  just  the  meat  for  every  member  of 
the  family. 

One  of  the  most  delightful  members  of  the  cast  is 
the  accomplished  little  character  actress  who  portrayed  the 
same  role  on  the  stage.  Josephine  Hull.  The  scenes  in 
which  die  attempts  to  explain  Elwood's  hallucinations  to 
the  institution's  doctor,  has  herself  locked  up  and  finally 
escapes  to  charge  the  asylum  with  being  a  white  slave 
den,  will  rock  movie  audiences  with  laughter. 

Others  in  the  carefully  chosen  cast  include  Cecil 
Kellaway  as  head  of  the  institution;  Peggy  Dow  and 
Charles  Drake  in  one  romantic  pairing  and  Jesse  White 
and  Victoria  Home  in  another. 


JANUARY    15.  1951 


19 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1949-50  Features 
Serials 
Westerns 


Completed  (82) 
Completed  (  2) 
Completed  (24) 


In  Production  (0) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

  1949-50-51  ■  

COMPLETED 

TlUe—  Running   Time  Cast  r.,-,|ls        111.        No  Re» 

Across   the   Badlands   Starrett-Burnette     ....  4-10  

Al  Jennings  ef  Oklahoma   (T)   Duryea-Storm   5-8  

Beauty    On    Parade   Hutton-Warriek   11-7  

Beware  of  Blondie   (66)   Singleton-Lake   8-29...  8-.  0  

Blazing  Sun   Autry-Gwynne   5-8  

Born    Ye;terday   Crawford-Holliday   7-3  

Brave   Bulls,    The   Ferrer-Onin   3-27  

Captive  Girl   Weismuller-Crabbe     .  .  .10-24  

Chain    Gang   Kennedy-Lawrence   6-5  

Congo    Bill   McGaire-Moore    ..  5-1C 

Counterspy    Meets   Scotland   Yard   Blake-St.  John    6-19  

Conv:ct:d    (91)   Ford-Crawford    1-2.  .  ,8-:0  8-23 

Cow  Town    (70)   Autry-Davis   5-23... 5-50  

Criminal    Lawyer   0  Bricn-Wyatt   12-18  

David  Harding,  Counter  Spy   (71)   Parker-Long   1-30  .1-10  

Dick   Turpin's    Ride   Hiy.iard-Mcd.na   11-6  

Emergency   Wedding    (78)   Parks-Hale   4-10  1-1 

Firefighters,   The   Williams-Reynolds   2-27   

Flying    Missile,    The   Ford-Llnfors   7-31   

Fort   Savage   Raiders   Starrett-Burnett   9-25   

Fortunes  of  Captain  Blood    (91)   Hayward-Medina   11-21  .  6-50  

mller  Brush  Girl.  The   ..Ball-Albert   2-27  

Fury  of  the  Congo   Weismuller-Talto!     .   ..  7-3  

Gasoline   Alley   Beckett-Lydon   10-9  

Globetrotters,  The   Gorrez-Dandridge   11-6  

Good    Humor    Man    (£2)   Carron-Wallace   6-6... 6-50  

Harriet  Craig    (94)   Crawford-Corey   12-18 

Her   Wonderful    Lie   Kiepura-Eggerth   ±1-10  

Details  under  title:  The   Eternal  Melrdy 

Hero,    The   Derek-DaRe   6-19  

He's  a  Cockeyed   Wonder    (77)   Rooney-Moore   10-50.  .. 340 ..  11-20 

Hoe    Down   Arnold-O'Mahoney   7-4...6-50  

Hurricane    Island   Hall-Windsor   10-23  

In  a  Lonely  Place   Bogart-Grahame   11-7... 8-0  

Indian   Territory   Autry-Buttram   4-10... i-iO  

Kill  the  Um-ire    (78)   Bendlx-Henry   10-2t...5-c0  

Killer  That  Stalked  New  York   Keixs-Korvln   12-5  12-18 

List  of  the  Buccaneers  (T)   Henreld-Booth   3-27  

Lightning  Gons     Starrett-Burnett   6-5  

Lorna  Doone  (T)   Hale-Greene   6-5  

Magic  Carpet   Ball-Agar   12-18  

Mask  of  the  Avenger   Derek-Lawrence   10-23  

■•unties,    The   Autry-Buttram   6-19  

My    True  Story   Parker-Walker   12-13  

No  Help  From  Heaven   Clark-O'Donnell   12-18  

No  Sad  Songs  For  Me  (89)   Sulllvan-Corey   10-24... 3-0  

Outcast  of  Black  Mesa   (54)   Starrett-Burnett   11-7.  .  .  4-50  

Palemim    (T)   Courtland-Tyler   8-1... 3-50  

Pygmy    Island   Weissmuller-Savage  ...6-19  

Petty  Girl,   The   (T)    (87)   Cummlngs-Caulneld     .  .  .9-26.  .  .f-50  

Prairie   Roundup   Starrett-Burnett   7-31  

Raiders  of  Tomahawk  Creek   Starrett-Burnett   6-19  

Revenue  Agent     Kennedy-Wllles   7-31  

Rldin'   the  Outlaw  Trail   Starrett-Burnette   8-28  

Rtden  of  the  Whistling   Pines   Aatry-Whlte   7-5  

Details  ander  title:  Wings  Westward 

Rogues  of  Sherwood  Forest   (T)    (80)   Derrick-Lynn   9-12... 7-50  

Romantic   Age,   The   O'Brien-Martin   8-28  

Rookie  in  Korea   McAllister   11-6  

Sirocco   Bogart-Toren   11-20  

Smuggler's  Gold   Mitchell-Blake   11-20  

Sairta  Fe  (T)   Scott-Carter   7-3   

Snake   River  Desperados   Starrett-Burnett   11-6  

711   Ocean    Drive    (102)   O'Brien-Dru   7-50  9-25 

Texans  Never  Cry   Autry-Davis   7-31  

Texas   Dynamo   (54)   Starrett-Burnett   2-27... 6-50  

Tougher  They  Come,  The   Foster-Morris   7-31  

Two  of  a  Kind   Scott-Moore   10-23  

Tyrant  of  the  Sea  (70)   Williams-Randall   8-29... 4-50  

Valentino   Parker-Dexter   6-19  

When  the  Redskins  Rode   Hall-Castle   8-28  

When  You're  Smiling    (75)   Courtland-Albright   9-50  

Whirlwind   Autry-Burnette   12-18  


EAGLE-LION-CLASSICS 


1948-49  Features 


Completed  (45)     In  Production  (0) 


COMPLETED 

Title— Running  Time 
Alice  In  Wonderland  (A)  .. 
Amazing   Mr.    Beecham  (85) 


RELEASE  CHART 

  1949-50-51   


Cast 

..Marsh-Murray  . 
.  Parker-Matthews 


Details 
.  Foreign . 

.Foreign 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  tij 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  ai 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  tH 
Release  Number.  "Rev."  is  the  issue  in  which  the  Revie> 
appeared.  There  may  be  variations  in  the  running  time 
States  where  there  is  censorship.  All  new  productions  ai 
on  1950-51  programs  unless  otherwise  noted.  (T)  immed 
ately  following  title  and  running  time  denotes  Technicolo 
(C)  Cinecolor,   (TR)   Trucolor,   (A)  Anscolor. 


Blackjack   Marshall-Sanders   

Border  Outlaws  C8,   Cooley-Hart   11-2  

'C'-Man   (75)    .  Jagger-Carraelne 

Cattle   Queen   Hart-Smith   10-23  

Congolaise    (68)    African  Natives   

Cry  Murder  (94)   Mathews-Lord   

Destination  Moon  <T)   Anderson-Archer   11-21  

Eye  Witness    (104)   Montr,omery-Banks   9-1  

Fighting  stallion  <C2)   Edwards-Merriek   Mar  

Flying    Saucer   Conrad-Garrison   

Fo-bldden    Jungle   Harvey-Taylor   

Four   Days   Leave   Wilde-Day   

Glass  Mountain,  The  (90)   Cortesa-Denison   Foreign ...  Hay .... 012 , 

Golden    Gloves   Story.    The   Dunn-Wcsterfall   11-21... War.   .  023. 

Golden  Salamander   (96)   Anouk-Howard   Foreijn .   .  12-1  

Good  Time  Girl   .   Kent-Robson   

Great   Rupert    (86)     Durante-Moore   Mar  019. 

High  Lonesome   <T)   Barrymore   Jr.— Butler    .11-16  June  

Hit  The   Ice   (81)   Abbott-Costello   Reissue  ...  Feb  .  943 

I    Killed   Geronimo   Ellison-Herrick   6-19  

I'll  Be  Seeing  Yo»   Rogers-Cotten   Reissue  

Kangaroo   Kid    (73)   0  Manoncy-Borg   10-22  

Kind  Hearts  and  Coronets  (106)   Guinness   Foreign  

Korea    Patrol   Einory-Fong   10-9  ...1-15  

Lovable  Cheat.  The  (77 1   Juggles-Garner  1-31     4-1  <• 

Mr.    Universe   Carson-Paige   1-10  

My   Brother,  the  Outlaw   Rooney-Hendrix   2-27  

Narcotic  Agent   Henry-Blake   3-27  

Oliver  Twist  (115)   Newton-Guinness   Foreign . . .  1-18  

One  Minute  to  Twelve  (76)   Hanson-Brostrom     ...  Foreign ...  10-1  

Paper  G?llows    <80)   Anderson-Bentley   ....  For  ign  .  .9-22  

Passport  to  Pimlico    .       . .   Rutherford-Holloway     ..Foreign  010. 

Prehistoric  Women   Luiz-Nixon   5-8...  11-1  

Project  "X"    (60)   Colton-Andes   10-7  

Rapture    (79)   Langan-Albiin   

Retecca    (SRO)   Fontaine-Olivier   Reissue .   . Jnlv  

Rogue   River   Calhoun-Lldell   8-14.. 11-15  

Salt  to  the  Devil   Wanamaker-Padovani   Jan. 

Sarumba   (65)   Dowling-Whalen   Jan.... 014. 

Search  for  Danger  (63)   Calvert-Dell   1-3  4-8   

Second   Face,  The   Bennett-Johnson   5-8  . 10-15  

So  Long  at  the  Fair   (iO)   Simmons-Bogarde     ...  Foreign ...  3-29  

Stronghold   Lake-Scott   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27.  .  . 1-22  

Taming  of  Dorothy  (75)   Kent-Beatty   Fore  gn ... 9-29  

They  Were  Not  Divided   Underdown-Clanton    .  .  Foreign ....  2-1  

Timber  Fury  (63)   Bruce-Lynne   2-27  .  June  63. 

Time  Running  Out   Clark-Signoret 


Tinderbox   (C)   Cartoon  Feature   

Torch.   The    (83)   Goddard-Armendarlz   

Two  Lost  Worlds   Eiliott-Arness   

Vicious  Years   Cook-Merritt   

Wicked    City   Montez-Aumont   

Winslow  Boy,  The  (S6)   Donat-Hardwlcke   Forelnn 

When    I   Grow  Up   Preslon-Scott  12-18 

White   Heather   Milland-Roc   

Wind  Is  My  Lover,  The   Lindfors-Kent   

Young  Lovers,  The   Forrest-Brasselle   

Details  under  title:  Never  Fear 


12- 


June 


025 


10-29 . 

; '1-2: 


1948-49  Features 


LIPPERT 


Completed  (45)      In  Production  (1) 


NEW  PRODUCTIONS 

ROARING  CITY 

Adventure— Started  December  28 

Cast:  Hugh  Beaumont,  Richard  Travis,  Virginia  Dale 
Director:  William  Berke 

Story:    Life  in  a  boom  town. 

RELEASE  CHART 

  1919-50-51   


Producer:  William  Berk, 


COMPLETKD 

Title— Running  Time 

Cast 

 Britten-Parker 

Details 

9-25. 

Rel. 

.12-15 

No. 

10-6. 

.4933 

.  Elllson-Hayden    .  . 

4-21. 

.4925 

 Ellison-Haydrn 

 tllison-Hayden 

. .  11-21. 
1-2. 

. . .5-5. 
. .5-19. 

.4926 
.4929 

 Barry-Lowery    .  .  . 

8-11. 

.4932 

Hijacked   

Holiday  Rhythm  

Hostile  Country   

 Oavis-Jones  ... 

 Hugness-street    .  .  . 

.  Ellison-Hayden    .  . 

 5-8. 

 6-5. 

....  12-5 

. .7-14. 
.10-13. 
. . 3-24 . 

.4920 
.4911 
.4927 

20 


FILM  BULLETIP 


I  hoi  Billy  the  Kid  158) 

^■skal   el  Heldorado   

-<jk  at  the  Dragon   

Kr  Patrol  (67)   

•  atlan  Haylilt 

An  at  Jesse  Jaaits  (73) 

&   Helwet.  Tha   

>,  JVesaerati  Men   

fetalis  inder  title:  The  Dalton'i 

t  n    ta  Tombstone 

»    at  Brajos 


.  Barry-Lowery 

 5-8. 

9-8 

Elliscn-Hayden 

■4-8 

928 

Castle-high   

. . 12-18 

.   . .3-13 

.5-12.' 

4923 

Brown-Hayden 

. . . .1-16. 

4-28 

.  4910 

9-8 

4907 

Ed*ards-Brody  . 

!  u-s. 

.  Fotcr-Da«is  .... 

. . . 10-23 . 

.1-5. 

d 

Barry-Lowery 

 5-8 

.9-15. 

.4934 

Elllson-Hayden 

. . . 12-19 . 

. .6-2. 

.4930 

1  METRO 

-COLDWYN 

-MAYER  | 

1048-49  Features 

Completed  (77) 

In  Production  (5) 

RELEASE  CHART 

IN  PRODUCTION 

Title —  Bannlni  Tlmi 

tH  Lady   

L    Is  Better  Than  E«er 

^Questions  Asked   

|.  Yoini  and  Pretty  (T)  .. 
lie  Mat  (T)   


Cast 

. . .  Barrymore-E»ans 
.  .  Tayloi-Parks 
.S»in»an-Dahl 
I  onell-Damone 
,  . .  Gardne--Kcel 

-  1949-50-51  — 


Malta 

. .  12-4 
12-18 
1-1 
. . . 12-4 
12-4 


MIPLETED 

&u   tha   Wide  Missoiri   

■  rican   In  Paris  (T)   

lie  Get  Yoir  Gin   iT)  (10") 
jkialt   Jingle  (112) 

■  Hangover,   The  (82) 
(III  Billdog  Drimmand  .... 

C  .  far  Alar«   

Cu  (96)   

tl'i  Doorway  (84)   

I    1119  (75)   

•tails   inder  title:  Standoff 

■  hess  of  Idaho  (T)   (98)  . 

Base  My  Dist  (T)   

iaar  of  the  Bride.  The  (93) 
Bier's  Little  Dividend   

•  V5?  Th,  ....  Lanza-Birth 

•  tads  For  Marriage  (91)   Jol.nson-G  ayson 

My  Years.   The   (T)    (110)   Stockwell-Beckett 

id  Straliht   

•  A    Big  Country 


Tirner-Pinza   8-14  . 

Kelly-Caron   8-14. 

Hutton-Keel    10-24 

Hayden-Hagen   11-21 

Taylor-Johnson   8-29.. 

Pidgean-Leighton   8-28. 

Young-Sullivan   

Grant-Ferrer   1-16. 

Taylor-Raymond   8-29. 

ir.ompson-neld   3-27  . 

Williams-Johnson   11-7. 

SI  lion-Forrest   11-6. 

Bennett-Tracy   1-30 

Tracy-Taylor   10-23. 

Johnson-Anderson   10-9. 

9-25. 
6-5 
9-26 . 

Bnan-Dahl   9-25. 

All  Star   4-24. 

132,  Flynn-Stockwell   12-19 

L  IriWO'l  Mines   (T)    (102)   Ktrr-uranger   11-/  . 

I,  Without   Passport   (72)   Lamarr-Hodiak   .1-16. 

I.  ef  Her  Own.  A  (108)   Torner-Corey   2-13. 

leejficent   Yankee   (89)   fal.ien-Harding   7-17 

liter  Story    Tha   (104)   Garson-Pidgeon   10-10 

»   Internum   Gable-Hod:av.   8-14 

t..  OMaley  and '  Br! '  Malone  (69)    .  .  . .  Ma  n-wn  tmorc   6-19 

Istery   Street    (93)   Montalban-Forrest   11-21. 

Jit  Vaiee  Yo«  Hear,  The  (82)   Whit  more- Davis   3-13 

Irlders    (T)    (93)   dcCrea-Dahl   8-29 

tan  Love  Son|  (T)    (77)   Williams-Keel   4-24 

Uted  Hills.  The  (T)   Lwic-Kelly   6-19 

M,  In   Love   MillanJ-Hcdiak   12-18. 

ist    Believe    Me   (87)   <err-Johnson   8-1. 

•  Vadis   (T)  .Taylor-Kerr   6-5 

k  Badge  of   Coirage   Murply-Maul III   9-11 

Farmer  and   the   Redhead    (SO)   Powel'-Allyson 

lit  Cross    (90)   Powe:i-Mon:aiba 

iyal   Wedding    <T>   »staire-Powel| 

tier's  Three    (T)   Sranger-Fidgeon 


.4-24 
.3-27 


Joy 

Sdft 
Hov. 


6-19 
.'.6-5 


10-10 
.4-10 
.7-17. 
.11-6 


lipper  Sarprises  His  Wife,  The  (85)  . 

■rs  in  My  Crown   

■user  Stock  (T)  (109)   

re*  Gays  Named  Mike   

ltd*  Little  Words  (T)  (102)   

Please  A  Lady   

•at  of  New  Orleans,  The  (T)  (97) 


.Walker-Leslie   11-21 

.  McCrea-Drew   6-20. 

Garland-Kelly   12-5. 

ftyman-Jolinson   8-14  . 

Astaire-Skelton   12-19 

.Gable-Stanwyck   4-24 

.Grayson-Lanza   1-16. 


_  Weeks  with  Le*e  (T)   (92)   Pcwcll-Montalban   4-10 

Bfcance  Valley  (T)   Lancaster-Walker   6-19 

l»te«  the  Birdie  (70)   Skelton-Britton   5-22 


.  .  Ian 

115. 

12-18 

.  rvov . 

1UJ  . 

.10-9 

..All.. 

.  .37. 

.7-31 

.Sept.. 

.101. 

.9-25 

Feb  .  . 

.  F9. 

.  .  Oct .  . 

.106. 

10-23 

.  Apr. . 

.  .Dac. . 

.ill. 

.  Jily.. 

.  .35. 

..•St.. 

.110. 

! '8-23 

.  Apr.  . 

.3-n 

.  Ore. . 

.112 

l-i 

.  Apr.  . 

'.May.'.' 

.  .  26  . 

.3-^13 

! '.  Mar .  . 

.  .May.  . 

!  !  25 . 

'.'.±-13 

.  Nov  . 

108. 

10-23 

.  Mar.  . 

. Jone. . 

'.'.31. 

! ^5-22 

.  .  .40 

'.'.Am'.' 

..38. 

. .8-14 

.  Feb. . 

...A.|.. 

...36'. 

. .7-17 

.  Cet  . 

.105 

.  .  Se-t .  . 

103. 

.  8-28 

.  .Hoy.  . 

.10-23 

.  .Jan. . 

.  .113 

MONOGRAM 


1949-50  Features  Completed  (28)     In  Production  (0) 

Westerns  Completed  (7)     In  Production  (0) 

Allied  Artists  Completed  (  9)     In  Production  (0) 


RELEASE  CHART 

  1949-50-51   

COMPLETED 

Title—  Rinnlng   Time  Cast  DetaH.  ■el. 

kilene    Trail    (64)   Wilson   9-11  .  2-4 

eeording   to   Mrs.   Hoyle   Byington-Chandler     ...  11-20 ...  2-18. 

rizena    Territory   Wilson-Clyde   6-5.... 7-2. 

ig    Timter   M»eDowell-Donnell   6-19  

lee  Blood  <C)   Willisms-High   9-25  1-28 

lomba  and  the  Hidden  City   Sheffield-England   6-5  

lefliba  and  the  Lost  Volcano   ;heffield-Lwd   3-27... fi-" 

lewery   Battalion   Gorcey-Hall   8-14... 1-21. 

Jail  of  the  Klondike   Grant-Chinook   10-9.  12-17 

aeilry    Scoit    (C)   Cameion-Long   10-9... 2-25. 

taerokee   Uprising    (57)   V.  ilon-Clyde   8-28... 10-8. 

laid  Billets   Brown-Hall   11-20  

iolorado  Ambish   Brown-Hall   10-23 ...  1-14 . 

Jataterteit   DeFoe-King    7-3  

leenty  Fair   (C)   Oalhoun-HIgh   4-24  ... 8-1. 

Father   Makes  Good   Walbirn-Staart   2-27  5-7. 

Fathers  Wild  Game  (61)   Walburn-Gray   10-9  .12-3 

Gil  Sllngers    (55)   Wilson-Clyde   2-13.  .   . 4-9. 

H«t    Rod    (61)   LydOB-Wiattn   8-14.  10-22 

Laeky  Lasers   3oreey-Hall   2-27  .  .  .  5-14 

Jlgr  and  Maggie  Ont  West  (66)   Yile-Riano   4-23. 

Joe  Paiooka  In  Homphrey  Takes  a  Chance.  .  Kirkwood-Errel   3-13... 6-4. 


. 4904 . 
4>05 


4°17 

.5125. 
4»41. 
.4918. 
.4514. 
.4909 
.4912. 


Joe  Paiooka  in  the  Squarid  C  *e'e  (63) 

Kirtwood-Gleaion 

.  11-5 

.5117  

Killer   Shark  (76)   

McDowell-Nerrii 

. .  11-21 

. . 3-19 

4907  

Lion    Henters.  The   

iherneld-Wh.Utld 

.1-1 

Massacre  Valley 

Brown-Terhine 

11-26 

. 4954  

Me«lcan  Sll>er 

Wilson-Clyde  .... 

 6-5 

Modern    Marriage.    A  <66) 

Clarke-Field   

2-13 

10-15 

5199  10-9 

Mystery  of   BerlesejJe  (58) 

Marsh-Prrtwee 

Fori  gn 

4-18 

4926  

Navy  Bound   

Ncal-Toamsy   

11-6 

2-25 

5120 

Outlaw  Gold  (51)   

.  wi  Mam   

7-31 

11-26 

. 4954  

Outlaws  of   Texas  . 

Wilson-Clyde 

.  9-11 

12-10 

Rhythm  Inn   

.  .  Fra/.e-Grant  ... 

12-18 

2-11 

:ii5 

Side    Shew  .... 

dcOilre-Oilllaa 

.  .  .4-10. 

6-1* 

.vr>*   

Sierra  Passage   

.  Mcrris-Hale   

.1-7 

.5107  

Silk  Noete   

Landlv-Calltla 

Reistee 

.  .7-9. 

Snow  Dog     

Grant-Vtrdego 

5-8 

-716 

Satire  Dance  Katy  (76)   

Vagie-Datls   

3-25. 

Details  indir  title:  Murder  la  the  Air 

Trail  Dist   

AlS-right-Winters 

10-23 

12-31 

5107  

Triple  Trouble   

r,orcey-Ha||   

 5-8. 

8-13 

Witness,  The   

Kirkwood-Gleaton 

9-11 

ALLIED  ARTISTS 

Meniere   Rl.rr  (78)   

Details  mder  title:  Wlten  i  Man's  a  Ma* 

Soi'.hside   1-1CO0    (73)   D(Fore-King 

Sltort   Grass   Rod  Cameron 

Stasaede  (78)   Camerea-sterai 

There's  a  Girl  In  My  Heart  (86)  Jean-Fyaa  . 


 11-12  17   

 12-24  18  

10-25       8-1  15  

8-1      1-.0  16  12-19 


PARAMOUNT 


1949-.-)0  Features 


Completed  (45 


In  Production  (4) 


NEW  PRODUCTIONS 

SUBMARINE  STORY,  THE 
Drama    Started  December  28 

Cast:    William   Holden,   William^  Bendix,   Nancy   Olson,  Don 
Taylor 

Director:  John  Farrow  Producer:  Joe  Sistrom 

Story:    Valiant  part  played  by  the  submarine  arm  of  Navy  in  war. 

RELEASE  CHART 

IN  PRODUCTION 


•in. 


Tin 


Here  Comes  the  Groom 

That's    My  Boy   

When  Worlds  Collide 

COMPLETED 

Ace  In  The  Hole  .... 
At  War  with  the  Army 

Branded    (T)  (103)   

jetails   under   title:   Montana  Rises 

Cantaln  China   

Carrie   

Cassino  to  Korea  (59)   

Copper  Canyon   (T)  (85)   


 'roty-W/man 

 Martin-Lews 

......  Derr-Rish 

  1949-50  - 


93 


Drills 

.  12-4 . 
12-18 
1-1 


(85) 


Dear  Brat   

Eagle  and  the  Hawk.  The  (T)  (104) 

Fancy  Pants  (T)  (92)   

Fort  Savage  (T)   

Firles.  Thi  (109)   

Gildberas.  The   

Great  Missouri  Raid.  The 
Last  Outpost,  The  (T) 
Lawless.  The  (83) 
Lemon    Droo   Kid,  Th3 
Let's    Dance    (T)  (112) 
Mating   Season.    The    .  . 

Details  unler  title:   A   Relative  Stranger 

Mr.    Mettle  (108)   

My   Frend   Irma   Gojs  West  (50) 

Ho  Ma!  of  Her  Own  (97)   

Place   in   The   Son.  A   

QaantrHI's   Raiders  (T)   

Oiebee  (T)   

Redhead  and   Ike  Cowboy  <82> 


Ren<lenou 
Saaiton  and  Delilah   it  I 

September  Affair   

Soflvthing  To    Live  For 
Details  under  title:  Mi 
-unset    Boulevard  (110) 

Trie  (91)   

Tripoli    IT)  (95)   


H28> 


.  Martin-Lewis   

1-51 

!  014 

12-18 

Ladd-Fretdman 

!  3-27 

.1-51. 

500) 

12-18 

Payne-Ressell   

.  4-25 . 

2-50 

4911. 

.Olivier-Jones   

9-11 

.  Oocumenlary   

10-50 

5008 

10-9 

.  Milland-Lamarr   

.4-25. 

10-12 

5003 

.8-14 

Heston-Scott   

4-24 

10-50. 

5004 

Freeman-Arnold     .  .  .  . 

.11-6 

.Payne-Flemlaa   

. .8-15 

.6-50. 

.4916. 

.2-13 

Hope-Ball   

. . .7-4. 

.  9-4 

.5001. 

8-14 

.Hryoen-Rush   

12-4. 

.  Stanwyck-Corey   

.  12-5 . 

8-50 

4926 

.  .7-17 

B;rg-Loeb   

8-2  s 

..1-51. 

.5011. 

.  Ccrey-Carey   

6-5 

. .2-51. 

.  5013 

1-1 

.Reagan-Fleming    .  . 

10-23 

Carey-Ressell   

.11-7. 

. .1-50 

4923' 

'.  '.  4I1O 

.  Hope-Maxwell  .... 

. .4-51. 

5C18. 

Hotton-Astairi  .... 

.  7-18 

11-23 

=  006 

'.  .8-28 

1  icrney-und   

.  .  .6-5 

..3-51. 

.5016 

r 

Crosby-Hissey   

11-7 

.12-50 

.5007 

8-28 

.  Wilson-Lund 

2-13 

. . 7-50 . 

4922. 

.  6-19 

itarwyck-lind  . 

6-6 

. .5-50 

.4919 

.  .  2-27 

Clift-Wlntirs   

.10-24 

.  L»d:-Kcnne1y   

11-20 

.  7-3 

. .4-51. 

5017 

.  For-J-'lening  .... 

3-51 

;015 

.  Fo  .tsine-Lond 

. 11-20 

lararr-rate-e  .... 

10-Z3. 

. .3-51. 

.5010 

.11-21 

.  Fon  a  r.e-Cotten    .  .  . 

8-29 

.2-51. 

5012 

.  Fwiiaine-Milland  . 

.  6-5 

and  Mrs.  Anonymojs 

 Holden-Swanson   4-25 .  .  .  8-50  .  .  4927 .  .  .  4-24 

 Simmons-Rennie     ...Foreirn  11-6 

 0  Hara-Payne   3-27.  .11-11  .  5005.  10-23 

Un.rn   Sta  #i    (80.   Helden-Fitzgerald     .      1-30 ...  9-50 ...  1 002 ...  7-31 

Uni'.ed  States   Mail   Ladd-Cal«ert   8-15  

T>»lb   .nder   title:  Pestal  Inspector 
Warpath    (T)   TBricn-Jagger   9-11  


RELEASE  CHART 

  1949-50-51   

Title — Raaalna   Tine  t«.t  I 

All  Qolet  on  the  We;tern  Front   (103)    .  .  .  Ayres-Wolheim   

Beyond    the   Sinset   Ford-O'Brien   

Bowerv    to    B'oidway    (94)   OConndr-Blyta  •• 

Dead  Mans  Eyes  it>4)   Chaney-Partar   

ta,r  Sine  of  Hra.en   188)   Cresby-Blordell   

Flesh  and   Fantasy   (94)   Robinson-Stanwyck 

Follow  the   Boys    (109)   Raft-Dietrleh   

Fraai'd    <60    Albertson  Moore  ... 

FrUeo  Sal    (94)   Foster-Bey   

Goilty  of   Murder    (83)   Sanders-Fitzgerald 

G  p;y   Wildcat    (T)    (75)   Mentei-Hal| 

Her-  Cime  the  Coeds  '50)   ULett-resteHe     .  . 

If   I    Had   My  Way   (93)   Crosby-Jean   

Imitation  of   Life   <109i   Colbert- Bearers  ... 

I  Stale  a  Million  (80)   Raft-Trey  or   


. . . 8-50 . 

..  .5-8. 

. .  2-50 

.  .5-50 
.  .  1-50 
..  4-50 
.  . .  2-50 
.  . .  3-50 
...2-50 
. . . . 6-50 
.  .  .  6-50 


. .1-50 
.12-49 
.  3-50 


Na. 

...027'. 

.  034 
020 
. . .036 
.  023 
.  .  016 

.  022. 
.  041. 
. . .031 

.  032. 
.  .021. 
. . .018. 
. .  017. 


JANUARY   15,  1951 


21 


(Continued  from  Page  3) 

Looking  Over  The  Products 


In  large  measure,  the  *51  program  is  starting  off  in 
the  same  low  key.  Melodramas  abound,  and  the  most 
that  can  he  said  for  many  of  them  is  that  they  offer  the 
exhibitor  exploitation  opportunities.  The  picture  is  not 
all  that  bad,  however.  Several  bright  spots  are  "Story  of 
a  Divorce"  (Bette  Davis),  "It's  Only  Money"  (Frank 
Sinatra-Jane  Russell-Groucho  Marx),  "My  Forbidden  Past" 
(Robert  Mitchum-Ava  Gardner)  and  "Jet  Pilot"  (John 
Wayne ) . 

There  should  be  a  decided  pickup  in  the  quality  of 
RkOs  output,  and  greater  variety,  when  the  Wald-Krasna 
unit  starts  delivering  its  share  of  the  program. 

20TEI  CENTURY-FOX— This  studio  won  1950's  pro- 
duction honors  hands  down  —  and  the  distribution  branch 
performed  a  magnificent  job  in  exploiting  the  great  pro- 
duct it  had  to  sell.  There  were  times  during  the  past  year 
when  exhibitors  felt  that  20th  Century-Fox,  almost  single- 
handed,  was  sustaining  the  industry.  The  program  was 
versatile  and  wonderful.  "Cheaper  by  the  Dozen,"  "Twelve 
O'Clock  High."  '  Broken  Arrow,*"  "Panic  in  the  Street," 
"Jackpot.""  "All  About  Eve/  "No  Way  Out"  is  but  a  meager 
listing  of  the  first-class  product  on  last  year's  schedule. 

The  new  season  is  off  to  a  blazing  start  with  the  top 
war  film  of  the  past  decade,  "Halls  of  Montezuma."  On 
the  agenda  to  follow  are  such  worthy  subjects  as  "Call  Me 
Mister  (Betry  Grable-Dan  Dailev),  from  the  smash  Broad- 
way musical;  "The  Thirteenth  Letter"  (Linda  Darnell- 
Charles  Boyer  ),  "I'd  Climb  the  Highest  Mountain,'  (Susan 
Hayward-William  Lundigan),  "The  Frog  Men"  (Richard 
VVidmark-Dana  Andrews),  "No  Highway"  (James  Stewart- 
Marlene  Dietrich),  "Will  You  Love  Me  in  December" 
(Monty  ^oolleyj.  The  list  also  includes  what  promises 
to  be  one  of  the  screen  s  greatest  spectacles,  "David  and 
Bathsheba"  (Gregory  Peck-Susan  Hayward) . 

The  above  is  enough  to  suggest  that  1951  will  be 
another  banner  year  for  20th-Fox. 

UNITED  ARTISTS— Torn  by  internal  strife  and  beset 
by  financial  problems,  UA  hit  a  low  ebb  last  year.  In 
view  of  the  present  muddled  situation,  it  is  impossible  to 
make  any  sound  prediction  for  1951. 


UNIVERSAL-INTERNATIONAL— Universal  failed 


Keep  'Em  Sl.gging  (61) 

.  . . .5-50. 

.  . .039  

Leather    Pushers  (64) 

 Arlen-Devine   

. . . .4-50. 

. .  037  

. . .028  

...035  

Magnificent    Obsession  (1C3) 
Merry  Monahans  (91) 

 Dunne-Taylor   

. . . .1-50. 

Nightmare  182) 

. . . .5-50. 

Mr.    Dynamite    (68)  ... 

. . .  4-50 . 

. . .033  

. . .038  

Paris    Bombshell  (96) 

 Seott-Rathbone   

...  024  

...015  

. . .042  

...019  . 

Parole  (67)   

Suspect.    The  (85)   

Shadow  of  a  Doubt  (108) 
Sullivans.  The   

 Hunter-Preston   

 Lauohton-Raines 

 3-50. 

 6-50 . 

. . 12-49 . 

1-51 

Tough   As   Thsy   Come  '61) 
Walk    in    the   Sun.  A 

 Dead  End  Kids   

1-5 

. . .5-50. 

. . .040  

Von  Can't  Get  Away  With  II 

29)   Gangster  Documentary 

. . . .3-50 

.030  

1 

REPUBLIC 

- 

1949  50  Features 

Seriais 
Westerns 

(  ompleted  (34) 
Completed  (16) 
Completed  (  8) 

In 
In 
In 

Production  (i) 
ProduHion  (0) 
Production  (0) 

RELEASE  CHART 

IN  PRODUCTION 

Title — Running  Tim. 

("»«•  Details 

Rel. 

No.  R»- 

Fighting   U.   S.    Coast  liuard 

 Donrcvy-Ttcker   

 1-1 

hit  many  high  spots  in  its  1950  program,  but  it  deliverc 
a  reasonably  good,  fairly  well-balanced  program.  Then 
were  definite  signs  that  this  company  was  determined  til 
avoid  the  costly  mistakes  of  two  and  three  years  ag( 
"Class"  pictures  were  taboo  and  the  emphasis  was  shifte 
to  action  melodramas,  Technicolor  westerns  and  mediun 
scale  spectacles.  Economy  was  in  evidence  in  the  produc 
but  the  '50  program  was  exploited  to  make  money  foil 
Universal  —  and  for  exhibitors. 

The  new  year  is  off  with  a  bang.    "Harvey"  should  b  | 
a  great  grosser.    After  that,  the  '51  program  appears  dee, 
tincd  to  settle  down    to  a  good  balance    of  melodrama  | 
westerns,  adventures  and  comedies.    The  studio  is  countin 
heavily  on  "Bonavenlure"  (Ciaudette  Colbert-Ann  Blyth) 

WARNER  BROS.— This  product  last  year  was  loadea 
with  failures  and  near-failures.  There  was  "Backfire"  antj 
"Barricade"  and  "Bright  Leaf."  There  was  "The  Greal 
Jewel  Robber"  and  "Return  of  the  Frontiersman"  an< 
"The  Lady  Takes  a  Sailor."  There  were  below  par  spe 
cials  such  as  Bogart's  "Chain  Lightning,"  the  musical 
"Daughter  of  Rosie  O'Grady"  and  the  eagerly-awaitecj 
"The  Glass  Menagerie." 

That  this  product  still  managed  to  give  Warners  i 
lush  profit  statement  can  be  attributed  directly  to  the  bill) 
liant  talents  of  the  company;s  advertising  -  exploitation 
chief,  Mort  Blumenstock,  whose  high-powered  campaigns 
converted  several  Warner  clucks  into  real  money-makers 

The  new  year  has  started  a  bit  more  impressively 
The  early  releases  are  "Dallas,"  "Highway  301,"  "Opera- 
tion Pacific"  and  "Storm  Warning."  Insofar  as  quality  is 
concerned,  the  best  of  these  is  "Storm  Warning,"  but  it 
will  not  enjoy  general  boxoffice  success.  There  are  severalj 
important-looking  pictures  in  the  backlog:  "Captain/ 
Horatio  Hornblower"  (Gregory  Peck-Virginia  Mayo), 
"The  Enforcer"  (Humphrey  Bogart) ,  "Jim  Thorpe,  All-j 
American"  (Burt  Lancaster),  "A  Streetcar  Named  DesireJ 
(Marlon  Brando-Vivian  Leigh)  and  "Only  the  Valiant'  | 
(Gregory  Peck-WendeU  Corey). 

There  is  ample  room  for  improvement  over  the  1950 1 
program,  and  we  believe  Jack  L.  Warner  is  too  astute  a| 
production  man  to  continue  in  the  rut  of  mediocre  product, 
which  has  plagued  Warners  in  the  past  two  years. 


  1949-50-51   


COMPLETED 

. .4920  

 Carroll-Ralston 

3-13 

. .6-26 

Belle   Le  Grand  

 Rai-ton-Carroll 

.  . .7-31 

. . 1-27 . 

.  5006 

Buckaroo  Sheriff  of  Texas   

 Chanin-Janssen 

. . 1-31 . 

.  5066  

!  .'  .3-21. 

.12-15. 

. . 5005  

 Lane-Waller   

3-25 . 

. .4963  ... 

. .3-13 

. .6-30 

Cuban  Fireball   

 Estelita-Vineent 

. . .9-25 

Death    in   the  Sand   

  Staek-Pag»   

6-5 

Detail,  under  title:  Terror 

6-1 

.4918 

 Patrick-Rockwell 

 Taylor-Patrick    .  .  . 

11-21 

.  3-12 

.  4"11 

.     .  .  .  Lane-Waller   

6-5. 

. . .9-6 

.4967 

Heart  cf   the  Rockies   

Rogers-Edwards 

10-23 

...  5-1 . 

.  .4°r2. 

H  lis  of  Oklahoma   

 Allen— Risdon   .  ... 

1-30. 

MacDona'd-Carroll 

. . . 5-22 . 

.10-15. 

. 5002 . . 11-J 

Dcnning-Long  .... 

.  .  Native  Cast   

7-29. 

.4922  

Patrlek-Eldridge 

4-24. 

8-29 

.4925  

10-20 . 

.5003  

Mining  Women   

 Edwards-Alvin     .  .  . 

.  .11-20. 

2-23. 

.'4974.  "... 

M'-*ourians.  The   

 Hale-Hurst   

8-28. 

11-25 . 

Night   Raiders  of  Montana   

North  of  the  Great  Divide   (C)  ... 

Koocrs-Edwards 

5-22. 

11-15 

.4944  

6-19. 

2-20 

4-10. 

7-29. 

.4973  

9-26. 

12-24 . 

.4971  

Powder    River   Rustlers  (60)   

9-12 . . 11-25 . 

.4961  

Pride  of  Maryland   

 Clements-Stewart 

10-9. 

.  1-20 . 

. 5023  

Prisoners   In  Petticoats   

Perkins-Rockwell 

5-8. 

.9-18. 

. 4929  

Redwood    Forest  Trail   

 Allen-Donnell 

.  .  .11-7. 

9-18 

.4953  

Rio   Grande  (105)   

 Waynt-O'Hara     .  .  . 

. . . .7-3. .11-15. 

. 5004 . . 11-2 

22 


FILM  BULLETIN 


WARNER  BROTHERS 


Isand  Trail   <Ci  <90> 
■  g<i    Riders   of  Durango 
.tiers  on  Horseback 
I    Lake  Raiders 
age  Hcrde.   The  (SO 

in.  The   

<e-  City  Bonanza 

ol   th?  Plains 
isel   in   the  West  (C) 


Tueker-Mara 


'.anr-Waller 


ul  ol  Robin  Hood  (C> 
al   Without  Jiry   

.    Jr.    (Tr.)     . .... 
Mexican  Stars 
inning  Westerner 

Ulante  Hideout   

from  Headquarters 


Elliott-Booth 
f  Iliott-Brennan 
*ll  n-Ebsen 
K.g  r— towa-ds 
floers-Edwards 
Carroll-Mara 

Roqc  s-Ed  *a-ds 
Patrick-Rockwell 
Regers-Evan;  . 

XII  n-?atrick 


9-12  5-18 
10-23  1-30 
7-31  10-23 
.  2-13  .5-1 
5-23  5-22 
8-15 


11-6 
8-28 
3-27 
3-14 


2-5 
9-25 
.9-15. 


7-3  12-15 
.  2-27  .  7-8. 
12-19  6-30 

 11-20. 

 3-31 . 

:-8  8-6 
.  .1-30  9-1, 


20th  CENTURY-FOX 


4914  .5-22 

5058    I 

4968   

496 1   

4"17  7-3 

4924   194Q-50  loaturos  <  omplHt  il  («.>)      In  Production  (I) 

!  504i 

NEW  PRODUCTIONS 

5001  FORT  WORTH  iT) 

4916   Drama    Started  December  26 

^21  Cast:  Randolph  Scott.  David  Brian.  Phyllis  Thaxtei,  Helena 
0954  Carter,  Henry  Hull 

.4^2   "".!  Director:  Edwin  L.  Marin  Producer:  Anthony  Veiller 

.4966   Story:     Historical  drama  of  this  west  Texas  metropolis. 

.4916   

I  WAS  A  COMMUNIST  FOR  THE  FBI 
Drama    Smarted  Ja-iuarv  5 

Cast:    Frank  Lovejoy,  Dorothy  Hart,  Robert  Millican 
Director:  Gordon  Douplas  Producer:  Bryan  Foy 

Story    Semi-documentary  of  inside  workings  of  communism. 


1880  Features 
1049  Features 


Completed  (49) 
Completed  (44) 


In  Product 
In  Product 


I'M 


(  t> 

(0) 


RELEASE  CHART 


IN  PKODUCTION 

Ti-I^Pnn.m,  Tim' 

d   rnd  Bethsheba   

1    Men.  The   


Uccembei? 


IOMPLETED 

1  'll  About  Eve  (138) 
jp  (ne:i:an  Gueilla 
If   Lift.    The  (120) 


Ph.lippire-. 


103 


Two    Co-ririors  En< 


eccK-rlnyward 
.  WiJnnrk-*ndrews 

O'Hara-Lawfard 
.  Wooliy-P-tcrs 

1949-50  

Dav  s-Baxter 
)  Power-Grille 
Clid-Douglas  .. 


r  .f,    Derails   ind»r  title 

'  ir<  of  Pa-adUe    (T)   lordan-Paret 

IBlfJIacfe   Rose.   The   (T)    (120)   Power-Aubrey 

-o<en   Arrrw   (T)    (93)   5tewart-Paoet 

vaitf  pM   *e  Mister    (T)   Grable-Daitey 

ariboo    Trail    (C)   Sco't-Williams 

hea-er  By  Th?  Do:cn   (T)    (85)   Crain-Webb 

eclslon  Before  Dawn   

Details  under  title:  Legion  ol  the  Dam 
Yesterday   


Mcrnll-Basehart 


.12-4  

1-1 

11-20  

1-1 

4-24 

N-v  . 

030 

.10-9 

.4-24 

.  Dec .  . 

C32 

.  8-1 

May 

. . Ul2 . 

8-14. 

,4-51. . 

5-23 

.  .Sept.  . 

.  019. 

.9-25 

.6-^0 

014 

7-3 

7-17. 

.3-51 

9-12 
11-7 
9-25 

.  .A«|. . 
.  .  Apr. . 

009 

.6-1" 
.4-10 

ar  c  I  .. 

drj  (ireball.  The   

ollow  the  Son  .   

atlffl  lor  Heaven's  Sake  (S2>   

aiii  i0"'"1  Honrs   

"61  iunnjhter.  The  (84)   

llien  l»y  Who  Sank  the  Na»y   

falf  Angel  (T)   

;,J.  alls  of  Montezuma.  The  U>  (113 

m:  House  on   Telegraph  Hill   

peri     Can  Get  It  For  Yoo  Wholesale 
1  .  "d  crmb  the  Hi.hest  Mountain  (T) 
Ivl  l  ll   Get  By   (T)  (82) 


Ooc-jrccntary   Sept. 

Rooniy-Tyler   1-30  .  .  Oct. 

Ford-Baxter   10-9...  3-51. 

Wc:ib-Benneti   Dec. 

Douglas-Baschart   -151. 

PfCk-Parker   10-10 ...  July 

Do-jg  as-Carnell   12-18  

Voung-Cot:on   7-17  

Widmnrk-Gardner   6-5 .. .  1-:1 . 

Cartesa-Limdigan   9-11 .  .  .  3-51 . 

Daily-hayward   10-23  

Hrvwarfl-Lundigan   6-5... 2-51. 

Havcr-Lundijan   Oct. 


023 

.033. 


.12-4 
'.  .'5-8 


Tnp 


Ul  1  ove  That  Brute  (85)  .  .  . 
ier)  Man  Who  Cheated  Himself, 

.  Mister  880  (90)   

(til  Mudlark.  The  (99)   

.  My  BIjc  Heaven  (T)  (97) 
?"  |light  and  the  City  '95) 

Ilia  Highway  

.'  .  <o  Way  Out  (106) 

ve  In  the  Riviera  (T)   

.•Panic  in  the  Streets  <i)3> 

m  tawhide   

.carlet   Pen.  The   

Mclla   

igry  |iword  of  Monte  Cristo,  The 


SJ5)   stewan-Medina 


.  .7-3 

Douglas-Peters   7-4. 

Coab-Dall   

McGuire-Lancaster   4-24 

Dunne-Guiness   6-5 .  . 

Grable-Da:iey   12-19. 

.  Tierrey-Widmark   8-29. 

.Stewart-Dietrich   9-25. 


rnell-Widmark 


.11-7 


.Nov. 
.June. 
1-51. 
.  Oct. 


Del 


Sept 


Kaye-Tierney   9-25. 

.  Widmark-Bel   Geddes   1-2. 

.  Power-  Hayward   1-30  

,  O.irncll-Boyer   9-25... 2-51. 

.Sheridan-Mature   Aug. 

.  htontgomery-Corday   9-25... 2-51. 


027 

.031. 
016 


025 
022 


10-23 
. .11-6 
. .5-22 

.' .  9-ii 

.12-18 
.  .  8-2<S 
. .6-19 


rake  Care  ol  My  Little  Girl   (T)   ;ra:n-Ptters   11-6. 

pI|r»o  Flags  West   (T)   Darnell-Wilde   4-24. 

'        Details  under  title:  Trumpet  to  the  Moon 

lllfl  ticket  to  Tomahawk  (T)    (90)   Dailey-Baxter   8-29. 

U.    S.    S.   Teakettle   Cooner-Albert   11-6. 

Where  the  Sidewalk   Ends    (95)   Andrews-Tierney   1-30. 


.  .5-8 
.1-17 


I  UN 

ITED  ARTISTS 

1949-50  Features 

Completed  (28)     In  Production  (0) 

COMPLETED 

RELEASE  CHART 

  1949-50   

Title— Rmnlni 

Lady.  Tl 


Hendrix-E.  O'Brien 


Admiral 

Details   under   title:   The   Iron  Cage 

City  Lights   Ctiaplin-Cherrill 

Cyrano  De  Bergerae   (112)   Ferrer-Powers  . 

D.  0.  A.   (83)   9'Brien-Britton   9-12... 4-21  . 

Great  Plane  Robbery  (el)   Conway-Hamilton   3-10. 

'If  This  Be  Sin    (72)   Loy-Camiilns   9-8 

Iroquois   Trail.   The    (85)   Montgomery-Marshall    .10-24  .  616 

Johnny   One-Eye    (78)   O'Brien-Mc-rris   5-5 

'Men,  The   (85)   Brando-Wright   11-21 ... 8-25 . 

New   Mexico   Ryres-Maxwell   

Once  A  Thief  (88)   Romero-Havoc   1-2  7-7. 

Details  under  title:  Once  Over  Lightly 
Prowler.  The   


7-17    Roadshow    Kr  .11-20 


.7-17 
.8-14 

.9-25 


De  ails  under  title:  Cos 

Queen    For   A  Day   

Scarf.   The  (93)   

Details  under  title:  On 
Second   Woman.  The  (91) 
So  Young.  So  Bad  (91) 
Soand   of   Fury   (90)  . 
Three  Husbands  (78) 

Three   Steps  North   

|  Underworld  Story   


of  Loving 


.  Heflin-Keyes   4-24. 


Young-Drake   Pop  

Henreid-MeLeod   5-26  .  .  Danz .  .  6-19 

.  Lovejoy-Ryan   5-22     . 1-15    Stmn  12-18 

.  Yvilliams-Arden   7-3..  Nov...G-C  

Bridges-Padavoni   7-3  

.    Duryea-Storm   C-E  


TOMORROW  IS  ANOTHKR  DAY 
Drama-  Started  January  3 

Cast:  Ruth  Roman,  Ste\e  Cochran,  Lurene  Tuttlc.  Wallace  Ford 
Director:  Felix  Feist  Producer:  Henry  Blailke 

Story:    Based  on  the  Guy  Endore  Novel.  "Spring  Kill". 


RELEASE  CHART 


'TtOIHTCTION 
' — R"»-ing  Tim' 


COMPLETED 

P.rirht    Leaf  1110)  

Caged   

Caotain   Hiratlt   Ho.-nbower  ITi 

Enforcer.  Th°   

50  Years  Before  Your  Eyes  '"1 
Flame  and  the  Arrow  (T)  <8S' 
God   ll   My   Co-Pilot   (88)  .  .. 

Great  lewel  Robber  (91)   

Jin  Thirpe.  All-American   

K!s;   Tomarow   CoodV/c  (102)   

Lightn.ng    Strikes  Twiie   

North   of  the    Rio  Grande   

Details    under   title:    Culorado  Territory 

Only    The  Valiant   

Raton  Pass   

Return  of  the  Frontiersmen   iT;  (74) 

Streetcar  Named   Desire,  A   

This  Side  of  the  Law  (74)   


Alcatraz    Island  (64)   

Breaking  Point.   The  (97)   

Breakthrough  »91j   

Dallas  (T)  (94)   

Folsom  Story.  The  ...   

Glass  Menagerie,  The  (107 1 

Goodbye,   My  Fancy   

Highway  301  <83)   

Lullaby    of  Broadway   

(Iteration    Pacific  (111)   

Pretty    Baby  (92)   

Rocky    Mountain  (83)   

San   Quentin  (70)   

Storm    Warning  (93)   

Details    under   title:   Storm  Center 

Tea   For  Two   (T)  (98)   

Three   Secrets  (98)   

Travelers.  The   

West  Point  Story.   The  (107)   


4.i'k<r- 


11-6 


12- 


1949.50   

.  .nnper-Nea1 
■"arker-Moorhcan 
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Rogart-Roberts  8-14 

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MeCrea-Mayo   9-27. 

•^ck-Corey   8-14. 

Morgan-Meal   7-31. 

viacRae—  Calhoun   4-25. 

Brando-Leigh    8-28 

Lindfors-Smith   10-25 

1950-51   

Ann   Sheridan   Reissue 

Garfield-Neal   4-10. 

Brian-Agar   6-19. 

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^awnnce-Wyman   11-7. 

Crawford-Young   9-25. 

.  Oochran-Andre   2-13. 

Day-Nelson   9-11. 

.  Wayne-Ncal   9-11 

Scott-Morgan   1-2. 

.  Flynn-Wymore   6-19. 

lonart-Sheridan   Rei*s-e 

.  Kogcrs-Reagan   12-5 . 

Oay-MaeRae   4-10 


7-15 
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6-19 
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6-24 

16-17: 


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010  11-6 

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1-27 
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on 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  N'af)  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa,  —  LOcust  7  4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed    containers    and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 

Member  National  Film  Carriers 


JANUARY   15,  1951 


23 


EVERYWHERE ! 


WHEREVERMLAS  I 
BUSINESS  IS  GREAl 


GARY  COOPER -RUTH  ROMAN 

I  Technicolor 


STEVE  COCHRAN 


RAYMOND  MASSEY 
BARBARA  PAYTON 

Directed  by  STUART  HEISLER 

produced  by  ANTHONY  VEILLER 

Music  by  Max  Steiner  Written  by  JOHN  TWIST 


BULLETI 


JANUARY  29.  1951 


JDE  EXHIHITDfl  SPEAKS 
*fmrub9  Companies 

And  the  Allocation  Evil 

Page  Three 


CxctuMe  QL  BULLETIN  Jeature 


The  Film  Pedtller 
Comes  Into  His  Own 

By  BARNEY  STEIN,  Page  Five 

Coming  Censorship  Struggle 

By  LEONARD  COULTER,  Page  Seven 


/ 

i 

4- 


Produced  by  RUDOLPH  POLK  and  BERNARD  LUBER 
Directed  by  IRVING  REIS  •  Introduction  by  DEEMS  TAYLOR 
Screenplays  by  Liam  O'Brien,  Harry  Kurnitz,  John 
Paxton,  and  David  Epstein  •  A  World  Artists  Production 


"Ready  audiences  everywhere!" 

—  Mot/on  Picture  Daily 

"A  cinch  to  get  fine  response!" 

—  Daily  Variety 

"A  top  offering,  first  rate!" 

—  Film  Daily 

"Should  certainly  prove  a  winner!" 

—  Motion  Picture  Herald 

20th  Century-Fox  with 

great  pride  announces 

the  World  Premiere  at 

the  Park  Avenue  Theatre,  N.Y. 

for  one  of  the  great  musical 

experiences  of  all  time! 


Of 

men 

and 

music 


BULLETIN 


Joe  Exhibitor  Speaks 


L 


THE   GRAB  COMPANI!:.1. 


Vol.  19,  No.  3  January  29,  1951 

Page  Three 


THINK  IT  OVER 

BETTER  THAN  NONE 

**rp,0  toil  for  a  hard  master 
is  bitter,   but  to  have  no 
master  to  toil  for  is  more  bit- 
ter still." — Oscar  Wilde. 


REVIEWS  in  This  Issue 


The  Matinc  Season   17 

Operation  Pacific   17 

Storm  Warning   17 

I'd  Climb  the  Hichest  Mountain   18 

The  Steel  Helmet   18 

Tomahawk   18 

Bedtime  for  Bonzo   19 

Pride  of  Maryland   19 

Operation  Disaster   19 

So  Long  At  the  Fair  19 


■•ILM  BULLETIN— An  Independent  Motion  Pletor* 
Trade  Paper  published  every  other  Monday  by  Film 
Bulletin  Company  Mo  Wax.  Editor  and  Pokliiher. 
BUSINESS  OFFICE:  35  West  53rd  St..  New  York, 
19:  Circle  6-9159.  David  A.  Bader.  Soilness 
Manager.  PU3LICATI0N  -  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa..  Rltten- 
Doase  6-7424:  Barney  Still,  Managing  Editor;  Jack 
Taylor.  PaklieatiM  Manager:  Robert  Heatk.  Clrtt- 
■tioo  Manager.  HOLLYWOOD  OFFICE:  659  Havor- 
cra  An..  Pacing  Palisades.  Calif..  H  i  Hi  lota  8183: 
•v  *llen.  Hollywood  Editor.  Sobsenption  Rata: 
INE  YEAR.  $3.00  In  tko  United  Stat*.:  Canad*. 
14.00:  Earope.  $5.00.  TWI  YEARS.  $5.00  to  tke 
In, ted  Statot;  Canada,  17.50;  Eorooe,  $9.00. 


January  20,  1951 


Mi.  Mo  Wax,  Editor 
Film  Bulletin 


De. 


Enough  has  been  said  and  written  about  the  tough  times  exhibitors  bave 
been  experiencing  for  the  past  year  or  so  to  make  repetition  unnecessary  and 
unwise.  I  am  not  one  of  that  narrow  breed  of  theatremen  who  refuse  to 
acknowledge  that  at  least  some  of  the  distributors  have  found  the  going  a  bit 
rough,  too,  although  most  of  them  seem  to  have  been  weathering  the  storm 
rather  well,  by  way  of  cuts  in  production  costs  and  by  increased  output  by 
their  studios. 

Before  I  register  a  "beef"  that  has  been  bothering  me  and,  I  suspect,  a 
lot  of  my  brethren  in  exhibition,  I  would  like  to  pass  on  this  ray  of  personal 
sunshine  to  the  industry  at  large.  In  my  theatres — and  I'm  hearing  the  same 
from  others — business  has  been  moving  slowly  upward  in  the  last  three  weeks. 
A  particularly  healthy  sign  I  have  noted  is  the  increase  in  the  numbers  of 
youngsters  attending  the  weekend  shows,  more  than  I've  seen  at  the  boxoffice 
in  about  two  years.  They,  and  their  folks,  too,  I  believe,  are  getting  just  a 
wee  bit  fed  up  with  staring  at  that  12  or  14  inch  screen  in  the  parlor,  and 
the  old  urge  to  "get  out  among  people"  is  coming  back.    Anyhow,  let's  hope. 

Now  to  my  "beef".  It's  about  that  old  allocation  evil.  The  sales  man- 
agers of  some  of  the  major  companies  cannot  seem  to  overcome  the  urge  to 
milk  their  customers  dry  by  demanding  top  terms  for  third  bracket  pictures. 
It  s  a  practice  that  has  been  revived  by  the  "Grab"'  companies,  those  distribu- 
tors who  are  always  devising  sales  substitutes  for  product  merit. 

A  couple  of  these  outfits  haven't  delivered  a  real  grade  A  picture  in  six 
months,  yet  in  almost  every  group  they  insist  that  at  least  one  feature  is 
entitled  to  top  money.  And  by  "top  money  '  they  mean  terms  comparable 
to  what  you  pav  Metro  or  Fox  for  real  A  pictures  The  exhibitor's  snuawk 
brings  a  retort  that  if  he  could  pay  Metro's  terms  on  "King  Solomon's  Mines", 
he  can  pay  the  Grab  Company  similar  terms  for  a  picture  that  shouldn't 
be  mentioned  in  the  same  conversation.  The  fact  that  the  Metro  picture 
cost  three  or  four  times  as  much  and  that  it  is  doing  a  great  job  at  the  box- 
office  cuts  no  ice  with  the  guy  who  sets  the  sales  policy  for  the  Grab  Company. 

Every  exhibitor  in  the  country  owes  a  vote  of  thanks  to  companies  like 
Metro  and  20th  Century-Fox  for  keeping  the  business  alive  through  these 
rough  times  with  such  wonderful  pictures.  Personally,  I  bend  as  far  back- 
wards as  my  business  will  allow  to  play  ball  with  those  two  companies, 
because,  the  way  I  figure  it,  my  theatres  would  have  depreciated  a  lot  more 
than  they  did  without  their  products. 

But,  the  gall  of  the  Grab  companies  in  putting  second  and  third-rate 
pictures  in  the  top  bracket  is  more  than  anv  exhibitor  should  take  if  he  wants 
to  keep  his  self-respect.  A  few  days  ago,  I  took  all  I  could  from  one  sales- 
raan,  who  spent  the  better  part  of  an  hour  tryin<r  to  convince  me  that  one  of 
his  company's  $500,000  "specials,"  with  some  "star"  that  I  never  heard  of 
before,  v  as  worth  just  as  much  as  "Halls  of  Montezuma."  I  finally  told  the 
gent  not  to  bother  calling  on  me  again. 

That.  I  think,  is  the  exhibitor's  proper  remedy  for  the  allocation  evil 
as  it's  oracticed  by  those  Grab  companies.  Just  invite  their  salesmen  to  stay 
away  from  your  door. 

If  vou  can  find  a  spare  column  in  vour  worth v  FILM  BULLETIN  for 
this  opinion,  I  hope  it  will  serve  a  useful  purpose. 

Best  wishes  to  you  and  your  crew. 

Sincerely  yours. 
JOE  EXHIBITOR. 


If  you  go  for  the 


"""Joel 

'i 


..PAUL  KELLY 

ISA  UNCHESTER  •  JOHN  EMERY 

Story  and  Screenplay  by  OSCAR  BRODNEY-  Directed  by  LOUIS  KING 
Produced  by  MICHEL  KRAJKE-  A  UNIVERSAL-INTERNATIONAL  PICTURE 


PtfRIEf? 


says: 


*BIGinChica9ofe^ 

BIG  in  Cincinnati  g^J™L 

BIG  in  Louisville 

BIG  in  Providence  [rrencW^Hefty 


BIG 


in  San  Francisco 


'FrenchWVlow 


The  Film  Peddler 
Comes  Mo  His  Own 


A  group  of  men  huddled  under  a  snow- 
covered  canopy  outside  a  hotel  that 
housed  the  city's  Variety  Club  headquar- 
ters. One  was  a  theatreman  —  the  wor- 
ried-looking one — the  others,  his  cronies 
from  various  other  fields  of  enterprise. 
They  were  discussing  a  harried  individual 
who  had  scurried  up  to  the  group,  mutter- 
ed a  few  words  to  the  exhibitor,  then 
melted  back  into  the  softly-lighted,  thick- 
carpeted  lobby  to  duplicate  the  same 
breathless  procedure  with  other  theatre- 
men  who  were  gathered  that  evening  in 
the  Variety  clubrooms. 

"Who  was  that?"  queried  the  insurance 
company  executive.  "He  looks  like  a  four- 
ulcer  man." 

"He's  branch  manager  -for  ," 

the  exhibitor  replied.  "Supervises  three 
or  four  million  dollars  worth  of  business 
per  year  in  his  exchange." 

"Oh,  one  of  those  fifty-thousand-a-year- 
men." 

"Fifty  thousand?  If  he  got  fifteen  thou- 
sand he'd  drop  an  ulcer." 

"Less  than  fifteen  thousand  for  a  guy 
that  handles  three  or  four  million  in  busi- 
ness per  year  doesn't  sound  like  much. 
What's  with  all  those  fat  movie  salaries 
I'm  always  reading  about?"  the  insurance 
man  asked.  "And  wotinell  does  a  film 
salesman  make?" 

Well,  let's  take  a  look  at  just  "wotinell" 
the  film  "peddlers"  do  make,  and  let's  talk 
a  little  about  the  importance  of  their  role 
— and  the  Distributor's  generally — in  the 
industry  scheme. 

Hollywood  Takes  Credit 

Hollywood  has  always  been  notorious 
for  grabbing  off  the  lion's  share  of  credit 
— and  cash — in  the  film  business.  When 
it  turns  out  a  good  picture  that  makes  a 
lot  of  money,  the  production  genius 
throws  out  his  chest  and  takes  a  deep  bow. 
When  it  turns  out  a  picture  that  doesn't 
make  money,  the  expanded  chest  belches 
sulphur  and  brimstone  at  the  "fumbling 
nitwits" — or  words  not  so  polite — who 
failed  to  merchandise  the  picture  proper- 
ly. When  it  turns  out  a  bad  picture — 
well,  nobody's  perfect,  you  know. 

There  would  be  some  justification  for 
Hollywood's  producers  (and  reproducers) 
claiming  the  glory,  disclaiming  the  blame, 
and  commanding  the  fabulous  salaries — 
if  that's  all  there  was  to  the  story.  The 
other  side  of  the  coin,  however,  is  all  too 
seldom  exposed  to  scrutiny.  When  it  is 
turned  over,  it  shines  the  more  brightly 
for  not  having  been  tarnished  with  mis- 
use. 

While  Hollywood  is  the  heart  and  back- 
bone of  the  motion  picture  industry,  Dis- 
tribution, and,  of  course,  Exhibition,  are 
the  lungs,  the  muscles,  the  veins  and  ar- 


Bij  BARNEY  STEIN 


Cxclu^e         BULLETIN  Jeature 


teries,  the  nervous  system  and  all  the 
other  vital  organs  which  make  up  the 
industry  body — including  the  colon  and 
bladder  which  must  toss  off  the  excretions 
and  was  e  that  forms  at  least  some  of 
Hollywood  sou  p  ut.  The  industry's  1  fe's 
blood,  its  pictures,  are  pumped  from  the 
Hollywood  heart  through  the  arteries  of 
distribution  into  the  theatres.  And 
through  the  veins,  returns  the  green 
"blood"  that  keeps  the  heart  beating — 
money  with  which  to  make  more  pictures. 

Thus  Production's  output,  good,  medi- 
ocre and  bad,  must  pass  through  Distri- 
bution's channels  before  a  single  dollar 
can  come  back  to  finance  more  produc- 
tion. The  bad  pictures  must  be  made  to 
pay  off  so  that  more  good  pictures  can  be 
made.  Distribution  must  salvage  and 
make  profitable  the  mediocre  and  poor 
films  that  must  necessarily  be  included 
in  the  400  or  500  pictures  ground  out  an- 
nually in  the  Hollywood  film  factories  to 
supply  the  needs  of  the  nation's  theatres. 
The  multi-million  dollar  failures  must  be 
compensated  for  through  painfully  eking 
out  profits  from  smaller-budgeted  p~oduet. 

While  this  is  a  herculean  task  in  itself, 
it  is  a  problem  that  is  snoou-'terel  in  mmv 
other  industries  by  the  distribution  forces. 
What  makes  the  fim  industry  salesman's 
job  unique — from  the  general  sales  man- 
ager down  through  division  manager,  dis- 


DAVID  BEZNOR 


Colosseum's  Guiding  Light 


trie;  manager,  branch  manager,  sales 
manager,  and  exchange  salesman  is  the 
fact  that  he  has  to  sell  to  thousands  of 
individual  accounts  between  30  and  60 
separate  commodities,  each  of  which  is  a 
brand  new  item,  WITHOUT  A  LIST 
PRICE! 

He  is  a  pitchman  selling  a  "surprise" 
bag  containing  a  new  and  untested  piece 
of  merchandise.  He  must  haggle  over  each 
picture  with  each  buyer.  He  must  make 
deals  that  will  satisfy  the  customer  and 
prove  profitable  to  his  company.  He  must 
convince  the  theatre  ow,?r  that  the  lat- 
ter is  being  offered  a  "different"  piece  of 
merchandise  than  something  he  has  pre- 
viously bought  with  similar  trappings. 
And,  after  he  sells  the  exhibitor,  he  must 
convince  a  flock  of  hard-bitten  superiors 
that  the  customer  isn't  taking  the  shirt 
off  his  back. 

Block  Booking  Simpler 
In  the  days  of  block  booking,  the  pro- 
cedure was  simpler,  more  condensed.  The 
theatreman  bought  an  entire  year's  out- 
put, the  contract  was  consummated  at 
stipulated  prices  and  the  bulk  of  the  work 
was  concentrated  into  five  months  of  the 
year.  Deals  were  set  between  June  and 
October  for  the  following  season's  prod- 
uct. By  Fall,  the  selling  job  was  over. 
The  only  customer  demands  made  on  the 
distributor  were  for  an  occasional  cancel- 
lation, fill-in,  adjustment  of  price. 

How  much  more  difficult  is  the  sales- 
man's job  today!  The  complexities  that 
have  arisen  in  the  decade  since  block 
booking  was  outlawed  by  court  decree 
point  up  distribution's  increased  impor- 
tance in  the  industry  present  modus  op- 
erandi. Film  selling  now  is  a  'round-the- 
calendar  job,  month-to-month,  week-to- 
week;  there  is  no  respite,  little  time  for 
vacation.  That  goes  for  the  entire  Distri- 
bution arm  of  the  business. 

Elimination  of  certain  trade  practices 
like  franchises,  formula  deals,  master 
agreements;  clearance  restrictions;  a  ban 
on  conditioning  the  sale  of  one  film  on 
another;  selling  theatre  by  theatre  and 
picture  by  picture;  and  that  universally 
despised  monstrosity,  competitive  bidding 
— have  all  combined  to  make  the  selling 
job  a  complicated  and,  often,  precarious 
process.  From  the  lowest  salesman  to 
the  top  executive,  the  film  company's 
sales  force  must  become  familiar  with  all 
the  do's  and  don't's  lest  they  run  afoul 
of  the  law. 

With  divorcement,  the  distributor's 
function  obviously  increases  even  further 
in  complexity  and  importance.  Thousands 
of  theatres  that  were  once  automatic  cir- 
cuit playdates  have  joined — or  will  soon 

(Continued  on  Next  Page) 


JANUARY   29,  1951 


5 


The  Film  Peddler 


(Continued  from  Preceding  Page) 
enter — the  ranks  of  individual,  independ- 
ent theatre  customers. 

The  primary  role  now  being  played  by 
the  film  "peddler"  has  focussed  attention 
on  the  organization  which  has  champion- 
ed his  cause — the  Colosseum  of  Motion 
Picture  Salesmen. 

Now  boasting  approximately  one  thou- 
sand members,  comprising  the  non- 
executive sales  forces  of  the  ten  principal 
film  companies  throughout  the  country's 
exchanges,  the  Colosseum's  brief  but 
stormy  existence  has  firmly  establishe  I  it 
as  the  official  representative  of  the  flm 
salesman,  first  in  the  industry's  history. 

Prior  to  1945,  the  film  salesmen's  sole 
claim  to  organizational  activity  was  in 
the  form  of  clubs,  like  the  Reel  Fellows, 
Motion  Picture  Associates,  etc.  Exclusi- 
vity was  not  one  of  their  characteristics. 
Members  included,  in  addition  to  the  sales- 
men, sales  managers,  branch  heads,  and 
even  a  generous  sprinkling  of  independ- 
ent exhibitors.  That  year,  however,  a 
picture  peddler  from  Atlanta,  Frank  Sal- 
ley,  organized  the  first  loge  of  the  Colos- 
seum to  represent  film  salesmen  in  their 
dealings  with  the  film  companies. 

Sparked  by  Salley's  action,  a  San  Fran- 
cisco loge  was  formed  and  the  idea  caught 
fire.  By  the  end  of  1945,  enough  support 
had  been  engendered  to  hold  a  convention 
in  Chicago.  Plans  were  made  for  the  for- 
mation of  film  salesmen  into  a  national 
organization  that  would  cover  the  coun- 
try's exchanges.  Within  a  year,  13  loges 
were  operating,  to  the  discomfiture  of 
those  film  company  executives,  who,  at 
first,  pointedly  ignored  the  organization 
of  the  loges. 

In  1947,  the  Colosseum  retained  a  Mil- 
waukee attorney,  David  Beznor,  as  its 
general  counsel,  and  demanded  recogni- 
tion as  the  bargaining  representative 
for  all  the  film  salesmen.  When  the  Na- 
tional Labor  Relations  Board  in  1948 
stamped  its  certification  on  the  Colosseum 
as  bargaining  agent  for  all  the  motion 
picture  salesmen  employed  by  major 
companies,  the  distributors  finally  sat 
down  to  negotiate  with  the  organized  film 
peddlers. 

Salley  Tragedy 

It  was  four  years,  almost  to  the  day, 
from  the  creation  of  that  first  loge  in 
Atlanta  that  Frank  Salley  stood  before 
the  1948  convention  of  the  Colosseum  and 
listened  to  the  cheers  of  the  men  for 
//horn  he  had  fought.  His  dream  had 
become  a  reality.  After  that  first  general 
meeting,  the  Colosseum's  leaders  retired 
to  the  hotel  room  headquarters  for  a 
caucus.  Congratulations  were  being  ex.- 
changed  and  plans  for  future  sessions 
were  being  laid  when  Frank  Salley  sud- 
denly slumped  across  a  table,  victim  of 
a  heart  attack.  The  founder  of  the  Col- 
osseum was  dead. 

The  fruits  of  his  battle  were  already 
down  on  paper.  The  first  contract  won 
by  the  Colosseum  provided  for  a  $10  sal- 
ary increase,  maintenance  of  member- 
ship, an  increase  of  mileage  allowance  to 
7M:c  per  mile  and  several  improvements 
in  the  employment  conditions  of  film 
salesmen. 

General  Counsel  Beznor  recalls  ihe  dis- 


HARRIS  WYNN 

Colosseum  President 


tributor's  attempts  to  "thwart  the  growth 
of  the  organization."  While  the  compan- 
ies' resistance  "took  form  in  many  ways, 
it  was  never  sufficiently  overt  to  admit 
of  sufficient  evidence  to  establish  an  out- 
right violation  of  the  labor  laws." 

When  a  referendum  on  the  union  shop 
provision  indicated  the  futility  of  at- 
tempting to  talk  the  salesmen  out  of  the 
Colosseum,  the  film  companies  accepted 
the  inevitable  with  apparent  good  grace. 
The  film  lawyers,  however,  extraordinary 
loophole-finders,  went  to  work  on  the 
contracts.  Says  Beznor:  "They  began  to 
examine  the  contract  with  a  magnifying 
glass  with  a  view  to  cutting  corners  and 
eliminating  the  increases  which  they  had 
granted  under  the  terms  of  the  contract. 
Constant  policing  of  the  contract  was  re- 
quired to  avoid  misinterpretations  of  its 
provisions  and  to  make  available  to  all 
of  the  film  salesmen  the  benefits  of  the 
contract." 

Apparently,  the  "policing"  was  not 
totally  effective.  A  loophole  big  enough 
literally  to  drive  a  car  through  ran  down 
some  of  the  salesmen's  gains. 

Salesmen  had  been  using  their  person- 
al automobiles,  usually  middle-priced 
cars,  to  cover  their  territory  and  were 
turning  in  the  customary  expense  ac- 
count. If  there  was  a  bit  of  padding,  here 
and  there,  the  companies  understood  and 
accepted  the  time-honored  tradition  of  the 
"swindle  sheet." 

Shortly  after  the  7%c  mileage  allow- 
ance had  been  won,  a  film  company  an- 
nounced that  it  would  furnish  company- 
owned  transportation  to  their  salesmen, 
thus,  of  course,  eliminating  the  car  al- 
lowance. The  salesmen  of  that  company 
were  furnished  "stripped-down  Fords", 
the  firm  paid  bills  for  gas,  repairs,  etc., 
directly.  In  addition,  the  Colosseum 
claimed  that  salesmen  sustained  a  serious 
loss  as  a  result  of  being  forced  to  sell 
automobiles  they  had  bought  for  use  in 
their  jobs.  The  next  contract  carried  a 
provision  reguiring  four  months'  notice 


to  salesmen  before  furnishing  company- 
owned  transportation. 

The  Colosseum,  like  other  labor  groups, 
has  those  among  its  ranks  who  feel 
that  they  are  no  better  off  than  they 
were  before,  despite  the  assured  gains 
since  its  inception.  Whether  the  long- 
range  benefits  will  eliminate  these  gripes 
is  a  matter  only  time  will  decide. 

The  organization's  leaders,  president 
Harris  Wynn  of  Atlanta,  secretary  N. 
Provencher  of  Milwaukee,  vice-presidents 
William  Warner  of  Los  "Angeles  and  A. 
Ted  Mendenhall,  Des  Moines,  and  treas- 
urer Tom  McKeam,  of  Oklahoma  City, 
feel  firmly  that  the  Colosseum's  function 
is  "not  only  to  better  the  lot  of  the  film 
c~lesmen,  but,  in  its  day-by-day  pursuit, 
to  improve  the  relationship  of  the  sales- 
men, employers  and  exhibitors,  and, 
generally,  to  promote  the  cause  of  good 
will  of  the  public  toward  the  motion 
picture  industry." 

Distribs  'Moral  Responsibility' 

At  present,  the  organization  is  girding 
itself  for  another  tug  'o  war  with  the 
employers.  The  present  $85  per  week 
minimum  for  salesmen  with  more  than 
one  year's  experience,  plus  an  $8-$9  per 
day  on-the-road  allowance,  is  woefully 
below  the  zooming  cost-of-living  during 
the  period  since  the  last  contract  was 
negotiated  in  1949,  the  Colosseum  feels. 
Beznor's  request  to  the  distributors  last 
December  for  an  immediate  increase  in 
the  on-the-road  rates  to  conform  with  the 
"spirit"  rather  than  the  letter  of  the 
agreement,  which  runs  to  April  15,  1951, 
either  has  fallen  on  deaf  ears,  or  has  been 
flatly  rejected. 

In  the  general  counsel's  opinion,  the 
distributors  are  "violative  of  moral  re- 
sponsibility to  their  salesmen"  by  re- 
fusing even  to  discuss  the  Colosseum's 
request.  "Future  circumstances  and 
events  may  well  reveal  errors  in  their 
judgment,  he  adds.  The  Colosseum's 
battle  to  win  advances  for  the  film  "ped- 
dlers" is  a  perfectly  logical  manifesta- 
tion of  the  salesman's  increasingly  vital 
role  in  the  movie  business  as  it  has  been 
reconstructed  by  the  courts  of  the  land, 
and  as  it  is  constituted  today.  More 
than  ever  before  in  the  industry's  history, 
the  spotlight  is  on  the  sales  branch.  True, 
Hollywood  bears  the  burden  of  meeting 
the  advancing  entertainment  tastes  of  a 
more  discriminating  public,  but  the  pres- 
sure is  even  greater,  on  the  sellers  and 
merchandiser?  of  films.  "Wholesale" 
buying  of  pictures  has  been  decreed  il- 
legal and  the  ready-made  market  for 
movies  is  out.  The  salesman  has  had 
to  adopt  new  and  fresher,  more  advanced 
selling  techniques,  for  he  is  coming  face- 
to-face  with  the  same  customers  ten  or 
twenty  times  a  year— not  just  once. 

All  the  way  down,  from  Distribution 
bigwigs  like  Bill  Rodgers  and  Andy 
Smith  to  the  ex-booker  who  has  j  ust 
moved  into  his  first  peddling  job  deep  in 
the  hinterland  film  exchange,  salesman- 
ship has,  of  necessity,  been  reborn.  Its 
value  should  be  properly  recognized  by 
the  men  who  make  filmdom's  policies. 


6 


FILM  BULLETIN 


'The  ijtiracle'  GaUeA  A  %AA 


The  Coming  Censorship  Struggle 


When  Francis  Cardinal  Spellman  of 
New  York  protested  against  the  showing 
of  Rossellini's  "The  Miracle"  at  the  Paris 
Theatre  early  in  January,  where  it  form- 
ed part  of  an  omnibus  feature  entitled 
"Ways  of  Love",  it  was  obvious  that  the 
Catholic  Church  in  America  had  embark- 
ed on  a  new  crusade;  an  overhauling  of 
the  censorship  machinery  on  a  national 
scale. 

It  is  no  mere  coincidence  that  the 
Cardinal's  action  coincided  with  Eric 
Johnston's  vigorous  campaign  on  behalf 
of  the  Motion  Picture  Association  of 
America  for  less  censorship,  not  more. 
Johnson  argues  that  films  are  entitled 
to  the  same  freedom  as  the  Press  has 
traditionally  enjoyed.  Nonetheless,  it 
cannot  be  said  that  the  MPAA  is  at 
loggerheads  with  the  Catholic  Church, 
for  Cardinal  Spellman's  objection  to 
"The  Miracle"  was  based  on  religious 
considerations,  and  the  MPAA  code  spec- 
ifically provides  that  no  seal  shall  be 
granted  to  a  movie  which  discredits  re- 
ligion. ... 

What  Is  Censordble? 

What  makes  the  issue  of  vital  import- 
ance to  the  industry,  however,  is  that  if 
a  new  policy  of  film  censorship  is  to 
result  from  the  pressures  now  being  ap- 
plied, and  one  is  certainly  overdue— the 
responsibilities  for  censorship  should  re- 
main -with  those  who  make  and  show 
motion  pictures. 

In  the  name  of  "purity"  some  quite 
fantastic  steps  have  been  taken  in  the 
past.  On  one  occasion  the  International 
Anti-Cigarette  League  petitioned  the  Hays 
Office  with  a  view  to  having  cigarette- 
smoking  by  women  in  films  banned  as 
"the  accompaniment  of  discreditable 
character."  The  Ohio  censors  once  in- 
sisted on  cuts  being  made  in  "Hands 
Across  the  Table" — remember  it? — be- 
cause it  showed  Fred  MacMurray  in 
shorts  while  pressing  his  pants.  New 
York's  censors  passed  Mae  West's  "Go 
West  Young  Man"  without  alteration, 
but  Pennsylvania's  deleted  a  number  of 
lines.  Massachusetts  okayed  "Fury"  as 
screened,  but  Ohio  did  not.  Boston's 
censors  insisted  on  Shakespeare's  im- 
mortal lines  being  tampered  with  before 
"Henry  V"  could  be  exhibited  on  Sundays. 
More  recently  a  San  Francisco  theatre 


By  LEONARD  COULTER 


Cxclu^e  tfk  BULLETIN  ?eatufe 


—Wide  World  Photo. 


'MIRACLE'  PICKETS 

"Religious  Mockery" 


manager  was  arrested  because  he  showed 
"The  Outlaw." 

Americans  may  gather  some  consola- 
tion, however,  from  the  fact  that  the 
censorship  virus  io  not  peculiar  to  them. 
Just  before  the  war  the  Italian  State 
Censors  rejected  "The  Adventures  of 
Marco  Polo"  and  were  persuaded  to  give 
it  a  seal  only  after  the  Venetian  globe- 
trotter, after  whom  the  picture  was 
titled,  was  renamed  "MacPool." 

New  System  Needed 

Such  are  the  vagaries  of  film  censor- 
ship that  it  is  high  time  the  motion 
picture  industry  itself  tackled  the  task 
of  formulating  a  new  system,  a  system 
which  would,  for  instance,  prevent  such 
people  as  New  York's  City  License  Com- 
missioner Edward  T.  McCaffrey  from 
threatening  to  withhold  an  exhibitor's 
licence  because  he  had  personal  objections 
to  a  film. 

That  is  what  happened  over  "The 
Miracle."  On  December  12  last,  "Ways 
of  Love"  opened  at  the  Paris  Theatre  in 
New  York,  and  immediately  earned  the 
critics'  praise.  It  had  been  officially  ap- 
proved by  the  Motion  Picture  Division  of 


the  State  Education  Department.  On 
December  23,  however,  License  Commis- 
sioner McCaffrey  notified  ihe  vheatre  (hat 
he  found  the  film  "blasphemous"  and 
would  have  to  consider  withdrawing  the 
Paris  license  unless  it  was  taken  off  im- 
mediately. 

Under  so  powerful  a  threat,  the  ex- 
hibitors made  a  hurried  substitution,  but 
the  distributor,  Joseph  Burstyn,  was  not 
so  easily  cowed.  He  promptly  announced 
he  would  fight  Commissioner  McCaffrey, 
and  went  to  Court  on  December  29  for 
an  injunction.  The  same  day  Commis- 
sioner McCaffrey  raised  his  ban,  pending 
a  judicial  decision,  and  the  Paris  Thea- 
tre's boxoffice  take  immediately  rose 
from  $10,000  to  $18,000  a  week. 

High  Court  Rules 

When  the  case  came  before  Supreme 
Court  Justice  Steuer  everyone  avoided 
discussion  of  whether  or  not  "The 
Miracle"  was  blasphemous,  and  con- 
cerned themselves  with  the  legal  argu- 
ment of  whether  the  Licence  Commission 
could  censor  motion  pictures.  The  judge 
delivered  a  firm,  clear  negative.  Only 
the  Education  Department  had  power  to 
determine  whether  a  film  was  indecent, 
sacreligious  or  immoral,  he  said,  and  any 
local  law  purporting  to  give  a  municipal 
officer  such  regulatory  powers  over  a 
licensed  film  must  be  null  and  void. 

That  seemed  to  dispose  of  the  matter, 
but  a  few  days  later  Cardinal  Spellman 
called  on  every  Roman  Catholic  in  Am- 
erica to  boycott  "The  Miracle"  and  to 
join  in  an  attempt  to  change  Federal 
and  State  censorship  laws  so  as  to  make 
it  impossible  for  anyone  "to  profit  finan- 
cially" from  the  production  of  similar 
films.  He  criticised  the  State  Education 
Department  for  approving  the  picture  and 
said  the  Department's  Motion  Picture 
Board,  headed  by  Dr.  Hugh  M.  Flick, 
should  be  censured  for  "insulting  millions 
of  people." 

The  Legion  of  Decency,  he  declared, 
had  labelled  the  film  "a  mockery  of 
Christian  religious  truth."  The  Pontifical 
Film  Commission  in  Rome  had  condem- 
ned it. 

The  very  day  on  which  the  Cardinal 
issued  his  statement,   Auxiliary  Bishop 
Joseph  F.  Flannelly,  announced  that  the 
(Continued  on  Next  Page) 


JANUARY   29,  1951 


The  Coming  Censorship  Struggle 


(Continued  from  Preceding  Page) 

Catholic  Welfare  Conference,  headed  by 
Coadjutor  Bishop  William  A.  Scully,  of 
Albany,  would  ask  the  Legislature  to 
strengthen  the  State's  censorship  laws. 
Members  of  various  Catholic  organiza- 
tions began  picketing  the  Paris  Cinema. 

Joseph  Burstyn,  heartened  by  his  court 
victory,  produced  photostats  of  documents 
purporting  to  show  that  "The  Miracle" 
had  not  been  disapproved  by  the  Vatican. 

Approved  In  Italy 

They  consisted  of  a  signed  statement  by 
the  President  of  the  Council  of  Ministers 
in  Rome  saying  the  film  was  approved  by 
the  Italian  Government,  an  affidavit  by 
the  Director  of  the  Venice  Film,  Festival 
declaring  it  would  not  have  been  screened 
if  it  had  been  blasphemous,  and  a 
sworn  statement  by  the  President  of  the 
Italian  Motion  Picture  Industry  Associa- 
tion that  the  film  had  been  approved  for 
exhibition  by  all  the  proper  authorities. 
"It's  my  impression",  Burstyn  said,  "That 
the  Legion  of  Decency  is  trying  to  estab- 
lish itself  as  the  official  censor  for  the 
City  of  New  York." 

In  Albany,  John  J.  Jehu,  Director  of 
the  State  Education  Department,  admit- 
ted he  had  been  requested  to  "suggest 
a  reconsideration  by  the  Board  of  Re- 
gents" of  the  license  granted  to  the  film, 
and  said  his  experts  were  examining  the 
law.  The  City  of  New  York  meantime 
announced  it  would  appeal  the  temporary 
injunction  granted  by  Justice  Steuer. 
Commissioner  McCaffrey  added  that  he 
would  be  remiss  in  his  duty  if  he  did 
not  press  the  appeal. 

Best  Foreign  Film 

Yelps  of  protest  were  heard  immediate- 
ly from  the  American  Civil  Liberties 
Union  and  the  Authors'  League  of  Am- 
erica. They  were  supported  by  the 
American  Book  Publishers'  Council,  the 
Society  of  Authors'  Representatives,  the 
Theatre  Library  Association  and  a  long 
list  of  civic-minded  individuals,  including; 
Rex  Stout,  Howard  Barnes,  Russel 
Crouse,  John  Henry  Chamberlin,  William 
L.  White  and  Sigmund  Spaeth. 

Two  prominent  Protestant  clergymen, 
John  Haynes  Holmes  and  Donald  Har- 
rington, his  successor  as  minister  of  the 
Community  Church  of  New  York,  signed 
a  petition  to  the  Board  of  Regents  re- 
minding them  that  "The  Miracle"  had 
been  given  the  New  York  Film  Critics 
Award  as  the  best  foreign  film  of  1950, 
and  adding:  "Revoking  licenses  at  the 
instance    of    private    pressure  groups 


MAGNANI  IN  'THE  MIRACLE' 

Blasphemous? 

would  permit  them  to  dictate  what  other 
Americans  may  or  may  not  see  or  hear." 

Unperturbed,  the  Board  of  Regents — 
the  governing  body  under  which  the 
State  censor  board  operates — proceeded 
to  do  its  duty.  On  January  19  it  voted 
unanimously  to  direct  the  distributors  of 
the  film  to  show  cause  at  a  hearing  on 
January  30  why  licenses  to  exhib  the 
film  should  not  be  cancelled  on  the  ground 
that  it  is  sacriligious. 


Music  Hall  Award 

This  decision,  it  should  be  noted,  did 
not  say  the  film  is  sacriligious  in  the 
Regents'  opinion,  but  it  followed  a  recom- 
mendation by  a  sub-committee  of  the 
Regents  that  the  licenses  be  revoked. 
The  members  of  the  sub-committee  are 
William  J.  Wallin,  a  Protestant,  John  F. 
Brosman,  a  Roman  Catholic,  and  Jacob 
L.  Holtzmann,  a  Jew. 

Next  phase  of  the  struggle  engulfed 
the  New  York  Film  Critics  and  G.  E. 
Eyssell,  Managing  Director  of  Rockefel- 
ler Center.  The  critics  had  planned  to 
present  their  "best"  awards  in  Radio  City 
Music  Hall.  "The  Miracle",  as  part  of 
the  "Ways  of  Love"  trilogy,  had  been 
cited  by  them  the  best  foreign  film  of 
1950. 

Mr.  Eyssell,  having  received  a  private 
tip  that  there  might  be  a  Catholic  boy- 
cott of  the  Music  Hall  if  he  allowed  the 
awards  to  be  presented  there,  hurried  to 
consult  the  Critics'  president,  Howard 
Barnes  of  the  Herald-Tribune,  and  the 
vice-president,  Bosley  Crowther,  New 
York  Times.  Barnes  assured  him  that  the 
Chancellor  of  the  Archdiocese  of  New 
York,  Msgr.  Walter  P.  Kellenberg,  had 


said  that  there  would  be  no  Catholic 
objections  if  the  awards  were  made  as 
planned. 

Kellenberg  Denies 

But  Msgr.  Kellenberg  denied  emphatic- 
ally having  told  Mr.  Barnes  any  such 
thing.  Hoping  to  clear  up  the  confusion, 
Bosley  Crowther  telephoned  Kellenberg, 
and  reported  him  as  having  replied  he 
had  "no  desire  to  discuss  the  matter  with 
anyone"  except  Mr.  Eyssell.  Eysell's  re- 
tort was  that  he  had  sought  an  interview 
with  Msgr.  Kellenberg,  but  without  suc- 
cess. 

In  view  of  the  possibility,  therefore, 
that  the  Music  Hall  management  might 
find  itself  behind  a  Catholic  picket  line, 
the  Critics  decided  to  switch  the  venue 
of  their  Award  presentation  ceremony 
to  another  place,  though  stressing  that 
"Ways  of  Love"  would  still  be  honored 
"on  whatever  occasion  can  now  be  ar- 
ranged." 

What  does  all  this  add  up  to  as  far 
as  the  film  industry  is  concerned?  In  the 
opinion  of  this  writer  "The  Miracle", 
which  is  an  artistic  triumph  for  Anna 
Magnani,  its  star,  is  a  blasphemous  film, 
in  the  sense  that  it  is  anti-religious.  It 
tells  the  story  of  an  insane  peasant  wo- 
man who  is  seduced  by  a  stranger  whom 
she  imagines  to  be  St.  Joseph.  Spurned 
by  the  villagers,  ignored  by  the  church, 
she  bears  her  child  in  torment  alone, 
under  the  impression  that  she  has  con- 
ceived miraculously. 


No  'Hate"  Films 

The  essential  point  is  not  whether  the 
picture  is  anti-Catholic,  any  more  than 
whether  it  is  anti-Jewish  or  anti-Protest- 
ant. It  is  the  kind  of  movie  which  must 
offend  the  suceptibilities,  and  touch  on 
the  beliefs,  of  millions  of  people  in  the 
United  States  who  are  more  concerned 
with  religious  fundamentals,  the  act  of 
faith  itself,  than  they  are  with  religious 
sectarianism. 

The  kind  of  picture  which  sows  more 
hate  in  this  hate-ridden  world,  which 
tends  to  undermine  the  decent  philoso- 
phies of  life,  isn't  the  kind  of  movie 
which  the  exhibitor  can  be  proud  of 
showing. 

If  the  industry  accepts  this  premise, 
and  bears  it  constantly  in  mind  during 
the  coming  struggle  for  censorship 
changes,  it  will  be  entitled  to  claim  the 
right  to  control  and  govern  film  censor- 
ship for  itself,  and  to  tell  every  outside 
group  which  attempts  to  deprive  it  of 
that  right  to*  go  to  blazes. 

FILM  BULLETIN 


IT  TAKES  46  MUSCLES  TO  FROWN ! 


> 


IT  TAKES  ONLY  22  MUSCLES 

and  M-G-M  Pictures 
TO  SMILE! 


HOW  TO  HAVE  FUN  IN  FIFTY- ONE!  Turn  the  page 


THE  SMILING 
LION  COULD  REST 
ON  HIS  LAURELS 
BUT  THERE'S  WORK 
TO  BE  DONE! 

( with  a  smile!) 


OF 

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r  '6*  Of 

UtPby  an  sons 


Object  <Th 


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Let' 


long  71, 

be  real;         re  *»—  ^ 
off  ***** 

Sin*„_     8tesolve^.  ^ts  tell 


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eat. 
9  Per. 


"That's  good 
Horse  Sense 

from  publisher 
Ben  Shlyen." 


>OOD  CHEER  ON  THE  SCREEN!  TURN  HERE! 


~^^^«ODUCT,  METRO  M 

V    nev  ProdUC  '    for  _ 
BETTER  THA^  ^ 


BE  HAPPY!  GO  LEO! 


Now  Playing 


February 


M-G-M  Presents 

"PAGAN  LOVE 
SONG 

STARRING 

ESTHER  HOWARD 
WILLIAMS  KEEL 

COLOR  BY 

TECHNICOLOR 

Screen  Play  by 
Robert  Nathan  and  Jerry  uav.s 
Based  on  the  Book  "Tahiti  Landfall" 
by  William  S.  Stone 
Music  by  HARRY  WARREN 
Lyrics  by  ARTHUR  FREED 

Directed  by  ROBERT  ALTON 
Produced  by  ARTHUR  FREED 


Now  Playing 


M-G-M  Presents 

VAN  KATHRYN 
JOHNSON  *  GRAYSON 

IN 

"GROUNDS  FOR 
MARRIAGE" 

PAULA  BARRY 
RAYMOND  "  SULLIVAN 

Lewis  STONE- Reginald  OWEN 

A  ROBERT  Z.  LEONARD  Production 

Screen  Play  by  Allen  Rivkin  and  Laura  Kerr 
Story  by  Samuel  Marx 

Directed  by  ROBERT  Z.  LEONARD 
Produced  by  SAMUEL  MARX 


M-G-M  Presents 

"THE 
MAGNIFICENT 
YANKEE" 

STARRING 

LOUIS  CALHERN 
ANN  HARDING 


Directed  by  JOHN  STURGES 
Produced  by  ARMAND  DEUTSCH 


M-G-M  Presents 

RED  SKELTON 

ARLENE  ANN 
DAHL    "  MILLER 

IN 

"WATCH  THE 
BIRDIE" 

LEON  AMES       .       PAM  BRITTOH 
RICHARD  ROBER 


Directed  by  JACK  DONOHUE 
Produced  by  HARRY  RUSKIN 


M-G-M  Presents 
RUDYARD  KIPLING'S 

"KIM" 

STARRING 

ERROL  FLYNN 

DEAN  STOCK  WELL 

PAUL  ROBERT 
LUKAS  *  DOUGLAS 

THOMAS  GOMEZ .  CECIL  KELLAWA  j 
ARNOLD  MOSS  •  LAURETTE  LUE 

COLOR  BY 

TECHNICOLOR 

Screen  Play  by 
Leon  Gordon,  Helen  Deutsch  ond  Richord  Schoy 
Directed  by  VICTOR  SAVILLE 
Produced  by  LEON  GORDON 


M-G-M  Presents 

BURT  LANCASTER 

"VENGEANCE  VALLEY  j 

CO-STARRING 

ROBERT  WALKER 

JOANNE  DRU 
SALLY  FORREST 

with  JOHN  IRELAND 
RAY  COLLINS 
color  by  TECHNICOLOR 

Screen  Play  by  Irying  Rovetch 
on    e    ove  on        ur^oy   voning      i  - 

Directed  by  RICHARD  THORPE 
Produced  by  NICHOLAS  NAYFACK  I 


M-G-M  Presents 

LORETTA  YOUNG 

IN 

CAUSE 
FOR  ALARM! 

BARRY    .  BRUCE 
SULLIVAN  COWLING 

MARGALO  GILLMORE 


Directed  by  TAY  GARNETT 
Produced  by  TOM  LEWIS 


March 


M-G-M  Presents 

JANE  VAN 
WYMAN  '  JOHNSON 
HOWARD  BARRY 

KEEL    '  SULLIVAN 

THREEGUYS 
NAMED  MIKE 


Direcled  by  CHARLES  WALTERS 
Produced  by  ARMAND  OEUTSCH 


M-G-M  Presents 
STEPHEN  CRANE'S  GREAT  AMERICAN  STORY 
OF  THE  CIVIL  WAR 

THE  RED  BADGE 
OF  COURAGE 

STARRING 

AUDIE  MURPHY 
BILL  MAULDIN 

A  JOHN  HUSTON  PRODUCTION 

Screen  Ploy  by  John  Huilon 
Adaptation  by  Alberl  Band 

Directed  by  JOHN  HUSTON 
Produced  by 
GOTTFRIED  REINHARDT 


March 


M-G-M  Presents 

FRED  JANE 
ASTAIRE  POWELL 

'  ROYAL  WEDDING'' 

PETERLAWFORD 
SARAH  KEENAN 
CHURCHILL  '  WYNN 

win  ALBERT  SHARPE 

COLOR  BY 

TECHNICOLOR 

Mink  by  BURTON  LANE  ■  Lyria  by  ALAN  JAY  LERNER 
Directed  Ly  STANLEY  DONEN 
Produced  by  ARTHUR  FREED 


M-G-M  Presents 

CLARK  GABLE, 
ACROSS  THE 
WIDE  MISSOURI 

RICARDO  MONTALBAN 
JOHN  HODIAK 
JAMES  WHITMORE.,n 

Adolphe  J.  Carrol  Jack 
MENJOU    *    NAISH  HOLT 

insane  MARIA  ELENA  MARQUES 

color  by  TECHNICOLOR 


Directed  by  WILLIAM  A.  WELLMAN 
Produced  by  ROBERT  SISK 


April 


M-G-M  Presents 

'INSIDE 
STRAIGHT" 

STARRING 

DAVID  ARLENE 
BRIAN  '  DAHL 
BARRY  MERCEDES 
SULLIVAN  '  McCAMBRIDGE 
PAULA  RAYMOND 

CLAUDE  JARMAN"  Jr.  •  ION  CHANEY 

Directed  by  GERALD  MAYER 
Produced  by  RICHARD  GOLDSTONE 


M-G-M  Presents 

SPENCER  TRACY 
JOAN  BENNETT 
ELIZABETH  TAYLOR 

IN 

FATHER'S  LITTLE 
DIVIDEND" 

DON  TAYLOR  •  BILLIE  BURKE 


Directed  by  VINCENTE  MINNELU 
Produced  by  PANDRO  S.  BERMAN 


May 


M-G-M  Presents 

LASSIE 

IN 

THE  PAINTED 
HILLS" 

COLOR  BY 

TECHNICOLOR 
PAUL  KELLY  •  BRUCE  COWLING 

GARY  GRAY 


Directed  by  HAROLD  F.  KRESS 
Produced  by  CHESTER  M.  FRANKLIN 


READY  SOON! 

The  Talk  of  the  Industry! 


DMT  D  UAILT 

VARIETY: 

66  There's  heartening  stimula- 
tion and  impact  to  the  entire 
industry  in  M-G-M's  trailer 
of  its  forthcoming  product 
'THE  M-G-M  STORY'. 
Shown  at  TOA  Convention 
in  Houston  it  changed  men 
who  had  been  most  pessi- 
mistic into  bouncing  opti- 
mists by  the  end  of  the  60 
minute  film.  It  sells  very 
strongly  the  message  that 
the  picture  industry  with 
product  has  the  means  to 
successfully  hold  its  own  in 
any  market.  95 


ASK  YOUR  M-G-M  BRANCH! 

M-G-M  will  shortly  deliver  to  theatres  with- 
out charge  its  celebrated  film  "THE  M-G-M 
STORY."  It  has  been  hailed  by  the  entire 
trade  press  as  the  most  constructive  step 
of  the  year  in  stimulating  public  interest. 
M-G-M  makes  this  large  investment  {not 
matched  by  any  other  company)  as  concrete 
evidence  of  The  Friendly  Company's  de- 
termination to  back  its  great  product  with 
hard-hitting  showmanship. 


a  ©  a  a 


To  quote  Daily  Variety: 

"PESSIMISTS  BECAME  OPTIMISTS!" 


a  a  a  a 


WHEN  THEY  SAW  "THE  M-G-M  STORY 


In  this  60  minute  subject,  your  patrons  will  see  the  marvelous  sequel  to 
last  year's  famed  "Some  of  the  Best."  They  will  see  the  M-G-M  Studios 
and  Stars  in  action  with  footage  from  24  coming  pictures,  12  of  them 
in  Technicolor.  Here  are  the  pictures: 


ACROSS  THE  WIDE  MISSOURI  (Technicolor) 
Clark  Gable,  Ricardo  Montalbon,  John  Hodialc, 
James  Whitmore,  Adolphe  Menjou,  J.  Carrol  Naish 


ROYAL  WEDDING  (Technicolor) 

Fred  Astaire,  Jane  Powell,  Peter  Lawford, 

Sarah  Churchill,  Keenan  Wynn,  Albert  Sharpe 


IT'S  A  BIG  COUNTRY 
All-Star  Cast 

★      ★  ★ 
MR.  IMPERIUM  (Technicolor) 
Lana  Turner,  Ezio  Pinza,  Marjorie  Main, 
Barry  Sullivan,  Sir  Cedric  Hardwicke 


THE  MAGNIFICENT  YANKEE 
Louis  Calhern,  Ann  Harding 

★  ★  ★ 

PEOPLE  IN  LOVE 

Ray  Milland,  Nancy  Davit,  John  Hodiak, 
Jean  Hagen,  Lewis  Stone 

★  ★  ★ 

KIND  LADY 

Ethel  Barrymore,  Maurice  Evans, 
Angela  Lansbury,  Keenan  Wynn 


CALLING  BULLDOG  DRUMMOND 

Walter  Pidgeon,  Margaret  leighton,  Robert  Beatty 


FATHER'S  LITTLE  DIVIDEND 

Spencer  Tracy,  Joan  Bennett,  Elizabeth  Taylor 

#      ★  ★ 

GO  FOR  BROKEI 

Van  Johnson  and  All-Star  Cast 


SOLDIERS  THREE 

Stewart  Granger,  Walter  Pidgeon,  David  Niven, 
Robert  Newton,  Cyril  Cusack,  Greta  Gynt, 
Frank  Allenby 


THE  RED  BADGE  OF  COURAGE 
Cast  of  Thouiands  including 
Audie  Murphy,  Bill  Mauldin 


THE  PAINTED  HILLS  (TecU'coM 

Lassie,  Paul  Kelly,  Bruce  Cowling,  Gary  Gray 


VENGEANCE  VALLEY  (Technicolor) 

Burt  Lancaster,  Robert  Walker,  Joanne  Dru, 

Sally  Forrest,  John  Ireland,  Ray  Collins 


THREE  GUYS  NAMED  MIKE 

Jane  Wyman,  Van  Johnson,  Howard  Keel, 

Barry  Sullivan 


EXCUSE  MY  DUST  (Technicolor) 

Red  Skelton,  Sally  Forrest,  Macdonald  Carey, 

William  Demarest,  Monica  Lewis,  Raymond  Walburn 


TERESA 

Pier  Angeli,  John  Ericson 


AN  AMERICAN  IN  PARIS  (Technicolor) 
Gene  Kelly,  Leslie  Caron,  Oscar  Levant, 
Georges  Guetary 


RICH,  YOUNG  AND  PRETTY  (Technicolor) 
Jane  Powell,  Danielle  Darrieux,  Wendell  Corey, 
Fernando  Lamas,  Marcel  Dalio,  Jean  Murat, 
and  introducing  Vic  Damone 


SHOW  BOAT  (Technicolor) 

Kathryn  Grayson,  Ava  Gardner,  Howard  Keel, 
Joe  E.  Brown,  Marge  &  Gower  Champion, 
Agnes  Moorehead 


THE  GREAT  CARUSO  (Technicofor) 
Mario  Lanza,  Ann  Blyth,  Dorothy  Kirsten, 
Jarmila  Novotna,  Blanche  Thebom,  Teresa  Celli, 
Richard  Hageman,  Carl  Benton  Reid 


INSIDE  STRAIGHT 

David  Brian,  Arlene  Dahl,  Barry  Sullivan, 
Mercedes  McCambridge,  Paula  Raymond, 
Claude  Jarman,  Jr.,  Lon  Chaney 


PANDORA  AND  THE  FLYING  DUTCHMAN 
(Technicofor) 

James  Mason,  Ava  Gardner,  Nigel  Patrick, 
Sheila  Sim,  Harold  Warrender,  Mario  Cabre 


PLUS  AN 


(Because  "KING  SOLOMON'S  MINES"  is  so  suc- 
cessful and  although  it's  currently  in  release  we 
couldn't  resist  showing  scenes  from  it  again  in 
"The  M-G-M  Story.") 


SURPRISE! 


First  Scenes  in  Technicolor  of  "QUO  VADIS" 


[Your  public  wants  you,  on  the  next 


THE  FOLKS  ARE  SAYING 
J 'BE  HAPPY!  GO  LEO! 


7 


LISTEN! 


Ms 


Hello  Leo,  don't  let  anybody  kid  you  that 
there's  any  form  of  entertainment  to  eouai 
the  stars,  the  qlamor,  the  fun,  the  spectacle 
of  the  big  motion  picture  theatre  screen .' 
We've  seen  the  swell  coming  M-(7-M  shows 
m  THE  M-G-M  STORY  and  well  watch 
for  them.  As  usual  we're  all  saying 
VBE  HAPPy !  60  LEO!'" 


'THE  MATING  SEASON'  SPARKLING  COMEDY  HIT 

Rates  •  •  •   t   except  for  action  houses 


Paramount 
101  minutes 

Gene  Tierney,  John  Lund,  Miriam  Hop- 
kins, Thelma  Hitter,  Jan  Sterling,  l^arry 
Keating,  James  Lorimer,  Gladys  Hurl- 
but,  Cora  Witherspoon,  Malcome  Keen, 
Ellen  Corby,  Billie  Bird,  Mary  Young. 
Directed  by  Mitchell  Leisen 

Paramount  has  a  winner  in  "The 
Mating  Season,"  a  delightful  entertain 
ment  compound  of  sparkling  comedy 
and  human  interest  that  is  bound  to 
bung  great  pleasure  to  audiences  of 
every  stripe.  Boxoffice  returns  should 
be  excellent  in  all  except  the  action 
houses,  and  even  in  the  latter  situations 
highly  favorable  word-of-mouth  should 
build  a  large  audience.  Another  wise 
and  witty  job  by  producer  Charles 
Brackett,  who  also  collaborated  on  the 
script  with  Walter  Reisch  and  Richard 
Breen,  this  film  lifts  to  stardom  charac- 
ter   comedienne    Thelma    Ritter,  who 


totitu,  gating 


earned  the  chance  by  her  great  roles  in 
"A  Letter  to  Three  Wives"  and  "All 
About  Eve."  She  is  simply  magnificent 
as  the  bankrupt  operator  of  a  hambur- 
ger stand,  who  goes  to  take  up  her  son's 
offer  to  live  with  himi,  only  to  find  that 
he  has  just  married  the  rich  daughter 
of  an  American  ambassador.  Her  ad- 
ventures with  the  misunderstanding 
daughter-in-law  and  the  latter"s  snooty 
mother  are  both  hilarious  and  touching. 
Many  of  the  smart  lines  will  bring  roars 
of  laughter.  Sample:  "I  once  knew  a 
bi  igadier-general  who  wasn't  safe  to  be 
left  alone  with  a  French  telephone!" 
Tieiney  and  John  Lund,  as  the  married 
couple,  and  by  Miriam  Hopkins,  as  the 
ambassador's  overbearing  wife.  The  sup- 
port throughout  is  first-class. 


In  addition  to  Miss  Ritter,  the  case 
provides  topflight  performances  by  Gene 

STORY:  Thelma  Ritter,  widowed  own- 
er of  a  hamburger  stand  and  of  a  fine 
Hoboken  accent,  fails  to  make  a  go  of 
her  business  and  hitch  hikes  cross-coun- 
try to  the  town  where  her  son,  John 
Lund,  is  working  as  a  draftsman  for  a 
tool  company.  She  arrives  to  find  Lund 
abcut  to  marry  Gene  Tierney.  daughter 
of  an  ambassador  and  ex-girlfriend  of 
James  Lorimer,  playboy  son  of  the  tool 
company's  boss.  Gene  Tierney's  snob- 
bish mother,  Miriam  Hopkins,  comes 
dashing  home  from  Venice  for  the 
Spli>sh-up  wedding.  But  when  Lund's 
penniless  mother  arrives  at  the  apart- 
ment Gene  Tierney  mistakes  her  for  the 
new  cook  and  puts  her  to  work  in  the 
kitchen.  The  boss'  playboy  son  does  his 
best  to  upset  the  marriage,  and  so  does 
the  bride's  mother,  but  the  millionaire 
toolmaker  falls  for  the  "cook,"  and  con- 
trives to  make  everything  come  out  all 
right.  LEON. 


OPERATION  PACIFIC  WILL  NEED  THE  BIG  BALLYHOO  CAMPAIGN 

Rates  •  •  •  —  generally  on  exploitation;  less  in  class  houses 


Warners 
111  minutes 

John  Wayne,  Patricia  Neal,  Ward  Bond, 
Scott  Forbes,  Philip  Carey,  Paul  Picerni, 
Bill  Campbell,  Kathryn  Givney,  Martin 
Milner,  Cliff  Clark,  Jack  Pennick,  Virginia 
Brissac,  Vincent  Potre,  Lewis  Martin, 
Louis  Mosconi,  Sam  Edwards. 
Directed  by  George  Waggner. 

"Operation  Pacific"  is  being  given  the 
highpowered  exploitation  treatment  by 
Mort  Blumenstock,  Warners'  dynamic  ad 
chief.  The  campaign  will  stand  the  pic- 
ture in  good  stead,  for  it  is  disappointing 
on  several  counts.  By  diluting  the  basic 
theme  about  the  "silent"  branch  of  the 
Navy  during  World  War  II  with  an  over- 
dose of  pace-slowing  romance  and  some 
phony  heroics,  it  loses  that  graphic  qual- 
ity and  punch  one  has  come  to  expect  of 
present-day  war  films.  On  the  credit  side 
are  several  exciting  submarine  battle 
scenes  and  the  marvelous  photography, 
both  inside  and  outside  the  submerged 
sub.    But  when  the  underwater  craft  is 


not  in  action,  the  plot  is  as  formula  and 
obvious  as  any  backstage  musical.  Gross- 
es generally  will  get  a  big  lift  from  the 
ballyhoo  campaign  and  the  John  Wayne 
name.  Action  houses  will  realize  best 
returns;  class  houses,  the  weakest. 

John  Wayne  contributes  his  usual  stol- 
id performance  as  the  submariner  whose 
Navy  career  interferes  with  his  marriage 
to  Patricia  Neal.  As  a  Navy  nurse  con- 
veniently stationed  at  her  husband's  home 
base,  Miss  Neal  does  an  adequate  job,  al- 
though she  is  photographed  very  unflat- 
teringly.  Ward  Bond  is  good  as  the  sub's 
ill-fated  skipper.  The  involved,  conven- 
tional screenplay  was  written  by  George 
Waggner,  who  also  handled  the  director- 
ial chores. 

STORY:  The  USS  THUNDERFISH, 
returning  to  Honolulu  with  a  cargo  of 
children  rescued  from  Jap-held  territory, 
fires  a  couple  of  magnetic  torpedoes  at  an 
enemy  carrier,  but  they  explode  prema- 
turely. Back  at  his  home  base,  Skipper 
Ward  Bond  files  his  report  and  obtains 
permission  to  use  contact  torpedoes  on 
his  next  cruise.    Meanwhile,  Bond's  exe- 


cutive officer,  John  Wayne,  discovers  his 
ex-wife,  Patricia  Neal,  is  a  Navy  nurse 
stationed  in  Honolulu.  When  he  tries  to 
win  her  back,  he  finds  she  is  being  court- 
ed by  Navy  pilot  Philip  Carey,  Bond's 
kid  brother.  On  their  next  cruise,  sever- 
al of  the  contact  torpedoes  are  found  to 
be  duds  and  Bond  radios  back,  requesting 
permission  to  return  to  find  out  why.  The 
THUNDERFISH  is  tricked  into  surfacing 
by  an  armed  Jap  freighter  and  Bond  is 
caught  on  the  surface,  badly  wounded, 
as  the  sub  crash  dives.  Wayne  assumes 
command  and  they  ram  the  freighter, 
sinking  it.  Back  in  Honolulu  for  repairs, 
Wayne  again  quarrels  with  Miss  Neal, 
makes  tests  and  finds  the  reason  for  the 
faulty  torpedoes.  They  spot  the  Jap  fleet 
heading  for  Leyte  and  its  historic  battle 
with  our  fleet,  radio  back  the  enemy's 
location,  sink  a  carrier  after  miraculously 
escaping  destruction  by  depth  charges, 
and  spend  the  rest  of  the  battle  picking 
up  downed  Navy  fliers.  The  victorious 
sub  returns  to  its  base,  where  Wayne 
finds  a  forgiving  Patricia  waiting  for  him 
at  the  dock.  JACKSON. 


'STORM  WARNING'  STRONG  LYNCH  MELODRAMA 


Rates  »  • 


+  generally,  more  where  exploited 


Warner  Brothers 
93  minutes 

Ginger  Rogers,  Ronald  Reagan,  Doris 
Day,  Steve  Cochran,  Hugh  Sanders,  Lloyd 
Gough,  Raymond  Greenieaf,  Ned  Glass, 
Paul  E.  Burns,  Walter  Baldwin,  Lynn 
Whitney,  Stuart  Randall,  Sean  McClory. 
Directed  by  Stuart  Heisler. 


"Storm  Warning"  is  a  powerful  lynch 
melodrama,  at  times  overpowering  in  its 
grim  effectiveness.  Packing  a  terrific 
punch  in  its  story  about  the  Ku  Klux 
Klan  and  the  baring  of  its  crookedness, 
bigotry  and  intolerance,  it  may  prove  too 
strong  for  the  sensitivities  of  many  mov- 
iegoers. This  Warner  offering  is  not,  un- 
fortunately, the  type  of  motion  picture 
that  experiences  much  boxoffice  success 
generally.  Though  credibly  and  realisti- 
cally produced,  it  will,  like  similar  '  mes- 
sage" movies  in  the  past,  present  a  diffi- 
cult selling  problem  far  many  exhibitors. 
Strong  grosses  can  be  anticipated  in  ac- 
tion and  art  houses,  but  it  will  not  do 


very  much  in  the  average  family  theatre. 
On  its  merits,  however,  this  vividly  pre- 
sented, often  frightening  movie,  though 
not  a  pleasant  entertainment,  is  one  no 
adult  American  should  miss. 

Every  element  that  went  into  the  film- 
ing of  "Storm  Warning"  is  of  the  highest 
calibre.  The  performances,  notably  those 
of  Ginger  Rogers,  Ronald  Reagan,  Steve 
Cochran  and  Doris  Day,  are  superb.  Stu- 
art Heisler's  direction  wastes  little  time 
in  getting  down  to  the  business  of  cre- 
ating a  grim,  exciting  air  of  tension  that 
he  expertly  sustains  right  through  to  the 
last  fadeout.  And  the  screenplay  by  Dan- 
iel Fuchs  and  Richard  ("Crossfire") 
Brooks  provides  an  excellent  vehicle  for 
a  praiseworthy  production  by  Jerry  Wald. 

STORY:  Ginger  Rogers,  a  model  who 
stops  off  at  the  home  town  of  her  sister, 
Doris  Day,  witnesses  a  lynching  by  a  Ku 
Klux  Klan  mob.  She  tells  Doris  of  her 
horrible  experience  and  the  latter  tells  her 
husband,  Steve  Cochran,  whom  Miss 
Rogers  recognizes  as  one  of  the  murder- 
ous mob.  The  frightened  model  agrees 
to  leave  town  to  protect  her  sister,  but  is 


picked  up  by  an  agent  from  the  District 
Attorney's  office.  The  D.A.,  Ronald  Rea- 
gan, extracts  from  Ginger  the  informa- 
tion that  the  lynchers  were  Klan  mem- 
bers, and  holds  her  as  a  witness  for  the 
inquest.  Hugh  Sanders,  prominent  citi- 
zen and  leader  of  the  Klan,  learns  of  this 
and  frightens  Miss  Rogers  into  denying, 
on  the  witness  stand,  everything  she  had 
told  Reagan.  Disgusted  with  herself  and 
everything  that  has  taken  place,  Ginger 
goes  to  her  sister's  home  to  pack  and 
leave  town,  but  is  accosted  by  Cochran, 
who  attacks  her.  Cochran  is  interrupted 
by  Miss  Day,  who  packs  her  bags  to  leave 
him.  He  beats  both  girls  and  takes  Miss 
Rogers  to  a  Klan  cross-burning  when  she 
threatens  to  stay  in  town  and  expose  him. 
Ginger  defies  Sanders,  who  orders  her 
horsewhipped.  Reagan  and  Miss  Day  ar- 
rive on  the  scene  and  when  Sanders  ac- 
cuses Cochran  of  being  the  killer,  Coch- 
ran wildly  shoots  and  kills  Miss  Day. 
Frightened  and  panicky,  the  members  of 
the  Klan  unmask  and  run,  leaving  Sand- 
ers to  be  dealt  with  by  the  law.  JACK- 
SON. 


JANUARY   29,  1951 


11 


Short  Subjects 


By  BARN 


VWHEN  CENSORS  ban  a  picture,  ordin- 
arily  that's  news.  When  Lloyd  Bin- 
ford  of  Memphis  approves  a  film  without 
any  cuts,  then  THAT'S  news.  And  when 
the  Binford-approved  film  has  an  anti- 
lynch  theme,  brother,  break  out  the  72- 
point  type.  Pressed  for  space,  as  we  are, 
however,  we'll  stick  to  the  8-point  to  re- 
port that  "Sound  of  Fury",  Robert  Still- 
man's  UA  release  has  received  the  Bin- 
ford  blessing  without  deletions  of  either 
dialogue  or  scenes.  It  marks  the  first 
time  a  film  of  its  kind  has  not  felt  the 
edge  of  the  Binford  shears.  Perhaps  the 
fact  that  it  is  set  in  a  northern  California 
town,  and  no  race  angle  is  involved  in 
the  lynching,  is  accountable  for  the 
phenomenon.  In  any  case,  Mr.  Binford 
has  once  again  made  headlines. 


HTO  GIVE  industry  participants  ample 
time  to  prepare  their  campaign  for 
Brotherhood  Week,  Feb.  18-25,  Max  E. 
Youngstein,  head  of  the  Amusement 
Division's  ad-publicity  for  the  observance, 
started  distribution  to  exhibitors,  news- 
papers and  radio  stations,  20,000  specially 
prepared  kits  a  full  month  before  the 
campaign  is  officially  launched.  Included 


BROTHERHOOD'S  REAGAN 

"All  the  tools  .  .  ." 


in  the  kits  are  a  40  x  60  lobby  poster  in 
color,  a  window  card,  a  press  book  de- 
tailing exploitation  and  publicity  ideas, 
and  a  number  of  enrollment-membership 
cards.  National  chairman  Charles  M. 
Reagan  observes:  "This  package  gives 
you  all  the  tools  you  need  to  make  your 
observance  of  Brotherhood  Week  a  big 
success,  with  but  one  exception.  That 
missing  ingredient  is  something  that  must 
spring  from  your  heart  and  which  only 
you  can  supply:  your  enthusiastic  effort, 
and  your  own  personal,  moral  and  finan- 
cial support." 


EXHIBITORS  WERE  chuckling  over 
U-I's  clever  little  booklet  on  "Bedtime 
for  Bonzo."  The  hilarious  12-page  pro- 
motion piece,  titled,  "There's  No  Business 
Like  Monkey  Business,"  featured  Bonzo, 
U-I's  new  simian  star  in  the  same  man- 


FOR  THE  RECORD 

A  unanimous  vote  will  be  neces- 
sary in  COMPO's  new  Board  of 
Directors,  as  well  as  the  expanded 
Executive  Committee,  it  was  an- 
nounced by  Arthur  L.  Mayer,  exec- 
utive vice-president.  The  announce- 
ment was  made  to  "clear  up  a 
misunderstanding  caused  by  pre- 
vious statements  that  were  not  in 
accord  with  the  record,"  Mayer  said. 
Hie  earlier  statement  had  an- 
nounced that  the  proposed  change 
in  COMPO  by-laws  called  for  a 
majority  vote  in  the  new  Board, 
instead  of  a  unanimous  ballot. 


ner  as  the  recent  popular  picture  books, 
"The  Baby"  and  "The  Frenchman."  Bon- 
zo registers  some  of  the  most  exhibitor- 
like grimaces  when  faced  with  the 
theatreman's  problems  like  percentage 
pictures,  checkers,  rental  terms,  etc.  Ad- 
publicity  director  David  A.  Lipton  and 
his  staff  are  to  be  congratulated  for  a 
topnotch  promotion  piece. 


W/'HY  DO  ALL,  except  the  biggest,  Am- 
erican movies  gross  less  in  contin- 
ental Europe  than  native-produced  films? 
The  explanation  offered  by  Seymour  Poe, 
Sol  Lesser  Productions'  representative 
just  back  after  a  five-week  European  tour, 
is  that  Hollywood's  newest  stars  are  un- 
known there.  American  films  were  out 
of  European  theatres  for  so  long  because 
of  the  war,  says  Poe,  that  the  Italians 
still  consider  Ingrid  Bergman  a  relative 
newcomer,  while  the  Germans,  asked  to 
name  a  great  U.  S.  movie  star,  will  in- 
variably mention  the  name  of  Greta 
Garbo.  In  the  hope  of  re-educating  the 
Continental  movie-going  public,  the  Les- 
ser organization  plans  to  produce  in  Eur- 
ope a  series  of  films  with  the  European 
viewpoint,  but  with  American  material 
and  U.  S.  stars.  In  this  way,  he  believes, 
the  best  will  be  made  of  both  worlds. 
Offices  have  been  opened  in  London  and 
Frankfurt.  Germany,  and  a  two-year 
pact  signed  with  Exclusive  Films,  a 
studioless  British  company  that  rents 
baronial  castles  and  sumptuous  manors 
for  its  sets.  The  coalition  will  make  nine 
films,  with  Lesser  providing  story  and 
star,  while  Exclusive  furnishes  director 
and  facilities.  U.  S.  distribution  rights 
go  to  Lesser,  with  Exclusive  participat- 
ing; British  distribution,  vice  versa,  and 
the  rest  of  the  world,  an  even  split. 


HTHE  CHICAGO  Phonevision  experiment 
is  being  carefully  watched  by  pro- 
ducers as  well  as  exhibitors.  This  be- 
came particularly  evident  when  Para- 
mount revealed  that  it  has  retained 
Ablert  E.  Sindlinger  to  observe  and  an- 
alyze the  audience  and  public  reaction  to 
the  test  currently  being  conducted  in 
300  Chicago  homes.  Sindlinger,  it  was 
said,  will  correlate  the  results  being  ob- 
tained in  Chicago  with  those  of  his  pre- 
vious experience  in  theatre  operations 
and  with  the  extensive  information  pre- 
viously gathered  on  the  habits  and 
characteristics  of  radio  and. TV  audiences. 
The  Sindlinger  analysis,  it  is  expected, 


will  be  a  factor  in  determining  the  com- 
pany's future  course  in  the  field  of 
television 


WHEN  NAT  HOLT  was  division  mana- 
ger for  Fox  Midwest  Theatres  in 
the  Kansas  territory,  he  earned  the  in- 
dustry's thanks  for  leading  the  fight  to 
end  a  long-standing  ban  on  Sunday  mov- 
ies in  Wichita.  For  many  years  now,  as 
a  producer,  he  has  specialized  in  making 
bang-up  westerns.  On  Thursday,  Jan. 
18,  community-proclaimed  "Nat  Holt 
Day",  he  returned  to  Wichita  as  guest 
of  honor  at  a  Chamber  of  Commerce 
luncheon  and  once  again  boosted  the  in- 
dustry's standing.  Speaking  before  some 
400  civic  leaders,  Holt  pointed  out  the 
public  welfare  and  patriotic  achievements 
movie  people.  He  cited  the  $11,000,000- 
plus  contributions  made  by  Hollywood 
stars,  studio  workers  and  executives  to 
national  and  local  charities  since  1941, 
noting  that  these  relatively  unpublicized 
activities  were  as  much  a  part  of  the 
Hollywood  way  of  life  as  movie-making 
and  the  more  glamorous  headlined  pas- 
times of  the  stars.  He  also  cited  figures 


BROTHERHOOD'S  YOUNGSTEIN 

".  .  .  you  need  except  .  .  ." 

pointing  up  the  stability  of  their  working 
records  and  home  lives,  and,  generally, 
did  a  fine  public  relations  job. 


rvF  MEN  AND  THINGS:  Paul  Short 
^  has  rejoined  National  Screen  Service 
as  division  manager,  headquartering  in 
the  Dallas  exchange.  He  held  a  similar 
post  with  NSS  from  1936  until  the  out- 
break of  World  War  II,  when  he  joined 
the  Naval  Air  Corps.  Since  then,  he  has 
done  writing  and  production  in  Holly- 
wood .  .  .  Bernard  M.  Kamber  has  been 
named  publicity  and  promotional  mana- 
ger for  Eagle  Lion  Classics  .  .  .  ELC 
Cleveland  branch  salesman  Arthur  Levy 
has  been  upped  to  branch  manager  of 
the  Pittsburgh  exchange  replacing  Leo 
Gottlieb,  resigned  .  .  .  Lloyd  V.  Lamb 
has  been  named  to  manage  the  Realart 
Seattle  and  Portland  offices. 


20 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
Cxctoi*  ^BULLETIN  Jeatun 


COLUMBIA 

COHN  ASSIGNS  PRODUCER 
TO  RAISE  SCRIPT  STANDARDS 

gOSSMAN  Harry   Cohn   still  nurtures 
fond  hopes  of  enticing  Rita  Hayworth 
back  to  work.    He  has  assigned  producer 

I  Volemar  Vetluguin  to  the  task  of  finding 
a  story  that  might  intrigue  Mrs.  Khan 

.  enough  to  bring  her  home  to  the  Colum- 
bia lot  for  a  stint.  One  of  Vetluguin's 
first  moves  was  to  acquire  the  rights  to 
the  Louis  Bromfield  novel.  "What  Be- 
came of  Anna  Bolton?"  in  the  hope  that 
Rita   might  consider   it   as   a  starring 

!  vehicle. 

More  important,  however,  is  what  we 
hear  Cohn  has  'nstructed  Vetluguin  to  do 
about  raising  the  general  level  of  Colum- 
bia's product.  It  is  understood  that  the 
producer  has  been  given  the  assignment 
of  finding  story  properties  worthy  of  a 
major  studio.  It  is  no  secret  (to  exhib- 
itors, at  least)  that  the  quality  of  the 
output  from  this  lot  has  been  going  down, 
down,  down.  An  occasional  click  like 
"Born  Yesterday"  gives  the  program  a 
temporary  lift,  but  the  run-of-the-mill 
product  has  been  as  cheap  as  cheap  can 
be.  Scripts  are  knocked  out  in  short 
order  and  pictures  are  shot  on  some  of 
the  shortest  shooting  schedules  in  Holly- 
wood. Maybe  Vetluguin  can  help  the 
situation  here  somewhat  by  supervising 
the  story  department,  but  nothing  will 
really  help  unless  Harry  Cohn  decides  to 
pour  some  of  the  profits  this  company 
makes  back  into  its  product. 

A  real  shot  in  the  arm.  of  course,  will 
be  the  addition  of  the  Stanley  Kramer- 
Sam  Katz  unit  to  the  Columbia  roster. 
This  outfit,  assuming  the  deal  will  be 
concluded,  will  be  the  backbone  of  Co- 
lumbia in  the  future.. 
Meanwhile,  Kramer  has  made  some  of  the 
most  impressive  story  buys  of  the  past 
year  or  two.  For  example,  he  has  latched 
on  to  "Death  of  A  Salesman"  and  "The 
Happy  Time",  two  of  Broadway's  biggest 
hits,  and  is  reported  having  the  inside 
track  for  a  third,  "Member  of  the 
Wedding." 

EAGLE  -  LION  -  CLASSICS 

MacMILLEN  COAST  TRIP 
MAY  CLEAR  UP  ELC  FUTURE 

J-JOLLYWOOD  is  looking  forward  to 
the  arrival  late  this  month  of  ELC 
Prexy  William  MacMillen,  in  hopes  that 
he  will  clear  up  the  future  course  of  his 
company.  MacMillen  is  reported  to  be 
making  the  trip  in  order  to  work  out 
final  production  details  on  several  deals 
which  have  been  hanging  fire  since  late 
last  year.  However,  it  is  to  be  hoped 
that  he  will  make  a  comprehensive  state- 


ment of  company  plans  and  policy,  and 
bandied  about  for  several  weeks.. 

About  the  brightest  spot  on  the  ELC 
scene  this  month,  was  the  disclosure  by 
Harry  Sherman  that  he  has  tapped  a  new 
source  of  financing  to  carry  out  his  10 
picture  per-year  commitment  with  the 
distribution  company.  Sherman,  during 
a  recent  business  trip  to  New  York, 
signed  a  contract  with  a  group  of  clothing 
and  toy  manufacturers  giving  ihem  fran- 
chise rights  on  any  screen  characters  he 
introduces,  in  return  for  $500,000  to  be 
made  available  to  his  production  unit. 

St  far  as  anyone  in  Hollywood  seems 
to  know,  the  only  transactions  which 
ELC  has  made  thus  far  in  the  new  year 
involve  the  sale  of  old  pictures  to  tele- 
vision. Eighteen  EL  oldies  were  pur- 
chased by  the  American  Broadcasting 
Company's  Southern  California  outlet  in 
mid-January,  to  be  used  on  a  program 
sponsored  by  the  Chevrolet  dealers  in  the 
area.  Also,  the  television  market  has 
been  besieged  by  offers  of  old  Eagle-Lion 
films  being  peddled  by  the  new  Essex 
Films  company.  Essex  was  boasting  of 
no  less  than  51  of  the  Eagle-Lion  pic- 
tures, all  Droduced  in  the  period  from 
1946  to  1948. 

LIPPERT 

START  OF  LOST  CONTINENT' 
ADVANCED  FROM  JUNE  TO  FEB. 

ROBERT  L.  LIPPERT  will  enter  the 
field  of  topical  film-making,  when  he 
rushes  "Lost  Continent"  before  the  cam- 
eras, in  an  effort  to  capitalize  on  the  re- 
cent announcement  that  scientists  have 
located  a  lost  continent  on  the  floor  of 
the  Pacific.  The  film,  to  star  Caesar 
Romero,  was  originally  set  for  a  June 
start,  but  will  now  be  pushed  up  to 
February.  It  has  all  the  earmarks  of  a 
strong  exploitation  entry. 

Starting  about  the  same  time  will  be 
"Little  Big  Horn,"  which  Carl  K.  Hittel- 
man  will  produce,  for  the  company,  star- 
ring Lippert's  new  contract  star.  Gene 
Evans.  According  to  present  plans, 
these  will  be  the  only  two  productions 
to  go  before  the  cameras  for  the  company 
during  February. 

"The  Steel  Helmet",  after  garnering 
critics'  kudos,  has  been  meeting  with  a 
highly  favorable  reception  from  the  pay- 
ing customers,  too.  It  has  the  makings 
of  one  of  the  company's  top  moneymak- 
ers of  all  time.  This  war  film  would 
make  any  major  studio  proud. 

METRO-&OLDWYN-MAYER 

RECORD  PROGRAM  OF  16 
MUSICALS  SET  BY  METRO 

THE  eighteen  comedies  scheduled  for 
1951,  as  reported  in  the  last  issue  of 


FILM  BULLETIN,  will  barely  outnum- 
t hereby  stop  the  rumors  that  have  been 
bor  the  unprecedented  number  of  musical 
productions  set  for  filming  this  year. 
Largely  due  to  the  big  grosses  piled  up 
on  musicals  last  year,  Dore  Schary  has 
okayed  a  record  program  of  16  tunefilms. 
This  confirms  the  belief  which  has  been 
voiced  in  various  quarters  in  Hollywood 
that  Metro  is  moving  into  the  fore  as 
the  industry's  No.  1  maker  of  musicals. 

Nine  musicals  now  at  work  in  the 
early  stages  of  preparation  on  the  lot 
are  "Strictly  Dishonorable."  "Singing  In 
the  Rain,"  "Huckleberry  Finn."  "Texas 
Carnival,"  "The  Merry  Widow,"  "Belle 
of  New  York,"  "The  Student  Prince." 
"Lovely  To  Look  At,"  and  "The  Girl 
From  Rectors."  In  keeping  with  this 
added  emphasis  on  tunefilms,  the  com- 
pany has  torn  up  Jane  Powell's  new  con- 
tract and  replaced  it  with  a  more  lucra- 
tive one,  and  signed  Fred  Astaire  for  two 
more  pictures.  Danny  Kaye  will  be  co- 
starred  with  Gene  Kelly  in  the  upcoming 
"Huckleberry  Finn"  picture.  Clark  Gable 
has  been  set  to  star  in  "Angels  in  the 
Outfield."  the  Clarence  Brown  baseball 
comedy. 

The  entire  industry  might  well  doff 
its  hat  to  the  MGM  toppers  responsible 
for  that  new  long-term  promotion  vie-up 
with  the  Quality  Bakers  of  America— 
the  largest  bakery  group  in  America. 
Metro  stars  and  Metro  products  will  be 
plugged  bv  the  bread-makers  to  the  tune 
of  $5,000,000  worth  of  advertising  during 
the  year,  under  terms  of  the  new  pact 
just  completed.  The  ad  campaign  em- 
braces 130,000  stores  and  bakers  supply- 
ing bread  to  more  than  20,000.000  homes. 
Newspaper  advertising  will  aDpear  in  all 
sizes  up  to  full  pages,  in  addition  to  all 
other  promotional  media. 

MONOGRAM  -  AA 

MONO  PRODUCTION  SLATE 
LOOKS  STRONGEST  IN  YEARS 

TT'S  still  a  little  too  early  in  the  year 
to  predict  with  any  degree  of  assur- 
ance, but  there  are  definitely  strong  in- 
dications that  Monogram,  during  1951, 
will  come  forward  with  a  stronger  pro- 
duct than  it  has  in  many  years,  if  not,  in 
fact,  in  the  history  of  the  company.  For 
example,  the  currently  filming  "I  Was 
An  American  Spy"  is  employing  a  total 
of  1,000  extras,  plus  speaking  roles  for 
48  actors  in  the  higher  salary  brackets. 
And,  whereas  the  average  Monogram 
picture  during  the  past  year  has  been 
ground  out  on  10  to  15  day  schedules, 
"Spy"  will  require  approximately  30  days 
to  wind.  The  budget  is  correspondingly 
hypoed. 

A  glance  at  the  Lindsley  Parsons  pro- 
duction slate  further  reveals  an  upward 
trend  in  the  forthcoming  product.  With 
a  minimum  of  five  pictures  planned  for 
the  new  year.  Parsons  is  optimistically 
predicting  big  things  for  his  unit.  Being 
readied  to  roll  is  "Casa  Manana,"  a  film- 
usical  budgeted  at  a  figure  reputed  to  be 
in  the  $350,000  class.  Others  earmarked 
for  starts  between  now  and  mid-summer 
are:  "Yukon  Manhunt,"  "Northwest  Pa- 
trol, "Submarine  Story"  (Wayne  Morris), 
and  "The  Ottawa  Story"  —  the  latter  to 
be  filmed  almost  entirely  in  Canada. 

(Continued  on  Next  Page) 


JANUARY   29,  1951 


11 


STUDIO  SIZ6-UPS 

(Continued  from  Preceding  Page) 

Two  other  high  budgeters  are  in  the 
preparation  stages  now  on  Producer  Ben 
Schwalb's  slate.  Schwalb,  whose  first 
Mono  assignment  was  the  recently  re- 
leased "Blue  Blood,"  will  put  "The  Big 
T^p,"  a  Cinecolored  circus  picture  before 
the  cameras  on  February  2,  to  be  fol- 
lowed by  "The  Police  Story,"  early  in 
April. 

Walter  Mirisch's  slate  lists  six  upcom- 
ing productions:  "The  Maverick,'  "Cattle 
King,"  "Fort  Osage,"  "Elephant  Stam- 
pede," "Flight  to  Mars"  and  "Rodeo"  — 
the  latter  two  to  be  filmed  in  Cinecolor. 

Also  scheduled  for  production  in  Cine- 
color  is  Hal  E.  Chester's  "The  Highway- 
man," due  to  start  in  February. 


PARAMOUNT 

18  FEATURES  SLATED 

TO  ROLL  IN  FIRST  6  MONTHS 

EIGHTEEN  features  are  scheduled  to  go 
before  the  cameras  during  the  next  six 
months,  Y.  Frank  Freeman,  v.p.  in  charge 
of  studio  operations,  announced  last  week. 
Ireeman  pointed  out  that  the  company 
production  schedule  is  geared  to  the  re- 
cently announced  policy  of  increasing  out- 
put by  50  percent. 

The  pictures,  five  of  which  will  be  in 
Technicolor,  will  roll  in  the  following 
order: 

First,  a  Bob  Hope-Hedy  Lamarr  com- 
edy, to  be  directed  by  Norman  Z.  Mc- 
Leod,  slated  to  begin  January  29th.  Next, 
Cecil  B.  DeMille's  "The  Greatest  Show  On 
Earth,  '  a  Technicolor  circus  epic  starring 
Betty  Hutton,  James  Stewart,  Cornel 
Wilde,  Dorothy  Lamour,  Gloria  Grahame, 
Charlton  Heston  and  Lyle  Bettger. 

During  February  there  will  be  five  pic- 
tures: "Detective  Story"  (Kirk  Douglas) 
based  on  Sidney  Kingsley's  play;  a  new 
Dean  Martin-Jerry  Lewis  comedy,  "The 
Stooge,"  which  Hal  Wallis  will  produce; 
"Rhubarb"  (Ray  Milland)  the  first  pro- 
duction for  Paramount  by  William  Perl- 
berg  and  George  Seaton,  based  on  the  H. 
Allen  Smith  novel;  "Peking  Express' 
(Corinne  Calvet)  another  Hal  Wallis  pro- 
duction; "The  Rage  of  the  Vulture"  (Al- 
an Ladd)  to  be  directed  by  Charles  Vidor. 

In  March,  work  will  begin  on  "Aaron 
Slick  From  Punkin  Crick"  (Alan  Young- 
Dinah  Shore)  a  Perlberg-Seaton  musical. 
This  will  be  followed  by  "My  Son  John," 
(Helen  Hayes),  a  Leo  McCarey  produc- 
tion. April  will  open  with  "Shane,"  a 
Technicolor  adventure  film  to  be  produced 
by  George  Stevens. 

Also  slated  for  early  production  are: 
"Anything  Can  Happen,"  (Jose  Ferrer- 
Nancy  Olson),  William  Perlberg  pro- 
ducing and  George  Seaton  scripting  and 
directing;  "Pardners"  (Bing  Crosby-Wil- 
liam (Hopalong  Cassidy)  Boyd),  Leo  Mc- 
Carey producing  and  directing,  and  an- 
other (untitled)  comedy  Western,  starr- 
ing Bob  Hope  and  Roy  Rogers,  which 
Robert  Welch  will  produce  in  Technicolor. 

Also,  "Somebody  Loves  Me"  (Betty 
Hutton)  the  story  of  Blossom  Seeley,  and 
produced  in  Technicolor  by  Perlberg  and 
Seaton;  "Casey  Jones,"  a  Technicolor  mu- 
sical about  a  fabulous  railroad  era;  "This 
Is  Dynamite";  "Road  to  Hollywood" 
(Bing  Crosby-Bob  Hope),  Harry  Tugend 


producing,  and  "Pride  of  the  Fleet,"  an 
li  ving  Asher  production. 

We  note  an  upsurge  in  the  number  of 
comedies  and  musicals  on  the  new  slate. 
There  was  criticism  in  some  quarters  that 
the  Paramount  program  during  1950  went 
in  too  heavily  lor  melodramas.  And,  if 
the  upcoming  comedies  can  be  counted 
on  to  stack  up  with  "The  Mating  Season" 
(Gene  Tierney-John  Lund-Miriam  Hop- 
kins-Theima  Ritter),  previewed  for  the 
Hollywood  press  this  month,  there  should 
be  cause  for  rejoicing,  indeed. 

REPUBLIC 

CAPACITY  PREPPING  GIVES 
STUDIO  IMPRESSIVE  START 

TN  AN  editorial  in  the  January  15th  issue 
A  of  FILM  BULLETIN,  Republic  was 
said  1o  have  "rieimitely  moved  into  the 
ranks  of  the  majors."  The  studio  verifies 
this  with  a  highly  promising  start  in  19ol. 
For  example,  there  is  a  high-budget  bio- 
graphical drama,  "The  Faoulous  Nelly 
Bly,"  based  on  the  life  of  the  famous 
woman  newspaper  reporter,  scheduled  to 
roll  this  spring.  Equally  impressive  is 
John  Ford's  next  production,  "The  Quiet 
Man,"  reportedly  one  of  the  best  scripts 
ever  to  be  filmed  on  the  Republic  lot. 

In  all,  there  are  14  productions  in  var- 
ious stages  of  preparation,  at  the  present 
time  —  which  is  considered  capacity  for 
the  company.  In  addition,  three  more  are 
before  the  cameras,  including  the  big- 
budgeted  action  drama,  "The  Fighting 
U.  S.  Coast  Guard"  (Brian  Donle-zy-For- 
rest  Tucker),  which  Producer  Joe  Kane 
is  filming.  The  latter  will  wind  tihs 
month,  within  the  38-day  shooting  sched- 
ule allotted  it. 

The  remaining  productions  now  in  pre- 
paration are:  "Wings  Across  the  Pacific," 
an  Air  Force  story  to  be  produced  by 
Alan  Dwan;  "Oklahoma  Annie"  (Judy  Ca- 
nova),  "Fort  Dodge  Stampede,"  assigned 
to  associate  producer  Gordon  Kay;  "Pals 
of  the  Golden  West"  (Roy  Rogers); 
"Wells  Fargo  Gunmaster";  "Havana 
Rose";  "Rangers  of  the  Golden  Sage'  ; 
"Winds  of  Monterey,"  and  "Texan  and 
the  Senorita." 

Plans  for  Republic  to  release  James 
Mason's  new  inde,  "A  Lady  Possessed," 
fell  through  this  month,  when  Mason  and 
Republic  prexy  Herbert  Yates  were  un- 
able to  agree  on  terms. 

RKO 

RKO  LOT  BUSY;  PRODUCT 
BODES  IMPROVEMENT  ON  '50 

HTHERE'S  no  gainsaying  the  bustle 
A  around  RKO  these  days,  unparalleled 
on  the  lot  since  the  hay-making  era  of 
World  War  II.  New  talent  is  being  put 
under  contract,  production  is  forging 
ahead  on  the  sound  stages  under  full 
steam,  and  the  story  department  is  work- 
ing overtime  in  order  to  allow  the 
Hughes-controlled  company  to  relieve  the 
shortage  of  quality  product  which  has 
plagued  the  distribution  department. 

Perhaps  the  most  gratifying  aspect  of 
all  this  activity  is  the  promising  calibre 
of  productions  in  preparation.  The  forth- 
coming productions  appear  to  be  on  a 
level  which  is  head  and  shoulders  above 
the  average  of  last  year. 


New  contracts  recently  signed  or  about 
to  be  signed  —  both  by  RKO  and  the  inde 
units  releasing  through  it  —  are:  a  two- 
hlm  pact  between  Samuel  Goldwyn  and 
Danny  Kaye,  a  one-picture  option  on  the 
entire  company  of  "L,es  Ballets  de  Paris," 
a  Wald-Krasna  exclusive  deal  with  the 
highly-touted  new  19  year  ola  M^topera 
star,  Roberta  Peters,  whac  appears  to  be 
an  upcoming  commitment  from  Greta 
Garbo  to  star  lor  V\Zaid-Kiasiia  in  a  re- 
make of  the  French  classic,  "Un  Carnet 
de  Bal,"  and  a  term  starr.ng  pact  with 
Janis  Carter. 

Gabriel  Pascal's.  British  production  of 
"Androcles  and  the  Lion"  (Jean  Simmons- 
Robert  Newton),  with  a  reputed  $2,000,000 
budget,  gets  the  green  lignt  on  February 
6.  .Lewis  J.  Racnmil  is  serving  as  asso- 
ciate producer  under  Pascal.  - 

With  "Flying  Leathernecks '  shooting 
and  casting  for  "The  Racket"  almost  com- 
pleted, Eamund  Grainger  has  notified 
noward  inughes  that  he  will  have  four 
pictures  underway  within  the  next  two 
months  under  his  eight-picture  commit- 
ment to  the  studio.  The  remaining  two 
in  the  starting  group  are  "The  Day  They 
Gave  Babies  Away,"  a  comedy  based  on 
Dale  Eunson's  Cosmopolitan  magazine 
story,  and  "Blackbeard,  the  Pirate"  (Ro- 
bert Mitchum-Faith  Domergue- Victor  Ma- 
ture-Jack Beutel). 

Norman  Cook  has  been  designated  pro- 
duction executive  for  Wald-Krasna,  as 
the  new  unit  prepares  to  launch  its  first 
vehicle.  Cook  was  formerly  associated 
with  Filmakers,  Inc.,  and  has  also  worked 
with  Jerry  Wald  in  the  past. 

Irwin  Shaw,  famous  novelist  and  play- 
wright, has  been  signed  by  Goldwyn  to 
do  the  screen  dramatization  for  "I  Want 
You'  (Dana  Andrews-Farley  Granger), 
story  of  American  mobilization. 

20th  CENTURY-FOX 

ZANUCK  MAINTAINS  BUDGETS 
AS  'BIG'  PICTURES  PAY  OFF 

nrHERE'LL  De  no  cutting  of  budgets  at 
Fox  this  year,  according  to  associates 
of  the  company's  production  chief,  Dar- 
ryl  F.  Zanuck. 

Zanuck  is  reputed  to  have  reached  this 
decision  as  a  result  of  the  tremendous 
(Continued  on  Next  Page) 


DARRYL  F.  ZANUCK 

Big  Ones  Pay  Off 


22 


FILM  BULLETIN 


'  STUDIO  SIZ6-UPS 

(Continued  from  Preceding  /'ripe  p 
boxoffice  success  being  enjoyed  by  som? 
ol  last  year's  high-budgeters  which  are 
currently  in  release,  'rialls  of  Monte- 
zuma," a  very  cosily  production,  is  pay- 
ing off  far  beyond  expectations  prov- 
ing once  again  that  the  customers  w.ll 
still  flock  to  see  a  picture  that  is  well 
made,  ihe  same  goes  tor  "All  About 
Eve,  '  and  several  other  headliners  of  the 
yea.:-. 

Equally  noteworthy  is  Zanuck's  insist- 
ence mat  h.s  unucrnngs  CDntinue  to 
search  for  story  properties  which  are  off 
the  beaten  path.  An  excellent  exampl? 
of  this  type  of  production  is  the  recently 
previewed  "The  Thirteenth  Letter"  —  a 
picture  that  offers  something  completely 
new  and  untried  in  the  line  ol  story  plots. 
11  the  unanimous  and  outspoken  acclaim 
ol  the  press  audience  attending  the  first 
Hollywood  showing  is  any  gauge,  it 
should  prove  to  be  a  real  bonanza  at' the 
boxoffice. 

Another  interesting  facet  of  the  1951 
production  slate  is  the  emphasis  which 
is  being  placed  on  biographies.  As  of 
this  writing,  Zanuck  has  g.ven  his  okay 
to  five  of  tne  biographical  type  of  films 
for  production  later  in  the  year,  in  addi- 
tion to  the  two  already  completed.  Com- 
ing up  are  "The  Desert  Fox,"  based  on 
the  liie  of  Gen.  E~win  Rommel,  Nazi  war 
chieftain;  "The  Jane  Froman  Story";  a 
film  depicting  the  life  of  Dizzy  Dean; 
"Viva  Zapata,''  story  of  the  Mexican  revo- 
lutionist; and  the  tale  of  Dr.  Sigmund 
Freud. 

"Lucky  Nick  Cain,"  the  George  Raft- 
Coleen  Gray  thriller  will  be  released  by 
20th-Fox.  The  picture,  formerly  titled 
"I'll  Get  You  For  This,"  was  filmed  over- 
seas by  Kaydor  Productions.  It  features 
Enzo  Stailo,  child  star  of  the  prize  win- 
ning "Bicycle  Thief." 

A  new  inde  unit,  composed  of  Joseph 
Bernhard,  former  president  of  Film 
Classics,  David  Lord,  and  Joseph  Just- 
man,  will  make  "The  Ravager"  for  Fox 
release.  The  story,  about  a  revolutionary 
Mexican  bandit,  is  being  adapted  from 
Lord's  novel,  published  in  1947. 

UNITED  ARTISTS 

KRIM-BENJAMIN  BID  SOLE 
GLIMMER  IN  GLOOMY  OUTLOOK 

AS  UNITED  ARTISTS  is  beset  by  more 
and  more  bitter  internal  strife,  it  ap- 


pears that  only  a  miracle  can  save  the 
once  formidable  organization  from  going 
under  for  the  final  count. 

As  of  this  writing,  inde  producers  who 
have  contracted  to  release  their  pictures 
through  the  company  are  b  >ing  threaten- 
ed with  lawsuits  unless  they  reverse  thci 
present  stand,  and  turn  over  their  pic- 
tures for  release.  Yet,  almost  to  th e 
man,  they  are  firmly  refusing  to  budge 
until  the  current  tangled  affairs  are  iron- 
ed out.  Harry  Popkin  is  leading  the 
fight,  with  his  headlined  attempt  to  en- 
join the  release  of  his  recently  completed 
"The  Second  Woman."  Only  Robe  "t  S: ill- 
man  appears  to  be  in  a  mood  to  go  along 
with  the  company  as  it  now  stands,  and 
at  latest  reports,  was  accepting  all  dates 
on  his  strong  new  dramatic  entry,  "Sound 
of  Fury." 

The  bid  for  control  which  has  been  en- 
tered by  a  syndicate  headed  by  A"thur 
Krim,  Robert  Benjamin  and  Waiter  Heil- 
er,  offered  some  hope  of  salvation.  How- 
ever, the  postponement  of  a  regularly 
scheduled  Stockho]  lers  meeting  in  mid- 
January,  gave  rise  to  speculation  that  the 
majority  stockholders,  the  unpredictable 
Chaplin  and  Pickford,  may  stymie  this 
opportunity,  too.  There  was  no  indica- 
tion, either,  that  the  pre:ent  managing 
heads  of  the  company,  Paul  McNutt, 
Frank  McNamee  and  Max  Kravetz,  were 
ready  to  relinquish  their  control  and  their 
option  on  the  stock. 

UNIVERSAL-INTERNAT'L 

FEB.  LULL  SEEN  AS  HEAVY 
SHOOTING  OUTPACES  SCRIPTS 

TTHE  HEAVY  production  pace  which  has 
been  maintained  at  Universal-Interna- 
tional during  the  past  six  months  appears 
to  have  finally  outdistanced  the  story  de- 
partment, with  the  result  that  February 
production  plans  will  have  to  be  held  in 
abeyance  until  the  scripters  catch  up. 

This  does  not  mean  that  the  sound- 
stages  are  currently  silent.  Four  pictures 
have  been  filming  through  most  of  Janu- 
ary. These  are:  "Ma  and  Pa  Kettle  At 
the  County  Fair";  the  Technicolor  pro- 
duction of  "The  Golden  Horde"  (Ann 
Elythe-David  Farrar) ;  "The  Iron  Man" 
(Jeff  Chandler- Evelyn  Keyes);  "The  Real 
McCoy'  (Abbott  and  Costello). 

While  the  real  pinoh  will  Drohibly  be 
felt  during  most  of  February,  when  the 
curient  crop  of  pictures  will  be  finished, 
production  officials  say  that  the  studio 
will  get  under  full  steam  again  by  the 
first  of  March. 

During  January,  two  important  talent 


contracts  were  signed  one  with  Jose- 
phine Hull,  giving  the  company  first  call 
on  her  services  lor  the  nex.  seven  yea~s. 
The  other  pact  is  with  Don  McGuire,  who 
will  serve  as  a  production  aide  to  Pro- 
ducer Leonard  Goldstein,  in  addition  to 
acting  and  writing  chores. 

On  the  other  hand,  the  company  got 
some  bad  news  frcm  one  of  its  top  pro- 
ducers, Michael  Kraike,  who  served  notice 
that  he  is  leaving  the  lot  to  go  with  an- 
other major.  His  latest  is  "Bonaventure," 
(Claudette  Colbert-Ann  Blythe). 

James  Stewart  has  b:en  signed  to  star 
in  one  of  the  studio's  top  piv> Juctions  of 
the  year.  "The  Bend  of  the  Snake,"  a 
drama  of  the  Northwest  adapted  from 
am  Gui.ck's  recently-publishfd  novel 
of  the  same  name.  The  picture,  to  be 
tilmed  in  Technicolor  in  its  natural  locale 
in  the  Snske  River  Country,  is  scheduled 
to  go  nno  pr^uuetion  in  early  Summer. 
Aaron  Rosenberg,  the  U-I  producer  who 
teamed  with  Stewart  last  year  to  tu-n  out 
the  highly-successful  Western,  "Winches- 
ter '73,"  has  been  assigned  to  handle  the 
production  chores. 

WARNER  BROS. 

DOUBLED  PRODUCTION  PACE 
KEEPS  FOUR  BEFORE  CAMERAS 

JF  JANUARY  is  any  criterion,  1951 
should  prove  to  be  a  much  busier  year 
for  Warner  Brothers  than  any  year  since 
the  war  boom.  Whereas  the  studio  aver- 
aged only  two  pictures  shooting  simultan- 
eously a  year  ago,  there  have  been  at 
least  four  on  the  soundstages  throughout 
January.  Furthermore,  that  tempo,  will 
be  maintained,  if  not  actually  stepped  up, 
throughout  the  remaining  winter  months. 

Sources  close  to  Jack  Warner  say  he 
is  interested  in  turning  out  a  greater  num- 
ber of  musicals  during  the  new  year,  and 
placing  less  emphasis  on  the  thriller  type 
of  yam.  In  line  with  this,  he  has  given 
the  green  light  to  a  new  Technicolor  tune- 
film,  "Painting  the  Clouds  with  Sunshine" 
(Dennis  Morgan-Virginia  Mayo).  Another 
musical,  "Moolight  Bay"  (Doris  Day-Gor- 
don MacRae)  also  in  Technicolor,  is  now 
before  the  cameras. 

Raoul  Walsh  has  been  handed  the 
directorial  assignment  for  "Distant 
Drums",  the  Gary  Cooper  starrer,  for 
United  States  Pictures  currently  being 
readied  for  location  shooting  in  the  Utah 
snow  country.  Milton  Sperling  is  produc- 
ing and  Martin  Rackin  and  Niven  Busch 
are  writing  the  screenplay. 


Check  riLM  BULLETIN  Reviews 
with  your  boxoffice  grosses  and 
you  will  find  an  amazing  degree  of 

ACCURACY 


JANUARY   29,  1951 


23 


EXPLOITATION  PICTURE 


ALAN  LADD  BACK  IN  THE  SADDLE 

Star,  'Big  Action  Story  Sells  "Branded" 


Alan  Ladd  don- 
ned his  first  pair 
of  chaps  for  his 
host  of  movie  fans 
in  "Whispering 
Smith"  and  it 
seems  they  loved 
it.  Never  prone 
to  let  a  good  thing 
slip  hy.  Para- 
mount has  put 
him  hack  in  Wes- 
tern regalia  and 
Technicolor  to 
give  the  blonde 
star's  silk  --sheath- 
ed lightning-"  per- 
sonality another 
whack  at  the 
boxoffice  in 
''Branded." 

For  the  show- 
man, it's  Ladd  all 
the  way.  Natur- 
ally, the  tie  -  in 
will    he   with  his 

previous  Western.   

and,  as  Paramount's  Showmanship 
Manual  on  the  film  puts  it,  a  "master- 
piece of  action"  with  Ladd  topping 
"his  terrific  performance  in  'Whisper- 
ing Smith"  in  the  powerful  role  of  a 
two-gun  terror  .  .  .  branded  by  the  guns 
he  bore  as  the  deadliest  outlaw  of  the 
Southwest."  In  the  ads,  the  theme  is 
"Ladd's  greatest  western  adventure,'* 
with  such  titillating  copy  as  "Bullet 
lor  Bullet  .  .  .  Thrill  for  Thrill  .  .  . 
Tops  "\Y  hispering  Smith'  .   .  ." 

An  additional  angle,  and  one  which 
should  do  much  to  overcome  the  usual 
ladies'  anathema  to  the  outdoor  action 
film,  is  the  romance  between  Ladd  and 
a  grown-up  Mona  Freeman,  his  vis-a- 


GUNFIGHTER  LADD 

Poster  Power 


vis  in  "Branded." 
A  torrid  kiss  scene 
features  many  of 
the  ads  and  can 
be  used  in  blow- 
up to  catch  the 
eye  of  the  distaff 
side  and  pique 
their  interest  in 
the  film. 

Featured  in  the 
press  book  also 
are  suggested  ads 
for  a  six-day  cam- 
paign. Based  on 
a  Friday  opening, 
layouts  are  sug- 
gested for  a  Sun- 
day kick  -  off  ad. 
followed  with 
teasers  on  each  of 
the  four  succeed- 
ing days,  with  the 
biggest  smash  ad 
for  opening  day. 
There  is  a  wide 
assortment  from 
  which  the  show- 
man can  make  his  selection,  choosing 
the  ads  most  suitable  for  his  own 
clientele. 

One  of  the  most  effective  ways  to 
sock  over  the  Ladd  characterization  is 
a  giant  standee  cutout  of  the  star  as 
he  reaches  for  his  guns  (see  cut).  A 
little  enterprise  can  go  a  long  way  if 
the  theatreman  takes  advantage  of  the 
excellent  art  available  in  the  posters. 
The  figure  can  be  used  both  as  a  lobby- 
standee  and  in  front,  in  advance  of  the 
picture's  playdate  as  well  as  during  the 
run.  Bold  copy  lines  running  across 
the  figure  can  be  changed  from  an  ad- 
vance like  "He's  coming  your  way  next 
week!'  to  current  "See  him  now  for  the 


year's  lop  action  thrills!"  to  holdover 
"  Don't  shoot,  Ladd  —  (name  of  city) 
surrenders  to  your  greatest  adventure 
since   Whispering  Smith'!" 

SELL  IT  'BIG' 

Hitch  the  star  and  picture's  title  to  tie-ups 
with  products  that  are  the  biggest  and  best  in 
their  field.  Arrange  for  window  displays  that 
feature  oversize  articles,  e.  g.,  extra  large  suits, 
tremendous  shoes,  huge  malted  milks  and  sodas, 
economy  size  packages  of  breakfast  foods,  etc. 
Th.'s  approach  opens  the  way  to  tying  up  with 
any  merchant  in  town,  emphasizing  the  angle 
that  each  merchant  sells  the  biggest  and  best  of 
everything,  tied  in,  with!  "Branded"  as  the  big- 
gest and  best  Alan  Ladd  hit.  The  window  dis- 
play of  the  product,  should,  of  course,  co-feature 
stills  and  perhaps  a  blow-up  of  Ladd,  based  on 
the  poster  art. 


TITLE  BALLY 

You  can  play  up  the  "Branded"  playdate  with 
a  tie-up  based  on  the  standard  brands  on  sale 
in  your  community.  This  can  be  done  via 
co-op  ads,  posters  and  throwaways  that  make 
mention  of  the  title  and  products  that  carry 
publicized  trade  names. 

Copy  suggestion  might  be:  "Your  guarantee 
of  the  best  in  quality  is  to  buy  brand  names  at 
these  dealers — and  your  guarantee  of  the  best 
in  entertainment  is  to  see  Alan  Ladd  in  'Brand- 
ed' at  the  Blank  Theater." 

The  title  can  also  be  used  as  a  "seal  of  ap- 
proval by  stamping  shopping  bags,  parcels,  and 
packages  with  a  sticker  that  says:  "Branded 
with  value  and  quality.  See  Alan  Ladd  in 
'Branded'  at  the  Blank  Theater." 

For  a  street  bally,  the  title  will  get  ample 
attention  with  a  simple  stunt  having  a  man 
walking  through  the  main  sjreets  wearing  a 
shirt  or  jacket  on  which  is  lettered,  as  a  sten- 
cil, "Branded"  Is  Great  Entertainment  .  .  . 
At  the  Blank  Theater."  This  could  prove  even 
more  effective  if  the  letters  are  actually  burned 
into  the  shirt  or  jacket  as  though  really  branded. 


NEWSPAPER  ADS 


EXPLOITATION 
PICTURE 

of  the  issue 


BRANDED 


Is  it  must  happen  to  all  popular  action  stars.  Alan 
I  add  "  went  west"  in  "Whimpering  Smith."  to  the  apparent 
approval  of  his  doting  admirers,  for  Paramount  has  again 
surrounded  his  guns  with  real  Hopalong  Cassidy-type  hol- 
sters, his  smooth,  rippling  muscles  with  a  checkered  shirt, 
and  his  honey-colored  thatch  with  a  ten-gallon  Stetson,  for 
the  star's  role  in  "Branded.*"  On  top  of  that,  they  have 
handed  him  a  double  dilemma  in  the  tale  of  duplicity  and 
fast  draws,  culled  from  the  prolific  pen  of  Evan  Evans, 
who  has  turned  out  so  many  western  stories  that  he  has 
to  use  two  authorships.    The  other  is  Max  Brand. 

In  this  one,  Ladd  is  seen  as  a  professional  ^  estern 


gunman  who  is  hired  to  impersonate  wealthy  rancher 
Charles  Bickford's  long-losl  son,  bo  thai  the  im poster  and 
hi*  Fagin  i  Robert  Keith1  can  collect  the  cattleman's  mil- 
lions. The  dilemma  rears  its  horns,  however,  when  Ladd  * 
conscience  and  the  uncomfortable  fact  that  he  is  falling  in 
love  with  the  rancher's  daughter.  Mona  Freeman,  appar- 
ently his  own  sister,  hits  the  gunman.  He  does  a  turn- 
about, declaring  bis  true  identity  to  the  girl,  and  unearth- 
ing the  real  son  from  an  outlaw's  stronghold. 

Rudolph  Mate's  direction  in  this  Mel  Epstein  produc- 
tion makes  ample  use  of  gunpowder,  flying  fists  and  some 
gorgeous  landscapes  given  their  rightful  due  bv  Techni- 
color. 


1% 

BULLETIN 

Volume  19,  Number  3 
January  29,  1951 

News 
and 
Opinion 

WARNER  PRO  FORMA  REPORT 
INDICATES  TRUER  NET  GAUGE 


ERIC  JOHNSTON 

Changes  Alphabets 


O'HARA  HEADS  MPAA  AS 
JOHNSTON  TAKES  OVER  ESA 

With  Congressional  approval  of  Eric 
Johnston's  appointment  as  director  of  the 
Economic  Stabilization  Agency  a  virtual 
certainty,  Joyce  O'Hara,  administrative 
assistant  to  Johnston,  will  head  the  Mo- 
tion Picture  Association  of  America  for 
at  least  the  next  nine  months,  the  term 
of  leave  —  without  pay  —  requested  by 
Johnston  from  the  MPAA  for  his  Govern- 
ment service.  If  Johnston  should  stay  on 
beyond  that  time,  it  is  assumed  that 
O'Hara  will  continue  to  head  the  Associa- 
tion. 

In  his  new  capacity,  Johnston  was  ex- 
pected to  have  much  greater  jurisdiction 
over  price  and  wage  control  than  his  pre- 
decessor, Alan  Valentine,  who  resigned 
shortly  before  announcement  of  the 
MPAA  head's  appointment.  Johnston's 
aversion  to  procrastination  boded  a  quick 
application  of  price  and  wage  control, 
which  may  be  in  effect  by  the  time  this 
is  read.  The  new  administrator  also  laid 
down  certain  conditions  to  his  acceptance 
of  the  post,  which  were  met  by  Charles 
E.  Wilson,  Defense  Mobilization  Director, 
and  were  seen  as  allocating  powers  simi- 
lar to  those  in  the  wa-time  office  headed 
by  present  Chief  Justice  Vinson. 

LOEWS  BOARD  VOTES  STOCK 
OPTION  TO  SIX  EXECUTIVES 

Six  key  Loew's  executives  will  have  op- 
tions on  250,000  shares  of  the  corpora- 
tion's common  stock  if  the  stockholders 
approve  the  plan  next  March  at  the  an- 
nual meeting.  The  stock  options  to  the 
six  officers  were  voted  by  the  board  of 
directors,  according  to  an  announcement 
by  president  Nicholas  M.  Schenck. 

The  option  plan,  calling  for  a  price  not 
lower  than  the  Stock  Exchange  figure  on 
Jan.  17,  voted  Dore  Schary,  production 
vice-president,  100,000  shares;  Arthur  M. 
Loew,  foreign  distribution  v.p.,  40,000 
shares,  and  vice-presidents  Charles  C. 
Moskowitz,  Benjamin  Thau,  Joseph  R. 
Vogel  and  Louis  K.  Sidney,  27,500  shares 
each. 


How  divorcsment  will  provide  a  more 
reliable  basis  on  which  to  determine  true 
earnings  of  production-distribution  and 
exhibition  was  indicated  by  the  pro  forma 
breakdown  in  the  Warner  proxy  state- 
ment and  plan  of  reorganization  sent  to 
stockholders. 

The  cue  was  in  the  film  rentals  received 
by  the  distribution  subsidiary  from  War- 
ner theatres  in  relation  to  the  net  profits 
earned  individually  by  the  theatres  and 
the  film  company.  In  1948,  18.5  per  cent 
of  gross  film  rentals  came  from  WB  the- 
atres. In  the  same  year,  the  picture  com- 
pany showed  a  net  loss  of  $246  000  while 
the  theatres  reported  a  net  profit  of  $12,- 
083,000.  In  1949,  WB  theatres  dropped  to 
15.6  per  cent  of  rentals,  but  the  picture 
company  showed  a  net  profit  of  $138,000, 
and  WB  theatres  netted  $10,327,000.  In 
1950,  the  percentage  from  WB  theatres 
slipped  further  to  14.4,  but  the  picture 
company  net  zoomed  to  $4,128,000,  while 
the  theatres  net  dropped  to  $6,143  000. 

Film  rentals  paid  by  WB  theatres  to 
WB  distribution  remained  comparatively 
stable,  percentage-wise,  in  relation  to 
total  film  rentals  paid  by  these  theatres 
to  all  distributing  companies.  In  1948, 
33.2  per  cent;  in  1949,  33  per  cent;  in  1950, 
33.9  per  cent. 

The  plan  of  reorganization  calls  for 
stockholders  to  receive  a  half  share  of 
stock  in  the  new  picture  company  and  a 
half  share  in  the  new  theatre  company 
for  each  share  currently  hehi.  in  a  letter 
accompanying  the  proxy  statement,  presi- 
dent H.  M.  Warner  points  out  that  the 
plan  of  reorganization  requires  approval 
by  holders  of  two-thirds  of  the  stock. 
"There  are  no  restrictions  upon  the  own- 
ership of  the  stock  in  the  two  New  Com- 
panies by  any  stockholder  who  is  not  a 
director,  officer,  agent  or  employee  of 
either  of  the  New  Companies,"  he  noted. 
He  added  that  the  Internal  Revenue  de- 
partment had  ruled  that  the  exchange  of 
stock  will  result  in  no  taxable  gain  or 
deductible  loss  to  the  stockholder. 

The  proxy  statement  lists  capital  stock 
and  surplus  pro  forma  of  the  New  The- 
atre Company  as  of  August  31,  1950,  as 
$80,423,375  and  of  the  New  Picture  Com- 
pany, $49,730,285. 

Five  directors  were  nominated  by  the 
Board  for  re-election  for  a  term  of  two 
years:  Samuel  Carlisle,  Stanleigh  P. 
Friedman,  Charles  S.  Guggenheimer, 
Samuel  Schneider  and  Morris  Wolf. 

Proposals  in  the  reorganization  plan, 
due  to  become  effective  on  or  before  April 
4,  1953,  are  expected  to  be  acted  upon  at 
the  annual  stockholders'  meeting  Feb.  20. 


NED  E.  DEPINET 

Happy  Ending 


ALLIED  PLAN  GETS  TOA  OK 
FOR  REVAMPED  COMPO  SETUP 

COMPO  seemed  ready,  finally,  to  get 
down  to  the  job  for  which  it  was  created 
—  the  all-industry  organization  of  the 
movie  business.  It  had  come  through 
a  baptism  of  internal  fire  after  its  long- 
delayed  conception  and  inspirational 
birih  and  seemed  ready  to  take  its  place 
in  the  movie  industry  family,  a  healthy 
baby.  In  the  words  of  Ned  E.  Depinet, 
COMPO  president: 

"I  have  never  felt  more  optimistic 
about  the  future  of  COMPO  than  now. 
I  voice  the  feeling  of  the  COMPO  execu- 
tive board  when  I  say  I  now  believe  that 
COMPO  at  last  has  solved  its  organiza- 
tional problems.  This  happy  culmina- 
tion of  our  sessions  resulted  from  the 
determination  of  the  members  to  arrive 
at  a  solution  that  would  assure  COMPO's 
strength  as  an  all-industry  organization." 

The  "sessions"  to  which  Depinet  re- 
ferred were  the  series  of  conferences 
that  resulted  in  a  compromise  setup 
which  satisfied  the  two  principal  exhibi- 
tor entities,  the  rebellious  Theatre  Own- 
ers of  America  faction  and  Allied  States 
Association.  It  was  the  latter's  Abram 
F.  Myers,  paradoxically,  who  drew  up 
the  structural  plan  which  dissipated  the 
spectre  of  destruction  that  had  been 
haunting  the  organization  ever  since  its 
inception. 

Under  the  new  setup,  the  corporate  , 
structure  was  expanded  to  provide  for  a 
new  board  whose  membership  would  be 
flexible  enough  to  permit  admission  of 
an  unlimited  number  of  groups  who 
might  wish  to  join  COMPO.  The  31-man 
executive  committee  will  consist  of  the 
original  10  charter  members,  plus  a 
maximum  of  seven  representatives  from 
Allied,  seven  from  TOA,  and  seven  to 
be  elected  at  large. 

Both  the  board  of  directors  and  the 
executive  committee  will  require  a 
unanimous  vote.  This  was  made  clear 
by  executive  vice-president  Arthur  L. 
Mayer  after  an  earlier  statement  had  de- 
clared that  the  proposed  change  in  j 
COMPO  by-laws  called  for  a  majority 
vote  in  the  new  board. 

(Continued  on  Next  Page) 


26 


FILM  BULLETIN 


\<»8t's  nnd  Opinion 


{Continued  from  Preceding  Page) 

'ihe  changes  will  have  to  be  ratified 
by  the  boards  of  each  of  the  consti- 
tuents. There  seemed  to  be  little  doubt 
tnat  this  would  encounter  too  much  dif- 
ficulty. Both  Myers  and  TOA's  Ted 
Gamble  gave  assurance  that  they  would 
urge  their  respective  boards  to  approve 
the  new  structure. 

The  various  COMPO  representatives 
approached  the  organizational  problem 
with  apprehension  before  the  confabs, 
and  it  seemed,  at  various  times  during 
the  two-day  sessions,  that  the  feeling  was 
warranted.  President  Depinet,  after  re- 
viewing the  situation  at  the  opening  of 
the  meetings,  noted  that  "COMPO  is 
pretty  well  stymied,  and  I  see  no  pur- 
pose in  proceeding  to  other  business  un- 
til the  road  block  is  cleared."  There 
were  several  verbal  tiffs  during  the 
meetings,  but  the  eventual  result  made 
up  for  the  differences. 

The  first  project  to  be  tackled  by  the 
revitalized  organization  will  be  forma- 
tion of  COMPO  war  activities  commit- 
tees in  the  exchange  centers.  The  future 
program  will  also  include  a  motion  pic- 
ture festival  designed  to  stimulate  the 
boxoffice,  a  "Star  Makers  Contest"  to 
develop  new  screen  personalities,  a  Mo- 
tion Picture  Exposition,  a  series  of  in- 
stitutional ads,  and  an  exhibitor-con- 
ducted survey  of  the  public's  likes  and 
dislikes  of  movies. 

Financing,  heretofore  a  problem  be- 
cause of  COMPO's  dubious  permanence, 
should  now  begin  functioning  efficiently. 
Mayer  felt.  The  financing  formula  re- 
mains unchanged. 

PHONEVISION  SOUND  TO  GET 
JITTERS,  ALSO,  IN  CHI  TEST 

As  the  current  Chicago  test  of  Phone- 
vision  moved  toward  the  end  of  its  first 
month,  Zenith  president  E.  F.  McDonald, 
Jr.,  revealed  that  the  jitters  which  affect- 
ed the  image  for  all  but  the  300  test  sub- 
scribers, would  be  extended  to  the  sound, 
also.  Heretofore,  the  audio  part  of  the 
signal  was  broadcast  unscrambled  and 
could  be  received  without  abnormal  dis- 
tortion by  any  set  owners  who  tuned  in 
on  Channel  2. 

Noting  that  some  Chicagoans  seem  to 
enjoy  watching  even  the  scrambled  im- 
ages, McDonald  schmoosed  the  companies 
who  were  supplying  Zenith  With  film  pro- 
duct by  calling  it  "quite  a  tribute  to  the 
artistry  of  Hollywood  that  their  regular 
feature  films  make  such  good  television 
fare  —  even  when  the  picture  has  the 
jitters.  Sizeable  audiences  have  found 
pleasure  in  the  superb  dialogue  and  music 
of  the  films  made  available  by  producers 
for  the  test." 

McDonald  also  said  that  more  of  the  11 
different  methods  of  scrambling  the  PV 
broadcasts  may  be  tried  as  the  test  pro- 
gresses. He  explained  that  the  simplest 
method  of  coding  the  broadcasts  has  been 
used  thus  far  "particularly  because  some 
motion  picture  people  were  interested  in 
the  'come-on'  value  of  allowing  potential 
Phonevision  customers  at  least  a  'taste' 
of  the  programs  offered  for  a  fee."  He 
reported  that  many  test  families  call  after 
a  film  has  started  to  say  "it  looks  like  a 
pood  movie,  let's  see  a  clear  picture  of 
the  rest  of  it." 

The  National  Opinion  Research  Center 
is  making  a  careful  analysis  of  all  kinds 
of  reactions,  both  from  test  families  and 
the  general  public,  McDonald  added.  "As 
the  test  progresses,  such  results  will  be 
released  as  will  not  in  itself  influence  the 
continuance  of  the  research." 


HERBERT  J.  YATES 

Only  10  Others 


YATES  RECEIVES  VFW  TOP 
AWARD  IN  COAST  CEREMONY 

pOR  HIS  "inspiring  vision,  initiative  and 
the  many  outstanding  services  he  has 
rendered  for  the  preservation  and  ad- 
vancement of  American  ideals",  Herbert 
J.  Yates,  president  of  Republic  Pictures, 
was  honored  with  the  Gold  Citizenship 
Medal  and  Certificate  of  Merit  by  the 
Veterans  of  Foreign  Wars.  Only  ten 
others  have  been  so  honored  by  the  VFW. 
The  medal  was  handed  to  Yates  by  VFW 
national  commander-in-chief  Charles  C. 
Ralls  at  a  luncheon  attended  by  civic, 
military  and  Hollywood  notables  in  L.A.'s 
Biltmore  Hotel  last  Saturday  (27th).  In- 
cluded among  those  from  movieland  were 
John  Wavne,  John  Ford,  Joseph  Breen, 
and  Joe  E.  Brown,  who  was  toastmaster. 

PA.  CENSORS  ASK  SUPREME 
COURT  FOR  TV  FILM  CONTROL 

If  a  state  censor  board  can  regulate 
what  the  great  American  public  can  see 
in  a  motion  picture  theatre,  why  should 
it  be  prohibited  from  doing  the  same  for 
films  shown  on  television? 

This  question  was  posed  to  the  U.  S. 
Supreme  Court  by  Pennsylvania's  film 
censors  in  a  brief  filed  in  the  top  tribunal 
in  support  of  its  appeal  from  an  Appeals 
Court  ruling  banning  State  censorship  of 
TV  films.  The  answer  a'ready  supplied  in 
the  original  District  Court  decision  —  that 
the  Federal  Government  had  preemnte  i 
legulation  in  this  field  through  the  Fed- 
eral Communications  Commission  —  ap- 
parently didn't  satisfy  the  Pennsylvania 
State  Censor  Board. 

In  their  brief,  the  Board  apnellants 
pointed  out  that  they  were  r.z:  attempting 
to  curb  operation  of  video  stations,  but 
were  only  interested  in  seeing  that  "im- 
moral and  obscene"  films  were  not  shown 
on  these  telecasts.  The  FCC  provides 
severe  penalties,  including  fines  and  loss 
of  operating  license  for  stations  using 
"immoral"  or  "obscene"  material. 


DON'T  FREEZE  SALESMEN'S 
WAGES,  COLOSSEUM  PLEADS 

The  "increasingly  acute"  plight  of  the 
film  salesmen  was  pleaded  by  the  Colos- 
seum of  Motion  Picture  salesmen  in  an 
effort  to  forestall  a  wage  freeze  on  the 
picture  peddlers.  The  pleas  was  sent  to 
the  currently  defunct  Economic  Stabiliza- 
tion Administrator,  Alan  Valentine. 

With  the  movies'  own  Eric  Johnston  as 
the  new  Administrator,  the  subject  of  film 
salesmen's  exemption  from  the  impend- 
ing wage  freeze  assumed  a  touchy  aspect. 
Some  believed  that  Johnston  might  bend 
over  backward  to  avoid  any  taint  of  fav- 
oritism, and  thus  kill  the  chances  of  the 
Colosseum  to  gain  an  increase.  On  the 
other  hand,  Johnston  could  be  subject  to 
suspicion  if  he  imposed  the  wage  freeze 
on  film  peddlers  since  he  is  top  dog  of  the 
distributors'  association,  whose  members 
will  face  the  Colosseum  reps  across  the 
bargaining  table  when  negotiations  begin 
for  a  new  contract.  The  old  pact  expires 
April  15,  1951. 

In  making  the  request,  David  Beznor, 
Colosseum  general  counsel,  noted:  "There 
is,  of  course,  the  legal  question  whether 
the  film  salesmen  are  subject  to  a  freeze. 
The  Act  specifically  exempts  prices  on 
rentals  for  motion  pictures.  Any  reason- 
able construction  of  the  Act  would  require 
the  .conclusion  that  Congress  meant  to  ex- 
clude the  control  of  wages  in  any  industry 
exempt  from  price  control." 

He  also  pointed  out  that  the  Act  pro- 
vides that  wage  control  may  be  exempted 
where  ceilings  are  "unnecessary  to  effect- 
uate the  purposes"  of  the  law.  "An  in- 
crease in  salary  and  expense  allowance 
to  the  film  salesmen  will  not  have  the 
effect  of  increasing  the  cost  of  production 
to  the  public,"  Beznor  claimed. 

A  wage  freeze  for  film  salesmen,  he 
contended,  "will  place  them  on  a  sub- 
normal existence."  He  said  the  salary 
average  of  film  salesmen,  in  the  ten-year 
period  ended  1949,  had  increased  from 
approximately  $78  per  week  to  $87  per 
week,  while  the  dollar  has  depreciated 
more  than  40^  during  the  same  period 
and  the  cost  of  living  had  reached  its 
highest  point  in  history. 


CINECOLOR  LOSS  $604,000; 
NEW  PROCESS  BODES  '51  GAIN 

Cinecolor  drooped  $604  000  in  the  fi^c^l 
year  ending  Sept.  30,  1950,  but  about  half 
of  the  net  loss  was  attributed  by  execu- 
tive vice-president  to  the  company's  ex- 
perimentation with  Supercinecolor.  This 
is  the  new  three-color  process,  which,  it 
was  claimed,  is  now  perfected  and  will 
account  for  about  75  per  cent  of  plant 
capacity  in  1951.  Another  $200,000  is  due 
to  be  spent  this  year  for  fu-ther  conver- 
sion and  addition  of  three-color  facilities. 

Supercinecolor  has  "improved  and  re- 
vitalized our  entire  operation,"  Herzog 
declared,  adding  that  it  has  enabled  the 
company  to  "compete  in  processing  of 
color  films  for  the  motion  picture  indus- 
try as  well  as  unpredictable  possibilities 
in  the  field  of  color  television  and  com- 
mercial film  requirements." 

The  company  is  highly  optimistic  about 
the  outlook  for  the  current  year,  accord- 
ing to  the  report,  with  demand  for  both 
processes  exceeding  plant  capacity. 


JANUARY   29,  1951 


17 


PRODUCTIOn 
&  R€L€flS€ 


R€CORD 


COLUMBIA 


1950-51  Feature? 
Serials 
Westerns 


Completed  (82) 
Completed  (  2) 
Completed  (24) 


In  Production  (3) 
In  Production  (0) 
In  Production  (0) 


NEW  PRODUCTIONS 

REMEMBER  THAT  FACE 
Drama  -Started  January  11 

Cast:    Broderick  Crawford,  Betty  Buehler,  Otto  Huelett 
Director:  Robert  Parrish  Producer:  Jerry  Bresler 

Story:    Crime  detection  in  the  big  city. 

SECRET,  THE 

Drama-  Started  January  16 

Cast:  John  Derek,  Lee  J.  Cobb,  Jody  Lawrence,  Henry  O'Neill 
Director:  Henry  Levin  Producer:  Robert  Lord 

Story:    Young  man  caught  in  criminal  snare. 

SUNNY  SIDE  OF  THE  STREET 
Musical — Started  January  8 
Cast:    Frankie    Lane,  Billy 

thmaires 
Director:  Richard  Quine 

Story:    Not  available. 


Daniels,  Tony    Arden,  The  Rhy- 
Producer:  Jonie  Tapps 


RELEASE  CHART 

  1950-51   


Cast  Details 

.  Duryea-Storm   5-8 .  . 

.Sinuleton-Lake   8-29.. 

.Crawford-Holliday   7-3.. 

.  Ferrer-0.iiin   3-27. 

.Kennedy-Lawrence   6-5.. 

.  MeGtlrt-Motre   S-lf 

.  Blake-St.   John   6-10.. 


COMPLETED 

Title — Running  Time 
Al  Jennings  of  Okla'  oral  (T) 

Beware  of  Blondie  (66)   

B  n    Ye  terday   

Prave   Bulls,  The   

Chain  Gang   

Coigo    B  II   

Count-rspy    Meets   Scotland  Yard 

Co  v  et  d    (91)   Ford-Lrawfr.rd 

Criminal    Lawyer   0  Bricn-Wyatt   12-18. 

Dick  Turpin's   Ride   ■Isy.ard-Mcd.na   11-6. 

Emergency  W  dding   (78)   Parks-Hale   4-10. 

Firefighters.  The   Wi'lams-Reynolm  ?-27 

Fl.lng    Mi-s  le     The   Ford-Lin'ors   7-31. 

Fort   Savage    Raiders   Starrett-Burnct'e   9-25. 

Fnrv  of  the  Co-go    YVeismu'ler-Talbot   7-3. 

GiMI'ni    "llev   Becke  t-Lydon   10-9. 

Ha  lem    Globetro  ters,    The   Gomez-Dandridgc   11-6. 

Harriet  Craig   (94)   Craw'o-d-Corey   

He-   Wonderful    Lie   Klspura-Eggerth   11-10. 

Details  under  tife:  The   E'.crnal  Melody 

Hero.    The   Dertk-RaRc   6-19. 

H  's  a   Ccc'ieyed   Wonder    (77)   Rooney-Moore   

Hse    Down   Arnold-O'Mahoney   7-4. 

Hurricane    Island   Hall-Windsor   10-23. 

Killer  That  Stalked  New  York   Kcycs-Korvin   12-5. 

Last  of  the   Buccaneers    (C)   Henreio-3ooth   3-27. 

Lightning  Guns   Starrett-Burnette   6-5. 

Lorna   Doone    (C)   Hale-Greene   6-5. 

Magic  Carpet   Ball-Agar    12-18. 

"ask  of  the  Avenger   Derek- Lawrence   10-23. 

■  •unties.    The   Autty-Buttram   4-19. 

My    True  Story   Parker-Walker   12-1*. 

No  Help  From  Heaven   Clark-O'Donntll   12-18. 

«•  Sad  Songs  For  Me  (89)   Sullivan-Corey   10-24. 

titeast  of  Black  Meta  (54)   Starntt-Birnett   11-7. 

Palomin-.    (T)   Cnurtland-Tyler    8-1. 

Pyenty    Island   We  ssnuller-Savagc     .  ..1-19. 

Petty  Girl,   The  (T)    (87)   Cummings-Caulnld  .9-26. 

Prairie   Reandip   Starrett-Burnette   7-31. 

Ralderi  of  Tomahawk  Creek   Starrett-Burnette   6-19 

■rente  Ag-nt   Kennedy-Wllles   7-31. 

Rldln'   the  Outlaw  Trail   SUrrett-Burnette   8-28. 

■Mere  of  the  Whistling   Plnei   Aetry-Whlte   7-5. 

0»»alls  inter  title:  Wlnfi  Westward 

■•mantle   Age,   The   O'Br  en-Martin   8-28. 

■•okle  In  Korea   McAllister   11-6. 

Sontn  Fe   (T)   Seot'-Cxrfer    7-3 

Sirocco   Bogart-Toren   11-20. 

Sm.ggler'i  Geld   Mltehell-Blak*   11-20 

snake   River  Desperados   Starret'-Burnrtte   11-6. 

S.nny  Side  of  the  Street   Lane-Oanlels   1-29 

711   Ocean    Brl..    (102)   O'Brlen-Dru   

'   ■*»•<•  Cry   A«try-Davis   7-31. 

Tiighir  Th«v  C»me.  The   Foster-Morris   7-31. 

Tw»  of  ■  Kind   Scott-Moore   10-23. 

Valentin*    Parker-Dexter   6-19 

When  the  Ridsklns  R«di   HiM-rastla   8-28. 

When  Tun  Smiling    (75)   Courtland-Albrlght   

Whirlwind   Aitry-BirnetU   12-18. 

  1949-50  

 Starrett-B.rnette   4-10. 

 Aatry-Gwynne   5-8. 

Captive   Girl   WelsRiiller-Crabbe    .  .  .10-24. 

•avid  Harding.  Cientcr  Say  (71)   Parker-Long   1-30. 

-     Irish  Ski.  Till    Ball-Alaart   2-27. 

Lonily  Place   ■oga't-Grahime   11-7. 

Territory   Aitry-Buttram   4-10. 

of  Sherwood  Forest  (C)   (80)    .  .  .  .  Oerlek-Lyan   9-12. 


.327. 
207 
344. 


.332  1-1 

.335  


.388. .12-18 

.341  

.361  


3-r0. 
.4-50. 

3-SO. 
11-50. 

.9-50. 
.1-51. 
10-50 
.3-51. 
2-51. 


342 
317 
363 
362 
312 


.7-50  319. 

.3-51. . . .352. 
12-50. . . .305. 


. 4-51 . 
10-50. 


rill. 


9-50 
11-50. 
7-50 

7-  50. 
10-50 

8-  50 

9-  50. 
.7-50 


262 
246. 

.240. 
220 
239 
242. 
249. 

.243. 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  ih«j 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  ap 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  thtf 
Release  Number.  "Rev."  is  the  issue  in  which  the  Reviev 
appeared.  There  may  be  variations  in  the  running  time 
States  where  there  is  censorship.  All  new  productions  art 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi  I 
ately  following  title  and  running  time  denotes  Technicolor 
(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 


EAGLE-LION-CLASSICS 


1950-51 


Completed  (    )     In  Production  (1) 


Cast 

.Marsh-Murray  .. 

.Marshall-Sanders 
.  Cooley-Hart  ... 
.  Hart-Smith     . .  . 


Details  III. 
.  Forelga...  Fob. 

.Foreign.  .  .9-50. 

 11-2. 

. . 10-23  


NEW  PRODUCTIONS 

CLOUDBURST 

Western — Started  January  8 

Cast:    Robert  Preston,  Elizabeth  Sellars,  Mary  Germaine 
Director:  Francis  Searle  Producer:  Alexander  Paa 

Story:    Flood  threatens  cattle  drive. 

RELEASE  CHART 

  1949-50-51   

COMPLETED 

Title— Running  Time 
Allee  In  Wonderland  (A)   

Blackjack   

Border  Outlaws  (58)   

Cattle  Queen   

Destination  Moon  (T)   Anserson-Archer   11-21... 8-50  

Eye   Witness    (104)   Montgomery-Banks   9-50  

Golden  Salamander  (96)   Anouk-Howard   Foreign ...  12-1  

Good  Time  Girl   Kent-Robson   5-50  

High    Lonesome   (T)    (81)   Barrymorc  Jr.-Butler    . 11-16. .. 9-50  044. 

I    Killed    Geronimo   Ellison-Herrick   6-19...  8-50  

I'll  Be  Seeing  Yog   Rogers-Cotten   Reissue  

Kangaroo   Kid    (73)   0  htano  cy-Borg   10-22  

Korea    Patrol   Einary-Fong   10-9...  1-15  

Lovable  Cheat.  The  (77)   luggles-Garner   1-31... 4-15  4- 

Mr.    Universe   Carson-Paige   1-10  

My   Brother,  the  Outlaw   Rooncy-Hendrix   2-27  

Narcotic  Agent   Henry-Blake   3-27  

Oliver  Twist  (115)   Newton-Guinness    ....  Foreign ...  1-18  

One  Minute  to  Twelve  (76)   Hanson-3rost  om     ...  Foreign ...  10-1  

Paper  G?llows   (80)   AnCe-son-Btntley   Foreign .  .  .9-22  

Passport  to  Pimlieo   Rutherford-Holloway    ..Foreign  010. 

Prehistoric  Women   Luiz-Nixon   5-8... 11-1  

Project  "X"    (60)   Colton-Andos   10-7  

Rebecca    (SRO)   Fontaine-Olivier   Reissue  ..  July  

Rogue   River   Calhoun-Lldell   8-14.. 11-15  

Sarumba   (65)   Dowling-Whalen   Jan  014...  3- - 

Search  far  Danger  (63)   Calvert-Dell   1-3  4-8. 

Second  Faca,  The   Bennett-Johnson   5-8...  1-51. 

So  Long  at  the  Fair  (90)   Simmons-Bogarde    ...  Foreign ..  .3-29. 

Stronghold   Lake-«eott   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27... 1-22. 

Taming  of  Dorothy  (75)   Kent-Beatty   Foreign .  .  .9-29 . 

They  Were  Not  Divided   Underdown-Clanton    .  .  Foreign  ...  .2-1. 


Tlmi  Running  Out   Clark-Signo 

Tlnderbox   (C)   Cartoon  Feature 

Two  Lost  Worlds   tiliott-Arness  .. 

Vicious  Years   Coek-Merrltt 

Wicked    City   Montez-Anmont 

When   I  Grow  Up   Preston-Scott    .  . 

White   Heather   Milland-Roe 

Wind  It  My  Lo»er.  Thi   Llndfors-Kent 


.  Foreign.  .10-31. 

.12-2*. 
.10-29. 


 1-2. 

.  12-18 .  .  .  3-22 . 
 3-8. 


LIPPERT 


Completed  (    )     In  Production  (0) 


COMPLETED 


RELEASE  CHART 

  1949-50-51   


Bandit  Qinn 


Title—  liinlag  Tim 


grltton-Parker 
.  Barry-Liwery 
.Elllson-Hayden 
.  r  MlNon-Hayden 

^arry-Lowery 


.9-25 


.12-15  

..10-4...4933... 
. .4-21. . .4925. . . 

Fast  oa  tat  Dm  tllisen-Haydon   1-2.  .  .5-19.  .  .4929.  . . 

Ceetr.    -:arry-Lowery   8-11. .  .4932. .. . 

■llaotod   Dalle-Jinn   5-8.  .  .7-14. .  .4920. .. . 

Holiday  Rkythaj   Hughis-Striet   6-5.  .10-13.  .  4911  

I  Shot  Billy  the  Kid  (58)   Barry-Lowory   5-8         9-8 ... 4931 ... 9-11 

■aek  if  thi  Dragon   Travis-Ryan   12-18  

■•tor  Patnl   (67)   Cajtlo-Hlfh   3-13. .  .5-12. .  .4923. .. . 

Rotarn  of  Jmii  Jaatis  (75)   Inland-Orarak   6-5        9-8. .  .4907. .  .1 

Roaring  City   Beaimont-Travls   1-15  

Steal   Hilsait.   Tin   Edwards-Brady   11-6        2-2 .  . .  5006 .... 

3  Dasaorati  Mm   Foster-Davis   10-23  1-5  

Details  eider  title:  The  Dalian's  last  Raid 

Train  to  TaakstoM   Barry-lawaty   .5-8. .  .9-15. .  .4934. .. . 

Wait  df  Bram   Ellison-Haydn   12-19. .. .«-2. . .4930. . . 


u 


FILM  BULLETIN 


METRO-COLDWYN-MAYER 


1950-51  Features 


Completed  (79)      In  Production  (7) 


NEW  PRODUCTIONS 

jiAN  on  the  train 

Drama — Started  January  10 

fast:    Dick  Powell,  Paula  Raymond,  Marshall  Thompson,  Adol- 

phe  Menjou.  Ruby  Dee 
Mrector:  Anthony  Mann  Pioducer:  Richard  Goldstone 

iory:    Death  rides  a  transcontinental  streamliner. 
jiTRIP,  THE' 

llusical — Started  January  10 

Cast:    Mickey   Rooney,  Sally    Forrest,  James   Craig,  William 

Demarest,  Kay  Brown,  Vic  Damone 
)irector:  Leslie  Kardos  Producer:  Joseph  Pasternak 

tory:    Life  on  Hollywood's  famous  play-time  row. 

•JRADLEY  MASON  STORY,  THE 
)rama — Started  January  15 

:ast:    Walter  Pidgeon,  Ann  Harding,  Lionel  Barrymore,  Barry 

Sullivan,  Keefe  Braselle,  Philip  Obler 
iirector:  Richard  Thorpe  Producer:  Robert  Thompson 

tory:    Based  on  the  well-known  Bradley  Mason  Story. 

ITRICTLY  DISHONORABLE 
Comedy — Started  January  18 

^ast:  Ezio  Pinza,  Janet  Leigh,  Millard  Mitchell,  Gale 
Mrector:  Mel  Yin  Frank  Producer:  Norman 

tory:    Not  available. 

RELEASE  CHART 


Robbins 
Panama 


rS  PRODUCTION 

Title — mnninj  Tim. 

4  Lad,   

>t  Is  Better  Than  Ever   

Oaestioiu  Asked   

k,  Yoint  and  Pretty 
•  Btat  (T)   


T 


COMPLETED 

trass  the  Wide  Missotri  (T) 
■erica.i  in  Paris  (T)  .... 
allinc   Bulldog    Drommond    .  . 

•  use  for  Alarm  (75)   

atil's  Doorway  (84)   

ul    1119  (75)   

Details  under  title:  Standoff 

*atte  My  Dist  (T)   

alters  Little  Dividend   

•  For  Broke   

rtat  Caruso,   The  (T)   

roiads  For  Marriage   (91)    .  . 

aide  Straight   

ft   A    Big  Cttn'.ry   

•a    <T>  (112)   

ina  Solomon's  Mines  (T)  (1 
•ft  tl  Her  Own.  A  (108)  .  . 
atjaificent  Yankee  (89)  .  .  .  . 
lisher  Story.   The  (104)    .  .  . 


Cast 

,  .  Barryn-ore-Evans 
.  .  Tay  oi-Parki  . 
.  .Stllivan-Dahl 
. .  lo.ell-lamone 
.  .Gar^ne'-Kcel 

-  1950-51  — 


Turner-Pinza 
.  <elly-Caron  ... 
.  Pidgeon-Leighton 
.Yojnc-Sollivan 
.  Tay  or-Raymond 

ir.ompson-Meld 


Devils 

. .  12-4  . . 
. . 12-18 . . 
. . . . 1-1 . . . 
.  .  .  12-4 .  .  . 
.  .  .12-4. .  . 


.8-14 
.8-14. 
.8-28. 


.3-27 


.118  

.102  . . .6-5 
.107  10-23 


Ire.  0  Mai  ty  and  Mr.  Malone  (69) 

art  Voice  Yoo  Hear.  The  (82)   

aaaa   Love  Song  (T)  (77)   

iaiated  Hi  Is.  The  (T)   

"fie  In  Love   

Vadis  (T)   

ti  Badge  ol  Courage   

•tat  Cross    (90)    . . . 
•yal   Wedding  (T) 
fittot'i  Three    (T)    .  . 
arte  Goys  Named  Mike  (79) 

•  Please  A  Lady   

•art  ol  New  Orleans,  The  (T)  (97) 
■a  Weeks  with   Love   (T)    (92)    . . 
tceeance  Valley  (T)  (83) 
'auh  the  Birdie  (70) 

nit  Get  Yotr  Gin   (T)    (10")  . 

tehalt    Jingle  (112)   

(96)   

aeaess  of  Idaho  (T)  (98) 

atatr  ol  the  Bride.  The  (93) 

amy  Years.   The   (T)    (110)  ... 

ady  Withott  Passport  (72) 

•»»:•>   Street  (93) 

kipper  Strprises  His  Wife,  The  (85) 

t»n  in  My  Crown   

ttaner  Stock  <T)  (1C9)  .  . 
aret  Little  Words  (T)  (102) 


.       Kon-Forrest   11-6 

,  .  Traor-Taylor   10-23 

Johnson-Anderson   10-9 

.Lanza-Blyth   9-25 

Jol.nson-G  ayson   6-5 

.  Bnan-Dahl   9-25. 

.  »ll  Star   4-24 

.  Flynn-Stockwell   12-19 

iurr -granger   n-i 

.  Ttmer-Corty   2-13 

Cain;,n-Ha,ding 
.  Garson-Pidgeon 
.  Gable-Hod  ak  . 
.  Ma  n-wn  tmore 
.  wmtmore-Bav  s 
.WiHiaais-Keel 
.L'ssic-Kelly  .. 
.  Mi'land-Hcdiak 
.  lavlo  -Kerr 
.  Morphy-Mauldin   9-11 

coa6  i-«ton  a  ban   4-1U 

.  Aj'aire-Powell   7-17 

.  G-anrer-Fidgeon   11-6 

.  W>man-John>on   8-14 

.  Gablc-Star.wyck   4-24 

.  Rrayson-Lanza   1-16. 

.  Pcwcll-Monta  ban   4-10 

Lancaster-Walker   6-19 

.  ate  t;n-B  itton   5-i2 

-  1950-51   

.  Hut;o<i-Ketl   10-24 

.  Hayden-Hagen   11-21 

.Grant-Ferrer   1-16. 

.  Williams-Johnson 
.  Bennett-Tracy 
.  Steckwell-Beckett 


10-10 
.8-14  . 
.6-19  . 
.3-13 
.4-24  . 
6-19  . 
12-18 . . 


.120  

108  . 10-23 
.121  

!ii9.\".".."! 

.105  

.103... 8-28 

 10-23 

.117  

113  

. .33. . .4-24 


.  Montalban-Forrest 
.Walker-Leslie  ... 
.  MeCrea-Drew  . . . 
.Garland-Kelly  ... 
Astaire-Skelton  . 


. . 11-7 . 
.1-30  . 
. 9-26 . 
.1-16. 
11-21 . 
11-21  . 
6-20. 
. 12-5 . 
. 12-19 . 


July. 
■  Am. 
.Jtly. 
June 


MONOGRAM 


19u0-ol  Features  Completed  (    )      In  Production  (1) 

Westerns  Completed  (    )     In  Production  (0) 

Allied  Artists  Completed  (    )  In  Production  (1) 

NEW  PRODUCTIONS 

2HOST  CHASERS 
Comedy— Started  January  19 

3ast:    Leo  Gorcey.  Huntz  Hall,  Jan  Kayne.  Lloyd  Comgan 
director:  William  Beaudine  Producer:  Jan  Grippo 

•tory:    Further  adventures  of  the  Bowery  Boys. 


I  WAS  AN  AMERICAN  SPY 
Drama-  Started  January  4 

Cast:    Ann  Dvorak,  Gene  Evans,  Douglas  Kennedy,  Lisa  Fer- 
raday 

Director:  Lesley  Selandei  Producer;  David  Diamond 

Story:    Semi-documentary  on  the  experiences  of  an   FBI  counter-inteiliirence 
agent. 

RELEASE  CHART 

  1950  51   


COMPLETED 

flu*— »  Ti-f  r..,< 

Aeeorcbg    to    Mrv    Hoyle   Bvln-:m-'handlei 

Bomba  and  the  Hidden  City   Shel'ield-England 

Bowery    Battalion   Gortey-Hall 

Cavalry    Scott    (C)   Ci"'on_iong 

Ctld   Bullets   Brown-Hall 

Catnterteit    tl»F»e-Klnt 

C-tntv  Fair   <C>   Calho«n-N.gh 

Father  s   WI'd  Game  (61)   Wa. born-Gray 

Gin   Sllngtrs    < 5S i   wn>on-Ci,d. 

I~  Paiooka   In   Hgmphrey  Tikes  a   Chance     Kirtw  »<-Frri>i 

Lion    H.nters.   Th:   Shemeld-Wh.ttleld 

Mexican    Silver   Wlliaa-Clydt 

Modern    Marriage.    A  (66)   

Navy  Bound   

Rnythm  Inn   

Sitrra  Passage   

Trail  Dost   

Witness,  Tht   

'  r  7  i ED  A  RTISTS 

Stfhside  l-i:00  (73)   

Short  Grass   


11-20  2-18 

6-5  9-24 

.8-14  1-21 

10-9. .  2-2 3. 
11-20 


il22 
4906 
5111 
5101 


7-) 
4-24 
10-9 

2- 13 

3-  11 
l-l 
6-5 

C:arke-Flr|<   2-13 

Ncal-To-tay   11-6 

Fraz  c-Grant  12-18 


1919-50 


Ari.-oni    Territory   Wilson-C  yde 

Bin    Tim  e-   MacUoweM-Oor.nell 

Bite  Bl.od  (C)   WHI.sras-Nigh 

Bui  iba  and  the  Lost  Volcano   hefheld-Lord 

Call  of  the   Klondike   Grant-Chinook 

Cherokee   Uprising  (57)   

Colorado  Ambtsh   

Hot    Rod  (61)   

Joe  PaLoka  in  the  Squared  Circle 

O.tlaw  Gold  (il)   

Ovltaws  ol  Texas   

side  Show   

Silk  Noose   

Snow  Dog   

Triple  Trouble   


9-  11 

6-5 
6-19 
S-25 
3-27 

10-  9 

.  Wil  on-Clyde   8-28 

8  own-H  II   10-23 

.  lylor~*in  rrs   8-14 

Kirkwood-Gleason   

Iiwii  Mum   7-31 

.Wilson-Clyde   S-ll 

,«a»alr»  lalWai 
Land  s-C.illeia 
Crant-Vrrdtgo 
Gorce^-Hall 


.  4-10 
Reisste 
5-8 
5-8 


8-1 

4903 

12-3 

5125  

...4-9. 

4  41  

6-4 

.4912  

.10-15. 

5199  10-9 

2-25 

5120  

.  2-11 

!115  

1-7 

5107  

12-31 

.5107  

.  .  17  

12-24 

...18  

2-4 

.4946  

7-2 

4942  

9-10 

4908 

.  1-28 

. 4904  

. .  6-25. 

4  OS  

12-17 

.4920  

10-8 

.4944  

1-14 

.4955  

10-22 

4918  

. .11-5. 

.5117  

11-26 

.4954  

12-10 

4945  

. .6-18  . 

.499  1  

7-9 

.4923  

-716 

.4  19  

8-13 

.4915 

PARAMOUNT 


1950-51  Features 


Completed  (    )      In  Production  (4) 


Tucker,  John 
&  Wm.  Thomas 


NEW  PRODUCTIONS 

CKOSSWINDS 

Drama — Started  January  16 

Cast:    John    Payne.  Rhonda    Fleming,  Forrest 
Abbott 

Director:  Lewis  R.  Foster  Producers:  Wm.  Pine 

Story:    Not  available. 

RELEASE  CHART 

rV  PRODUCTION 

Title—  tanning    Time  Cast  0»""« 

Here  Comes  the  Groom   tW V -W/man   12-4. 

Sttmarine    Coiiirand   Hcllen-Olsan   1-15.. 

(Detiils  tr.der  title:  Stbmarine  Stody.  The) 

That's    My    Boy   Mart:n-Lew:s    12-18 

When  Worlds  Collide   Derr-Rash   1-1.. 


COMPLETED 

Ace  In  Tht  Holt  ... 
At  War  with  the  Army 


(931 


Bra.-ded    (T)  (103) 

MaJh  i.idet    line:   Mtniana  Riots 

Carrlt   

Caiiint  It  Ktrea  (55)   

Ctpttr  C-.n.o-    (T>  (85)   

Darling.    How   Coold  Ycul 

Dark  City   

Dear  Brat   

Fancy  Pants  (T)  (92)   

Fort  Savage  Ml)   

Goldbergs.  The     

Great  Missouri  Raid,  The  (85)   

Last  Ootpost,  The  (T)   

Lemon    Dron   Kid,  Tha   

Lets    Dance    (Tl  (112)   

Mating   Sea:on,  The   

Detiils  onjer  title:   A   Relative  Slra 

Mr.    ■ask  (ICS)   

Plate   in   The  Sin.  A   

Oaantrells   Raiders  (T)   

Oiebte  (T)   

Redhead  aayj  the  Cowboy  (82>   

Sanson   and   Delilah     '  i  (128)   

Septen-bcr   Affair    (104)  . 

San  thing  To    Live  For   

Details  under  title 
My  Boy 


■  1950-51  — 

.  Doigias-sterling 

.  b'artin-Leviis 
.  Ladd-Freidman 

Olivler-Jtnts 


.  Mitland-Lamarr 


.  .Hryoen-R,,,   

.  B:rg-Loeb   

.  Ccrcy-Carey   

..Reagan-Fleming  ... 

.  Hope-Maxwell  ... 
Httton-Astairi 

.  I  ierney-Li.nd   

r 

.  Crosby-Htssty  ... 

.  Clift-Wlatan   

.  Lad3-Kcnnedy   

.  Barrynere  Jr.-Calvet 

.  Ford-Hwing   

La^arr-mattrt    .  .  . 


Trit  (91) 
Tripoli 


 Frjitajne-Milland 

Mrs.  Anonymtas 

  Martin-Lewis  . 


(95)   

Hasaa  Statian  (80)   

Unittd  States  Mail   

BatalU  tnder  title:  Pastal  Isnoecttr 
Warpath  (T)   


Eagle 
Ftrles. 
Lawless.   The    (83>  . 
My  Frer-d   Irma  EM  West 
satsot   Bttlevard  (110) 


3-27 

1-51 

5003. 

12-18 

9-11 

10-50 

5008.' 

. .10-9 

4-25. 

10-12 

5003 

. .8-14 

11-20 

4-24 

10-50 

5004 

11-6 

.7-4 

.9-4 

.5001. 

8-14 

12-4. 

8-2? 

.'.i-si. 

5P11 

. .6-5. 

2-51 

5013 

.1-1 

10-23 

iseii! 

7-18 

11-23 

.'006 

:  8-2a 

. .6-5. 

.3-51. 

.5016 

. 11-7 . 

. 12-50 

.5007. 

8-88 

10-24. 

11-20 

. .7-3. 

.4-51.' 

:6ir 

3-51. 

:  015 

10-Z3 

.3-51. 

.5010 

11-21 

8-29 

.2-51 

5012 

.1-15 

 11-6 

. 5005 . . 10-23 
.5002... 7-31 


Hawk.  Tht  (T)    (104)  . 


8-15 

6-50 

.4916. 

.2-13 

.12-5 

8-50. 

.4926 

7-17 

11-7. 

7-50 

.4923 

.4-10 

.2-13. 

7-50. 

.4922 

6-19 

.4-25 

8-50 

.4927. 

.4-24 

JANUARY   2  9.    1  9  5  1 


1950-51  Features 
Serials 
Westerns 


REPUBLIC 


Completed  (  )  In  Production  (0) 
Completed  (  )  In  Production  (0) 
Completed  (2)     In  Production  (2) 


NEW  PRODUCTIONS 

IN  OLD  AMARILLO 
Western — Started  January  8 

Cast:    Roy  Rogers,  Penny  Edwards,  Pinky  Edwards,  Estelita 
Rodriguez 

Director:  William  Witney  Producer:  Edward  J.  White 

Story:    Romance  among  the  homesteaders  in  the  Panhandle  country. 
THUNDER  IN  GOD'S  COUNTRY 
Western — Started  January  12 

Cast:  Rex  Allen,  Mary  Ellen  Kay,  Buddy  Ebsen,  Harry  Lauter 
Director:  George  Blair  Producer:  Mel  Tucker 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 

  1950-51   

COMPLETED 

Title — Raamng   Tim*  Ct*f  Oataih        a>l  fte*. 

Belle  Le  Grand   Raiton-Carroll   7-31 ...  1-27 ...  5006  

BieMroo  Sheriff  of  Texas   Chapin-Janssen   

Bullfighter  and  the  Lady   Staek-Paga   6-5. 

California  Passage   

Cuban  Fireball   

Fiejhting  U.  S.   Coast  Guard  . 

Heart  of  the  Rockies   

Hit  Parade  of  1951   (85)  ... 


rueker-Mara   3-27 .. 12-15 ...  5005 . 


. .  Estelita-Vineent 
.  .  Donlevy-Tueker 
.  .  Rogers-Edwards  .  . 
. .  MacDona  d-Carroll 


Moneyehile   Canova-Foy,  Jr. 

Insurance  Investigator   Dunning-Long 

Macbeth   Welles-Nolan  . 

Missing   Women   Edwards- \lvin 

Night  Raiders  of  Montana   Lane   

Oh,   Susanna!    (C)   Camtron-Toeker   6-19. 

Pride  of  Maryland   Clements-Stewart   10-9 ...  1-20 ... 5023 . 

Rio   Grande    (105)   Yiaynr-O'Hara   7-3.  .11-15.  .  .5004.  .11-20 

Rough   Riders  of  Dorango   Lane-Towers   10-23 ...  1-30 ...  5058  

Silver  City  Bonanza   Allen-Ebsen   11-6. 

Spoilers  of  the   Plains   Rogors-towards   8-28. 


 10-20. . .5003. 

.11-20. . .2-23  

.12-4. . .2-28  

.2- 


.2-5. . .5041. 


Tht 


.  Carroll-Mara    . . 

1949.50  _ 

.  Uarrall-Ralttan 

.Lane-Walter  ... 
.  Patrick-Roekwell 
.  lino-Waller  .  -  . 
.  N»ii»e  Cast   .  .  . 


Covered   Wagon  Raid   

Oe  tination  Big  House   

Frisco  Tornado   

Jungle  Stampede   

Lonely   Hearts   Bandit   Patrlek-Eldrldg 

Missourians,   The   ^le-Hurst 

North  of  the  Great  Divide  <C)   (toners-Edwards 

Old   Frontier,  The   Ha  a-Harst    . . 

Pioneer    Marshal   Male-Hurst 

Powder   Riser  Rustlers    (60)   Line-Walter 

Petticoats   Pcrkins-Roekwe 


.3-14... 9-15... 5001. 


Forest  Trail 
Rustlers  on  Horseback 
Showdown,  The   


Trial  Without  Jury  . 
Trigger,  Jr.  (Tr.)  . 
UnOer  Mexieali  Stars 
Vigiante  Hideout 


Patrick-Rockwell 
.  Rogert-Evant 

.  *ll  n-Patriek  .. 
Lane-Waller    .  .  . 


3-13. 

.  6-!>6. 

.4920 

3-13. 

.6-30. 

.4965 

...6-1. 

4918. 

'.'.'6-5.' 

.  .  .9-6. 

.4967. 

. . 7-29 . 

.4922. 

4-24.' 

.8-29. 

.4925 

8-28 

11-25. 

5-22. 

11-15. 

.4944 

. .7-29. 

.4973, 

9-26. 

l?-24. 

.4971 

. .9-12. 

.11-25. 

..4961 

5-8. 

..9-18. 

.4929 

11-7. 

. .9-18. 

.4953 

7-31 . 

10-23. 

.4968 

.8-15.  . 

4924 . . 

3-27. 

.9-25. 

.4943. 

. .7-3. 

12-15 . 

. 4946 . 

. 2-27 . 

. .7-8. 

.4921 

12-19. 

. .6-30. 

.4945. 

11-20. 

.4954 

'.'.5-8. 

. . .8-6. 

.4966. 

RKO  RADIO 


1950-51  Features 


Completed  (    )     In  Production  (5) 


NEW  PRODUCTIONS 

ON  THE  LOOSE 

Drama    Started  January  18 

Cast:    Joan  Evans,  Lynn  Bari,  Robert  Arthur 

Director:  Charles  Lederer  Producer:  Collier  Young 

Story:    Problem  of  dealing  with  teen-age  youngsters. 
RUSTLER'S  RANGE 
Western — Started  January  18 

Cast:    Tim  Holt,  Richard  Martin,  Joan  Dixon,  John  Dehner 
Director:  Stuart  Gilmore  Producer:  H.  Schlom 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 

Title— Rennln.    Tim.  Cast  Details        Rel.        No  Rot 

f  lying    Leathernecks    (T)   Wayne-Ryan    .  12-4 

The   Tobcy-Sheridan  11-6  . 

Two  Tickets  to   Broadway   (T)  Leigh-Martin   .11-20 

  1950-51   

GROUP  ONE 

Border    Treasore   Holt-Martin    8-50  105 

Born  To  Be  Bad   (93)   Fontaine-Ryan   7-4.  .  . 8-50  101  9-il 

Bunco   Sguad    (67)   Stcrlinn-Di  on   2-27.  .  . 9-50.  104  8-28 

Outrage   (75)   Andrews-Powers   2-27. 10-50  103  9-25 

Walk  Softly,  Stranger   (81)   Cotien-Vall;                              11-50  102  9-11 

GROUP  TWO 

Experiment    Aleatrai   Howard-Di>oi   11-50  .     107... 1-15 

Never   a    Dull   Moment   Donnc-MacMurray   11-50  106 

Rio  Grande   Patrol   Holt-Martin    11-50  108 

NOT  DESIGNATED 

Allao  la  Wiaderland  (T)   Oliney  Cartaaa   

Capture.  The  (81)   Ayres-Wrlght   8-29  .    6-50       073  4-24 

Company  She  Keeps   Greer-O'Keefe  3-13      1-51        109  1-15 

Details   under   title:  The   Wall  Outside 




.6-19... 2-51  

.7-31.  .12-50  112. 

.12-3. . .8-50. . . .152. 

t-14  

.2-13. . .1-51. . . .110. 


1-1 


.1-1 


3-3 


Cry   Danger   Powell-Fleming 

Double  Deal   (64)   Donning-Wlndsor 

Edge  of  Doom   Andrews-Granger 

Footligbt    Varieties   Paar-iluttani  .. 

Gamb'im   House   Bendin-Matare 

Details   under   title:  Alias   Mike  Fury 

Gaunt  Woman,  The   Androwi-laim   i-14  

Gun    Notches   Holt-Martin   11-6  

Sir  Thunder   Halt-Martin   10-24  

Hunt  the  Man  Down  (68)   Young-Anderson   5-22  

Details  under  title:   Seven  Witnesses 

It's    Only    Money   Slaatra-laeeall   12-6  

Jet   Pilot    <T>   Wayiit-Lo.ih   12-19  

Macao   Russell-Milehum   9-11.  2-51  

Mad  Wejnesday   (80)   Lloyd-VValburn   10-1.  10-50  166 

Mad  With  Much   Heart   Ryan-Lupino   5-8  

Man  He  Found,  The   Re:d-Tnttl«   6-5  

Mother  of  a  Champion   Trevo.-Ferrest   7-31  

My  Forbidden   Past   Gardner-Mitchum   10-10.  .  . 3-51  

Our    Very   Own    (93)   Granger-Blyth   9-12...  8-50  151...  4-10 

Payment  on   Demand   Davis-Sullivan   2-27.  .  . 2-51  

Details   under   title:  Story  of  a  Divorce 

Pis.ol    Harvest   Hot-Martin   12-4  

Roaubloek   McGiaw-Dixon   10-23  

Saddle   Legion   Holt-Martin   7-31  

Se.ret   Fary    (86)   Colbert-Ryan   11-7... 9-50  075  5-9 

Sons  of  the  Musketeers  (T)   Wilde-O'Hara   1-2   .. 

Target   MeGraw-Whita   6-19  

Tarzan's   Peril   Barker-Hoston   11-6. . .3-51  

Treasore    Island    (T)    (96)   Drisecll-Newton   7-50  191... 7-31 

Texas   Triggerman   Holt-Martin   7-3   

Under  Arizona  Skies   Holt-Leslie   9-1    

Vcnietta   Domergue-Dolenz   8-19 .12-50  167  

  1949-50   

GROUP  SEVEN 


Aratared  Car  Robbery   McG  aw-Je.-gens  ... 

Details  under  title:  Code  3 

Dastinatlan   Murder  (72)   MacKenzit-Clements 

Where  Danger  Lives   (82)   Mltchuin-Domergue 

Wkitc  Tower,  The  (T)   (98)   Valli-Ford   

SPECIALS 

Ukabad  aad  Mr.  Toad  (T)   (68)   Disney  Cartaan  ... 

My  f aalish  Heart  (99)   Andrews-Hayward  .. 


SELZNICK  — S. 


Completed  (  6)     In  Production  (§> 


RELEASE  CHART 


COMPLETED 

Title—  Running  Time 

Gone  Ta  Earth  (T)   

Third  Man,  The  (104)  .... 


Cast 
.jones-Farrar 
.  Cotten-Valll 


20th  CENTURY-FOX 


1951  Features 


Completed  (    )      In  Production  (7) 


NEW  PRODUCTIONS 

MEET  ME  AFTER  THE  SHOW  (T) 
Musical  —  Started  January  8 

Cast:    Betty  Grable,  Macdonald  Carey,  Rory  Calhoun,  Eddie 
Albert 

Director:  Richard  Sale  Producer:  George  Jessel 

Story:    Life  of  a  much-sought-after  dancer. 

GOLDEN  GOOSE 
Comedy— Started  January  18 

Cast:    Fred  MacMurray,  Eleanor  Parker,  Richard  Carlson,  Kay 

Buckley,  Una  Merkel 
Director:  Georee  Marshall  Producer:  Bert  Friedlob 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 


David  and   Bethshtba  (T)   

Peek-Hayward   

 12-4 . 

 1-1 . 

Will  Yo  i  Love  Me  in   December?   .  . 

 Wonlcy-Pefcrs   

 11-2 

 1-1. 

0  

COMPLETED 

  1950-51   

8-14. 

3-51. . 

109  

Call   Me  Mister  (T)   

 Grab'. -Pa  ley   

. . .7-17. . 

.2-51. . 

.104  

Decision  Before  Dawn   

 Merrill-Basehart 

 9-25. 

Details  under  title:  Legion  of  the 

Damned 

Fallow  the  Sun   

 Ford-Baxter   

10-9 . 

4-51 

Fourteen  Hours   

 Douglas-Basehart 

Gay  Who  Sank  the  Navy   

 Doug  as-Darnell 

. . 12-18 . 

Half   Angel  (T)   

 Young-Cotton  .... 

....7-17. 

Halls  of  Montezuma,  The  (T)    (113)   Widmark-Gardner 

 6-5 

1-51 ' ' 

. .103.  12-1» 

Holy    Year,   1950  (42)   

 Documentary   

Aug.  . 

House  on   Telegraph  Hill   

 Cotesa-Lund'gan    .  . 

9-li. . 

4-51 

1  Can  Gat  It  For  You  Wholesale 

 Oaily-Hayward   

10-23  . 

4-51 . . 

I'd  Climb  the  Highest  Mountain  (T) 

(88)  .  Haywarii-Lundigan 

. . .6-5. . 

2-51 . . 

165..'.'.'.'.'." 

Lucky  Nick  Cain  (87)   

 Raft-Gray   

3-51.  . 

Man  Who  Cheated   Himself.   The   (81)  Cobb-Dall   

1-51 . . 

. .io2. !!i-is 

Mudlark.  The  (99)   

 Dunne-Guiiiess  .... 

.'.'.'.6-5.1 

1-51 .  . 

101  12-18 

No  Highway   

 Stewart-Dietrleh   .  .  . 

....9-25. 

Of   Men  and  Music  (85)   

  Concert  Feature 

3-^51 .' .' 

On  the  Riviera  (T)   

 Kaya-Tiarney   

. ...9-25. 

Rawhide   

 Power-Hayward     .  .  . 

...1-30. 

Sword  of  Monte  Cristo.  The   

 Monlgomery-Corday 

.   .9-25. . 

'2-5l!.' 

'.106....'!.'! 

Take  Care  of  My  Little  Girl  (T) 

 Cram-Peters   

11-6. . 

4-51 

Thirteenth   Letter.  The   

 Darnel  l-Boyer   

9-25  . 

3-51 . . 

.107  

U.    S.    S.  Teakettle   

.  .  .  11-6. 

  1949-50   ■ 

All  Akaat  Eve  (138)   

 4-24 

.  .No».  . 

.030... 10-* 

American  Guerilla  In  Philippines  (T) 

(105>?ower-Prelle   

.:  .4-24 

,  .Dae.. 

.032  

30 


FILM  BULLETIN 


(lack  Rate.   The  (T) 
aVufcea   Am»   (T)  (9J 
tarlhae   Trill  (C) 
firtme  I    Tt  Testerfay 


Itawart-P  IM 

SCO  t-Wllllaail 


.5-23 
6-20 
9-12 


019. .  »-2J 

.014..  7-« 
O20  6-19 


The 


1-30 


Far  NtarM'i  Sake  (92)    .  . 

Senlokter     Tk«  (84)   

I'll   i. ei   By   (T)  (82) 

iHlnt    Tht  (85)   

Laee  Thai   Brute  (85)   

■  liter  880  (90)   

m,  Blje  Hea.en  (T)  (97) 
■taat  anf  the  City  '95) 
■a  Way  O.t  (106) 


10-10 


.Peak-Parker  . 
,  i.cr-Lur.oioan 

 itewan-Mtfiai   7-3 

 Deil'ai-Peters    7-4 

MeCelre-laneiiter   4-24 

.     .  Grakle-Oa  ley   12-19 

 Tlermy-Wlf  mark   8-29 . 

 Oaraoll-Wifmark   11-7 

Panic  la  the  Streets   (93)   Wifmark-Bel   Ceffes  ...1-2. 

Stcela   Sharlfan-Matare   

In   Flagi   Wast   Oarnell-WIU,   4-24  . 

Detain  infer  title:  Trumpet  ta  the  Moon 
Whan  the  Slfewalk  Ends   (95)   AMrawt-Tlariey   1-30 


UNITED  ARTISTS 


033  . .12-4 

 •>-% 

027  10-23 


031 
016 
02  1 
021 
013 
025 
022 
018 
029 


.11-6 

5-  22 
9-11 
B-26 

6-  19 
.9-11 
.7-17 
.8-14 


'     1950-51  Features 


Completed  (    )      In  Production  (0) 


COMPLETED 

TWa—  tiaalM  Tim. 
Urn  ral   Wat  a   Lid,.   The  (r7) 
Oatailt   aaa-ar  tltlo:   The   Iron  C 

CHi  LNjkti   

Cyrane  De  Mr  aerie  (112)   

II  Tali  Be  Sin  (72)   

Irea.im   Trail.   The  (85)   

■aa.  Tht  (85)   

tan  Mralta   

•aca  *  Thiol  (88)   

•Halls  infer  title:   Once  Over  I 

erawlir.  The   

Oe  nl!  infer  tlt'e:  Cost  of  Lovli 

taaea    Far   A  Day   

Scarf.    The  (93)   

Details  infer  title:    Donaeon.  Tl 

Seesaw   Woman,   The  (91)   

Saaaf  al   Fary  (90)   

Throe  Hisbanfs  (78)   

Three   Steps  worth   

Stary   


RELEASE  CHART 

  1949-50   


Cast 

fletalli 

Rol. 

Re 

Re* 

Hanfrl>-E.  O'Brien 

11-21 . . 

8-4 

Chaplin-Cherrill 

.  Felssie 

9-50. . 

Cap 

Ferrer-Pewers   

. .7-17.  . 

Roaf s  ow 

K- 

.11  21 

Ley-Ciaiarins   

...98 

Rat 

7 

Moatiomery-Manhall 

. .  10-24 

.  616 

.  Sm  . 

7-1 

Iranfo-Wrlfht   

. .11-21. 

.8-25 

9-2  5 

li'n-hi  Will   

tlaaiero-Hi.ee   

'.'.'.'.1-2.'. 

W 

Heiln-Kryei   

. . .4-24. 

E»|.. 

Avery-MeGavin   

. . . 10-9 . 

Irelanf-MeCatahrifft 

...4-24. 

G-C 

Young-Drake   

1-51. . 

Pop 

Loeejoy-Ryan   

! ! '5-22! 

. 1-15 . 

Stun. 

. 12-18 

*  ilhims-Arfen     .  .  . 

 7-3 

.  .  ho. 

G-C 

Ir  ffcwPafateni 

 7-3 . 

Doryea-Storm   

7-21.'.' 

C-E  .  . 

UNIVERSAL-INTERNATIONAL 


1950-51  Features 


Completed  (30)      In  Production  (4) 


NEW  PRODUCTIONS 

GOLDEN  HORDE,  THE  (T) 
Drama-  Started  January  9 

Cast:    David  Farrar,  Ann  Blyth,  Peggie  Castle,  Richard  Egan, 

Poodles  Hanneford 
Director:  George  Sherman  Producer:  Howard  Christie 

Story:    Romantic  fantasy  of  the  Ghenghis  Kahn  era. 

IRON  MAN,  THE 

Drama- -Started  January  12 

Cast:    Stephen  McNally,  Evelyn  Keyes,  Jeff  Chandler,  Joyce 
Holden 

Director:  Joseph  Pevney  Producer:  Aaron  Rosenberg 

Story:    Boxer  turns  killer  in  the  ring  and  wants  to  quit  but  wife  drives  him  on. 
REAL  McCOY,  THE 
Comedy — Started  January  15 

Cast:    Abbott  &  Costello,  Dorothy  Shay,  Kirby  Grant 
Director:  Charles  Lamont  Producer:  Howard  Christie 

Story:    A  and  C  get  tangled  up  with  the  hillbillies. 

RELEASE  CHART 

IN  PRODUCTION 

tih» — Raaalaa  Tlej*                           Cant             Dotall<        Rel.  Mo 
■a  inf  Pa  Kettle  at  the  Coanty  Fair  .   .  .  Main-KiCridc   1-15  

  1950-51   

Assott  4  Costello  Meet  the  Invisible  Man .  .  Ahbott  £  Cs<ttllo   11-6  

Air    Cadet   MeNallv-Rus&a  ||   

Apache  Droms   (T)   £r*v-MeNally   8-28  

Bedtime  lor   Bortjo   Reagan-Lynn   9-11  .  Feb  

••"""tiro   Colrert-Blyth   11-20  

Cattle  Drier    (T)   MeCrea-S'ocVwell   12-4  

•eejartaf   (88)   Trren-Chanfler   10-10... Rar  103  

Oaable    Crosshones    (T)   O'Comor-Carter   10-10  


Fat  Man.  The 


MeCrea-Wlnters   5-8  . 

u  xonnor-White   12-4. 

Risers- Carsan   7-31. 


Francis  Goes  to  the  Races   

«**>■  Wore  Spurs   

Details  infer  title:  lllesal  Brifa 

■aalot  (142)   

nanny  (104)   Stewart-Hill 

Hell>woof   Stary,   The   Contr-Adams 

Kansas  Raifers   (T)    (80)   Dnnlevy-Chapman 

Katie   Dif   It   8iythe-Ste»ens 

Uasti  tit   Osw-Kennafy  . 

Little  Esypt   (T)   Flraiins-Ste»ens 

■a  anf  Pa  Kettle  On  the  Farm   ■aiR-Klitriai 

■ilkaian.  The    (87)   D'Connor-Oorante 

•rrstery  Sihawlne   Carey-Toren    .  . 

Frlaaa  Who  Wat  A  Thlil,  Tht  (T)   Certis-laarie  . 


5-8  Jan  .107. 
.12-18  

.  .  6-5  .  .  »o»       104 . 

. .6-19  

. .8-28  

. .12-4  

. .2-27  

.  5-8  .     «-»....  102. 

7-31       Dee  106. 


T»r»et 


(T) 


 Stoeeas-llicol    .  .  . 

 MeRin-DfCarlo 

•sfereoeer  Girl    (83)     Srnith-Brafy 

M|   the   Gaa    (84)   Totter-Conto   

■p  Fraat   Payae-Ewell   

COMPLETED    194940   

Aaaatt  t  Costello  In  the  Foreian  Lesion  (79)  Abbott  a  Costello 
wtain  Call  at  Cactas  Creek  (86)   8'Caaaar-Arfen 


.7-17  

.9-11  .  Jan. 
.6-5  ...Feb. 
.7-31  . .  0  c 
.5-22  . .  Jan 
.10-9  


(76) 


<T>   

Oasert  Hawk.   The   <T)  (77) 
Laalsa  (SO) 
PMsy    (T)  (77) 
Saffle    Tramp  (T) 
Shakedown  (80) 
Sierra    (T)  (83) 
Sleeplna  City.  The 
Say   Hint  (75) 

Oitails    infer  title 
Wiachoster   73  (92) 
Woaun  on  the  Ran  (77) 
Wyomlna   Mall    (T)  (87) 


8  , 


Pan.  hers  Moon 


k,-|-ili«-CMruii 



925 

DeCar  a-Crrini 

4-10 

An 

Byiniton-Rncaa 

12-13 

»n 

',26 

Lyna-Cahera   

.  i»l« . . 

McCrea-Haafrli 

Sect 

928 

Sep: 

929 

Sep 

928 

;ontr-Cray   

11-7 

Se  t 

1 33 

(eren-OiR   

2-27 

,Jfl  1.  . 

920 

Stovart-Wlatan    .  .  . 

2-27 

Nil 

a-[ 

Sherifan-OKeete 

i-22 

o-t 

932 

laitk-RMRtri 

.  5-22 

Oct 

991 

8-14 
6-13 
7-3 


WARNER  BROTHERS 


1950-51  Features 


Completed  (27)      In  Production  (4) 


NEW  PRODUCTIONS 

MOONLIGHT  BAY  (T) 
Musical    Started  January  6 
Cast:    Doris  Day,  Gordon  MacRae 

Rosemary  DeCamp 
r>i"pct~~:  Rnv  del  Ruth 
Story:    Not  available. 


Jack  Smith,  Mary  Wickles, 
Producer:  William  Jacobs 


RELEASE  CHART 


IN  PRODUCTION 

"••a—  at  Tlai« 

Fort   Worth  (T)   

I    Was  A  Comminist 
Is  Another 


<S4) 


-rr-kt  i 
Dallas 
Feiuom 

Glaii  Meriaierie,  The 
Gaa'aye.   Mv  Faacy  . 
Hiphway  301   <f>3)  . 
Lallahy  of  Sroafway  I 
0  era'.ion    Pae  fie  (11 
Pretty   Bahy  (92) 
Rocky    Mountain  83- 
San   Qien'in  (70) 
Storm    Warnini  (93) 

Details    under  title: 
Stranaers  On  A  Train 
Tea   Far  Two   (T)  (S 
Three  Secrets  <S8> 
Travelers,  The   


  lo»tJoy_Hart   

.  1-15 

Day 

 Ro«ian-Cochran 

1-15 

  1950-51   

 Aaa  Sherlfaa   

Relsioe 

.  9-f 

002 

C7>  ! 

 CarAolf-leal   

4-10 

9-30 

005 

 Bnan-Atar   

. .6-19 

12-" 

010 

11-6 

 Coa  er-Roman   

12-30 

.  Oil. 

.12-4 

 Brian-Coehrane 

.11-6. 

(107)  ! 

 lawrcnce-Wyaean 

.11-7. 

10-28 

007 

.11-6 

 Cawfarf-Toia(     .  .  . 

.  9-25 

 Cachran-Anfre 

2-13 

'.'.i-ii.'. 

<T)  .' 

 Oav-Nalsan   

.  9-1T. 

1)  ... 

 Wayne-Naal 

.9-11 

.1-21  '. 

!  on 

 Seett-Maraan   

. . .1-2. 

9-lfi 

004 

.i-yi 

Flynn-Wynaro  ... 

. .6-19. 

.11-11 

008 

loaart-^htrHan 

Rrl've 

003 

Hug. .-'-Ke  nan 

12-5 . 

2-10  . 

.  014. 

:  Storm 

Center 

Walker-Roman     .  . 

11-6 

18) 

 Day- M  ae  Rae   

4-10 

.  9-2. 

001 

8-28 

Parker-Kcal-Ronan 

10-14  . 

006 

10-23 

.  .11-6 

t  (107) 

 Cainey-Mayo   

6-19. 

'il-25. . 

!  ooo. 

11-23 

1949-50 


Captain   Horatio  Hernblower  (T) 


12-5 
8-1 
2-13 
8-14 


50  Years  Before  Yoir  Eyes  (70, 
Flaat  anf  the  Arrow  (T)  (88) 
Gaf   Is  My  Ca-Pitot  (88)     .  . 


COMPLETED 

Bria»t   Leaf    (110)   Caopor-Neal 

Caaaf   Parker-MaorhiM 

.  Peck-Mavo 
Boaart-Rokerts 

Docimentary   

Laneas  er-Maya   

.  Moraan-Clark   Rcissie 

,  Bnan- Reynold!    .    .  8-29 

ilaa  Thorpe.  All-Amerlcan   laneaster-Bickfarf    .  .  .  9-11. 

Kiss   Tomorrow   Goof  bye    (102)   Ca»noy-Afler   5-8. 

Uohtn  ng   Strikes   TWita   Taff-Roaian    2-13. 

Marth  of  the   Rio  Grande   MtCraa-Maya   9-27. 

Details   under   title:   Colorado  Territory 

■nly    The    Valiant   Peea-Caray   8-14 

Raton  Pass   MoreaB-Kaal   7-31. 

Return  of  the  Frontiersmen   <T )    (74)    .  .  .  MacRae-Calhoan   4-25 

Streetcar  Named   Desire,   A   Branfo-Lelih   8-28 

This  Side  of  the  Law   (74)   LiRffan-Sailtll   10-25. 


7-15 
7-22 

6-3. 
7-15. 


931..  »-3 
930    .  7-3 

'24  

929  6-19 


6-24 
6-17 


6-5 
6-5 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Couriers 

250  N.  Juniper  St.,  Philav  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed    containers   and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  StH  Phil*.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


JANUARY   29,  1951 


31 


HERALDS 


Your 

BOXOFFICE 

is 


as  good  as  your 

SHOWM  ANSH I P! 


V_y  p/H/f  ttoar  o 


nnnunm.  \  Cue/l  service 

of rttf /nousrnr 


1 


ymtv 

BULTETIN 


FEBRUARY  12.  1951 


Cxctu^e   QL  BULLETIN  Statute 


"FOR 
ADULTS 
ONLY!" 

Would  Movie  Business 
Be  Helped  or  Hurt  by 
Bestriding  Juvenile 
Attendunce  on  Adult  Films  ? 


NOW  IBEST 

:  PICTURE 


THE  HOTTEST 
PICTURE 

OF  19511 

"Eve"  business  is  now  writing 
phenomenal  B.  O.  history! -and 
repeat  first-run  engagements 
are  topping  initial  dates 

ACT  FAST  ON  THIS  ONE! 


Ho 
-San 


Francisco 


Critics 


Critics 


-Cleveland 


ftrcle 
JfTSra 

CBS  PubHc 


CxctuMe  ^k,  BULLETIN  lecture 


"FOR  ADULTS  ONLY!" 

Van  the  Industry  Profit  by  Boldly  Advert  using 

Certain  Films  as  *Not  Reeontntentled*  far  Kiddies? 


"So  close  to  the  kiddies,I 

see  only  'No's! 
"So  close  to  the  laundry,  I 

see  only  clothes; 
"So  close  to  the  housework,  I'm 

never  through; 
"So  close  with  pennies — always 

so  few! 

"Twice  weekly  movies  for  this 

hubby  and  wife, 
"Keep  me  a  bride,  'stead  of 

Bridget  for  life." 

This  plaintive  jingle,  written  by  a  40 
ear-old  Detroit  housewife  recently,  in 
nswer  to  an  exhibitors'  questionnaire 
bout  movies  touches  neatly  on  a  very 
ore  spot  in  family  life  today.  Television 
ias  created  a  veritable  army  of  Bridgets 
.ho,  unlike  Detroit's  anonymous  rhym- 
ister,  can  no  longer  go  to  movies  twice 
l  week,  much  as  they'd  like  to.  The  kid- 
ies  want  to  stay  home  to  see  their 
javorite  TV  show;  Mom  and  Dad  must 
j  tay  home  with  them.  They  can  steal  very 
ew  moments  of  relaxation  "on  their 
,wn."  They  comprise  a  large  segment  of 
|iie  "lost  audience,"  whose  disappearance 
as  been  bemoaned  by  such  men  as  Twen- 
ieth  Century-Fox's  Charles  Einfeld. 

I  But  there  is  another  "lost"  audience  of 
Importance  to  the  exhibitor:  the  children 
ihemselves.  Competition  for  their  interest 
|nd  attention  today  is  so  acute  that,  un- 
like their  parents,  they  will  never  develop 
lihe  movie-going  habit  unless  we  do  somet- 
hing about  it. 

It  might  very  well  be  worthwhile  for 
he  motion  picture  industry  to  re-examine 
rs  whole  approach  toward  the  kiddie 
ik-ade.  Not  only  would  an  intelligent  view 
||f  this  problem  put  a  quietus  on  the  ever- 
preatening  recriminations  against  the  in- 
dustry by  educators,  parents,  psycholo- 
gists, pressure  groups,  and  just  plain 
banks,  but  it  could  possibly  be  turned  to 
me  direct  benefit  of  the  boxoffice.  We 
l.ill  take  up  some  ideas  along  these  lines 
h  a  few  moments. 

TV,  Radio  Have  Problems 

There  was  never  a  better  time  to  tackle 
his  problem  than  now  when  the  tremen- 
ous  question  of  television's  influence  on 
I  he  public  has  come  under  Government 
jurveillance.  'Way  back  in  1946,  a  wave 
I  f  bitter  criticism  swept  the  radio  enter- 
ainment  industry  over  the  rubbishy  na- 
ure  of  its  programs.  Public  service  fea- 
ures  were  almost  non-existent.  The  ether 
vas  vibrant  with  trashy  soap  operas, 
broadcasters  seeking  to  renew  their  li- 
enses  promised  to  mend  their  ways  when 
he  Federal  Communications  Commission 
leminded  them  of  their  obligations  to 


society,  but  that  promise  was  rarely  kept 
once  the  license  had  been  granted. 

This  led  the  FCC  to  tighten-up.  It 
issued  a  blue-covered  book  called  "Public 
Service  Responsibilities  of  Broadcast  Li- 
censees," in  which  broadcasters  were  re- 
minded that,  in  using  public  property  — 
such  as  a  radio  wave-length  or  a  television 
channel  —  they  were  properly  expected 
to  operate  in  the  public  interest. 

Publication  of  this  Blue  Book  riled  the 
radio  industry  no  end.  It  let  off  an  ear- 
splitting  yell  of  protest  through  the  Na- 
tional Associated  of  Broadcasters.  Bleat- 
ing about  "freedom  of  the  air,"  it  pro- 
duced its  own  code  of  self-regulation.  The 
code,  however,  was  never  observed  in  the 
spirit  and  the  FCC,  subjected  to  heavy 
political  high-pressuring,  never  got  down 
to  the  job  of  enforcement. 

The  inevitable  result  of  the  broadcast- 
ers' success  in  virtually  scuttling  the  Blue 
Book  has  been  another  outburst  of  public 
indignation  at  the  paucity  of  meritorious 
television  programs.  One  body  of  emi- 
nent educators  recently  produced  a  sur- 
vey indicating  that  10  per  cent  of  televi- 
sion time  in  the  New  York  City  area  was 
devoted  to  crime  programs  shaped  for 
adult  audiences  and  totally  unsuited  to 
the  juvenile  viewers  who  were  seeing 
them.  In  a  speech  last  March  at  the  Uni- 
versity of  Oklahoma,  Wayne  Coy,  Chair- 
man of  the  FCC,  outspokenly  criticized 
TV,  urged  an  industry  house-cleaning,  and 
warned  the  industry  that  if  it  did  not  bow 
to  public  opinion,  it  might  be  difficult  to 
avoid  "the  more  drastic  remedy  of  gov- 
ernmental action." 

Lesson  for  Film  Industry 

That  warning  was  ignored,  and  on  Jan- 
uary 29  the  Federal  Communications 
Commission  announced  that  it  would  con- 
duct public  hearings  on  the  question  of 


television  programming  as  it  affects  the 
public  interest.  This  bald  official  state- 
ment was  quickly  recognized  as  the  first 
step  towards  formulation  and  enforce- 
ment of  a  code  banning  crime  and  hurror 
telecasts  at  such  hours  as  they  were  like- 
ly to  be  viewed  by  children.  "Broadcast- 
ing Magazine"  pronounced  this  as  the 
forerunner  of  a  Blue  Book  for  Television, 
which  would  compel  broadcasters  to  speci- 
fy in  their  license  applications  the  per- 
centage of  time  they  would  devote  to 
different  types  of  programs. 

It  would  be  idle  to  deny  that  this  rum- 
pus holds  a  lesson  for  the  motion  pictuie 
industry.  Our  business  has  suffered  a 
great  deal  as  a  result  of  attacks  from 
many  quarters,  charging  the  movies  with 
fostering  all  sorts  of  juvenile  delinquen- 
cy. Even  if  we  can  wholly  absolve  our- 
selves of  any  guilt  on  this  score,  why 
should  we  forever  remain  in  this  negative 
and  defensive  position?  By  positive,  en- 
lightened, action  now  we  could  win  na- 
tionwide acclaim,  and,  at  the  same  time, 
attract  greater  juvenile  audiences  to  the 
box  office  under  the  impetus  of  encour- 
agement agencies,  whose  confidence  and 
good  will  it  is  important  t»  nurture. 

'Suicidal'? 

Let  us  look  at  the  practical  possibili- 
ties inherent  in  a  policy  of  voluntarily 
restricting  child  attendance  at  movie  the- 
atres only  to  pictures  that  are  suitable 
for  them.  At  first  blush,  this  might  seem 
to  be  a  suicidal  procedure  for  exhibitors, 
but  it  could  contain  benefits  that  do  not 
immediately  meet  the  eye,  and  which 
might  readily  offset  any  loss  in  revenue 
on  particular  pictures  from  limitations  on 
children's  patronage. 

Through  most  of  the  year,  summer  va- 
cation-time excluded  attendance  of  chil- 
{Continued  on  Page  J#) 


BOREDOM  PARTICIPATION  RESTLESSNESS 

Wrong  Films  Make  Kiddies  Annoying  to  Adults 


EBRUARY  12,  1951 


3 


THE 

VOICE 

OF 

THE 

FANS! 

Your  patrons 
have  again 
voted  M-G-M 
FIRST 
with 

2  out  of  3 
Top  Honors 

in 

Photoplay 
Magazine 
Annual 
Awards! 


Citation 

SPENCER  TRACY 

One  of  5  Top  Roles  of 
Year  for  Actors 


It's  the  year's 
Greatest  Honor 
because  it's  the 
vote  of  your  patro* 


Gold  Medal 

BATTLEGROUND 

MOST  POPULAR  PICTURE 
OF  THE  YEAR 

For  two  years  in  a  row  and  for  the 
third  time  in  six  years  M-G-M  wins 
Most  Popular  Picture  Award. 


Gold  Medal 

BETTY  HUTTON 

in  M-G-M's 

'ANNIE  GET  YOUR  Gil 
YEAR'S  MOST  POPULA 
FEMALE  PERFORMANC 


ALSO  M-G-M  HAS  4  OUT  OF  t 
MOST  POPULAR  PICTURES 

(Next  Company  2  and  the  next  companies  1  each) 
In  addition  to  " Battleground'/  below  are  the  3  other  winne 


Citation 


"ANNIE  GET 
YOUR  GUN 


Citation 

ADAM'S 
RIB 


Citation 


FATHER  OF 
THE  BRIDE 


*GO  FOR  BROKE  —"Battleground's"  producer  produced  it. "Batt- 
ground's"  writer  wrote  and  directed  it.  First  Preview  is  sensation; 

FATHER'S  LITTLE  DIVIDEND  -The  picture  that  tops  "Fathr 
of  the  Bride"!  And  the  Preview  in  California  proved  it! 


MOTHERHOOD  VEEK,  FEB.  18-25-To  Promote  Brotherhood  All  Year. 


VENGEANCE  VALLEY'  SUPERIOR  WESTERN  IN  TECHNICOLOR 

3ates  ***  generally;  more  in  action  spots 


HGM 
I  ::!  minutes 

Jurt  Lancaster,  Robert  Walker,  Joanne 
)ru,  Sally  Forrest,  John  Ireland,  Carleton 
"arpenter,  Ray  Collins.  Ted  de  Corsia, 
High  O'Brian,  Will  Wright,  Grace  Mills, 
lames  Hayward,  James  Harrison,  Stanley 
Indrews. 

directed  by  Richard  Thorpe. 


It  is  refreshing  to  find  an  outdoor 
Irama  that  offers  brawling  and  gunplay, 
;uspense  and,  mind  you,  human  interest. 
Vengeance  Valley"  is  one  of  those  super- 
or  westerns.  Shying  away  from  the 
amiliar  cliches  and  phoney  melodrama- 
ics  that  dominate  the  hackneyed  horse 
>peras,  this  Metro  offering  features  a 
;redible,  adult,  down-to-earth  script  handl- 
ed in  an  adult  manner  by  director  Richard 
fhorpe.   The  story,  based  on  a  novel  and 


Saturday  Evening  Post  serial  by  Luke 
Short,  has  a  natural,  realistic  air  about 
it,  pausing  here  and  there  to  illustrate 
in  an  interesting  fashion  the  operation  of 
a  cattle  ranch  and,  particularly,  the  busi- 
ness of  conducting  a  spring  roundup. 
Boxoffice  receipts  should  be  topflight  gen- 
erally, with  outstanding  grosses  likely 
in  action  situations. 

Burt  Lancaster  tackles  a  new  type  of 
role  as  a  decent,  hard-working  cowpoke 
and  comes  off  with  flying  colors.  He 
handles  his  riding,  shooting  and  fighting 
assignments  as  though  he  were  born  in 
western  movies.  As  his  treacherous  fos- 
ter-brother, Robert  Walker  delivers  a  first- 
rate  characterization;  Joanne  Dru,  Sally 
Forrest,  John  Ireland  and  Carleton  Car- 
penter lend  fine  support  along  with  the 
rest  of  the  cast.  Nicholas  Nayfack  pro- 
duced; screenplay  is  by  Irving  Ravetch. 

STORY:  Trouble  brews  in  Vengeance 
Valley  when  brothers  John  Ireland  and 


SUGARFOOT'  INCREDIBLY  TRITE  WESTERN 


*ates  •  •  +  for  action  houses  and  kidd 


Varner  Bros. 
10  minutes 

tandolph  Scott,  Adele  Jergens.  Raymond 
tfassey,  S.  Z.  Sakall,  Robert  Warwick, 
Vrthur  Hunnicutt,  Hugh  Sanders,  Hope 
.andin,  Hank  Worden,  Gene  Evans. 
Mrected  by  Edwin  L.  Marin. 


"Sugarfoot"  is  a  unique  piece  of  mer- 
chandise from  Warner  Bros.  It  has  fine 
wlor  by  Technicolor,  a  better-than-aver- 
kge  name  cast  for  a  western  film,  a  story 
jaken  —  according  to  the  credits  —  from 
h  Clarence  Budington  Kelland  novel,  and 
;easoned  director  Edwin  L.  Marin  to 
iiandle  the  production.  But  all  these  ele- 
ments only  serve  to  make  the  finished 
>roduct  all  the  more  incredible.  Burden- 
ed with  a  screen  play  that  very  possibly 
may  have  been  conceived  by  a  six-year- 
nld  whose  inspiration  came  from  all  the 
incient  westerns  disinterred  by  television, 
ind  a  set  of  performances  that  would 
pave  put  a  road  company  of  "East 
uynne"  to  shame,  this  Saul  Elkins  pro- 
duction comes  close,  but  never  close 
mough,  to  satire.  One  is  never  quite 
;ure  whether  to  laugh  or  wince.  Every 
diche  in  dialogue  (of  which  there  is  too 
nuch)  and  action  since  the  days  of  Wil- 
liam. S.  Hart  is  repeated  in  "Sugarfoot." 
You  get  the  U.  S.  Cavalry  and  the  In- 


e  matinees 

dians,  the  c'em-cut  hero,  the  Rudolph 
Rassendale  villain,  .he  raloon  singer  with 
heart  of  gold,  the  gun-fights  where  the 
hero  just  tilts  his  head  to  dodge  bullets, 
the  chases,  and  all  the  other  shabby  ac- 
coutrements that  filled  out  western  run- 
ning time  20  years  ago.  Typical  of  the 
(if  you'll  excuse  the  expression)  dialo- 
gue, are  such  classic  hacks  as  "It's  be- 
cause I  love  you  that  I  must  give  you 
up,"  or  the  villain  snarling,  "You  hold 
the  upper  hand  now,  but  my  time  will 
come."  If  this  isn't  exactly  verbatim, 
it's  close  enough  to  give  an  idea  of  ihe 
triteness  that  characterizes  the  entire 
production.  The  Randolph  Scott  name 
will  get  some  early  business,  but  word- 
of-month  will  be  very  bad.  The  kiddies 
may  get  some  bangs  out  of  the  film,  but 
from  the  post-kindergarten  set  on  up, 
reaction  will  vary  from  downright  bore- 
dom to  outright  snickers. 

Scott,  as  a  silk-vested  Southern  "gentle- 
man" in  Arizona,  squares  his  chin  when- 
ever the  going  gets  rough  because  of  his 
own  fumbling,  and  thus  merits  vhe  admir- 
ation of  the  rough  and  ready  townspeo- 
ple. Raymond  Massey's  curtain-chewing 
in  the  heavy  role  has  been  unequalled 
since  the  ten-twent'thirt'  days.  Adele 
Jergens  is  prettily  unconvincing  as  a  bar- 
room canary  with  high  ideals  who  yearns 
for  a  cabin  in  the  pines,  and  the  prime 
miscasting  of  the  year  falls  to  a  bearded 


THE  13TH  LETTER'  SUSPENSEFUL  DRAMA 


Rates  •  • 


gOth  Century  Fox 
B5  minutes 

Charles  Boyer,  Linda  Darnell,  Miehael 
Rennie,  Constance  Smith,  Francoise  Ro- 
*ay,  Judith  Evelyn,  Guy  Sorel,  June 
Hedin,  Paul  Guevremont.  George  Alex- 
ander, J.  Leo  Gagnon,  Ovila  Legare. 
Directed  by  Otto  Preminger. 

(  For  the  greater  part  of  its  85  minutes, 
"The  13th  Letter"  is  a  deeply  engrossing 
suspense  film.  The  last  ten  minutes  falls 
aff  into  a  talky  denouement  that  resolves 
ithe  plot,  but  fails  to  maintain  the  high 
level  of  interest  provoked  up  to  that  point 
py  the  story  of  how  a  series  of  poison 
Ipen  letters  prey  upon  the  people  of  a 
small  Canadian  town.  The  taut  screen- 
play by  Howard  Koch  develops  this  tale 
to  maximum  effect,  shrewdly  concealing 
the  identity  of  the  machiavellian  letter- 
'wnter  and  the  motive.  The  pace  is  de- 


liberate, but  director  Otto  Preminger 
(who  also  produced)  captures  the  spec- 
tator's curiosity  early  and  builds  suspense 
steadily.  There  is  a  realistic  quality  to 
the  production,  attributable  to  the  fact 
that  the  film  was  shot  on  location  in  a 
Quebec  village.  Business  should  range  be- 
tween fair-plus  and  good,  depending  on 
how  fully  the  exhibitor  capitalizes  the 
exploitable  poison-pen  angle. 

Charles  Boyer  has  an  offbeat  role  that 
will  stimulate  plenty  of  word-of-mouth. 
The  erstwhile  screen  lover  is  seen  as  an 
elderly,  gentle  French-Canadian  doctor, 
whose  jealousy  of  his  beautiful,  young 
wife  inspires  the  letters.  He  handles  the 
part  superbly.  Linda  Darnell  lends  sin- 
cerity to  the  role  of  a  crippled  girl,  who 
is  suspected  because  of  her  love  for  the 
victimized  young  doctor.  As  the  latter, 
Michael  Rennie  turns  in  a  sound  perform- 
ance. Constance  Smith  is  a  lovely  and 
talented  newcomer  from  England.  Sup- 


Hugh  O'Brian  swear  to  kill  the  unknown 
father  of  the  illegitimate  child  born  to 
their  sister.  Sally  Forrest.  The  culprit, 
Robert  Walker,  allows  suspicion  to  fall 
on  his  foster-brother,  Burt  Lancaster,  who 
keeps  Walker's  secret  rather  than  hurt 
Joanne  Dru,  Walker's  wife,  and  Ray  Col- 
lins, Lancaster's  kindly  foster-parent. 
When  Miss  Dru  learns  the  truth,  she 
threatens  to  leave  Walker,  but  is  talked 
into  staying  by  Lancaster,  who  is  still 
concerned  with  Collins'  happiness  and 
who  is  actually  in  love  with  her.  Walk- 
er, who  has  always  been  mean  and  no- 
account,  thinks  Lancaster  is  trying  to 
break  up  his  marriage,  and  plots  to  have 
Ireland  and  O'Brian  ambush  Lancaster 
while  they're  all  out  on  the  spring  round- 
up. The  ambush  fails,  Sally's  brothers 
are  shot  down,  Lancaster  kills  Walker 
when  the  latter  draws  on  him,  leaving 
the  road  clear  for  a  romance  between 
Miss  Dru  and  Lancaster.  JACKSON. 


S.  Z.  "Cuddles"  Sakall  as  a  Spanish  aris- 
tocrat rolling  his  Dutch  "r's"  all  over  the 
screen.    Director  Marin  —  for  shame! 

STORY:  Randolph  Scott,  nistol-totin' 
Southern  gentleman,  and  Raymond  Mas- 
sey,  an  unscrupulous,  treacherous  schem- 
er, ride  into  Prescott,  Arizona,  as  the 
latter  warns  Scott,  "The  West  ain't  big 
enough  for  both  of  us."  Scott  saves  bar- 
room singer  Adele  Jergens  from  being 
molested  by  Massey.  A  Spanish  mer- 
chant, S.  Z.  Sakall,  offers  Scott  a  partner- 
ship in  his  business,  gives  him  $5,000  for 
purchase  of  goods  at  an  auction.  Scott 
is  promptly  knocked  out  a-nd  robbed  of 
the  money.  Sakall  gives  him  another 
85,000  and  Scott,  with  the  aid  of  Arthur 
Hunnicutt,  succeeds  in  tricking  another 
merchant.  Hugh  Sanders,  and  becomes 
sole  bidder.  Sanders  joins  forces  with 
Massey,  after  Scott  humiliates  Massey 
by  forcing  him  to  return  the  $5000  he 
stole,  and  Massey  challenges  him  to  a 
duel.  Massey  treacherously  palms  a  tiny 
revolver  and  seriously  wounds  Scott. 
Jergens  nurses  him  back  to  health  and 
they  fall  in  love.  Scott  sets  out  —  so 
help  us!  —  to  buy  a  sawmill  so  that  he 
can  build  Jergens  a  house  for  their  mar- 
riage. Upon  his  return,  after  fights  with 
Indians  and  the  baddies,  the  two  lovers 
are  cornered  by  the  villains.  But  Scott 
shoots  it  out  with  them  and  comes  out 
triumphant.    Whew!  BARN. 


port  by  several  unknown  faces  is  first- 
rate. 

STORY:  Michael  Rennie,  the  new  vil- 
lage doctor  and  elderly  Boyer's  young, 
pretty  wife,  Constance  Smith,  receive 
poison  pen  letters  accusing  them  of  a 
secret  love  affair.  Soon  afterwards,  oth- 
ers in  the  village  receive  similar  letters 
telling  them  of  the  affair.  The  situation 
is  aggravated  when  a  war  hero  commits 
suicide  after  receiving  one  of  the  letters 
telling  him  he  has  cancer.  Among  the 
suspects  are  Linda  Darnell,  a  crippled 
villager  who  is  in  love  with  Rennie,  and 
Judith  Evelyn,  sister  of  Boyer's  wife. 
While  questioning  Miss  Darnell,  Rennie 
realizes  that  the  culprit  is  Boyer  who  had 
compelled  his  wife  to  write  the  letters 
believing  that  would  keep  her  from 
younger  men.  She  is  committed  to  a  hos- 
pital for  treatment  and  Boyer  is  killed 
by  Francoise  Rosay,  the  dead  war  hero's 
mother.  GRAN. 


FEBRUARY   12,  1951 


CALL  ME  MISTER1  LIVELY  GRABLE-DAILEY  TECHNICOLOR  MUSICAL 


Rates  9  9  9  where  musicals  click  

20th-century  Fox 
!).")  Minutes 

Betty  Grable,  Dan  Dailey,  Danny  Thomas, 
Dale  Robertson,  Benay  Venuta,  Richard 
Boone,  Jeffrey  Hunter,  Frank  Fontaine, 
Harry  Yon  Zell,  Dave  Willock,  Robert  El- 
lis, Lou  Spencer,  Art  Stanley,  Bob  Rob- 
erts. 

Directed  by  Lloyd  Bacon. 

All  of  the  reliable  ingredients  that  made 
former  Betty  Grable-Dan  Dailey  musicals 
good  money  films  are  in  "Call  Me  Mister", 
based  on  the  Broadway  h  t  show  about 
post-World  Wa-  II  army  life.  It  gets  an 
additional  lift  from  the  clowning  of  Dan- 
ny Thomas,  one  of  the  b2tter  young 
comedians  in  show  business  todav.  Thom- 
as dominates  every  scene  in  which  he  ap- 
pears, and  does  two  specialties,  "Lament 
to  the  Pots  and  Pans"  and  a  takeoff  on 
the  rigors  of  basic  training,  that  sho^d 
raise  gales  of  laughter  in  every  movie 
house.  Production  numbers  that  sparkle 
with  color  and  rhythm,  several  good  song- 
and-dance  routines  by  the  principals,  some 
funny  skits,  and  a  general  air  of  lively 
spirits,  should  amply  satisfy  the  enter- 
tainment demands  of  all  who  enjoy  musi- 


cal comedy.  The  principal  drawback  is 
the  on-again,  off-again  romance  which 
forms  the  thin  thread  of  story,  but  fortu- 
nately, it  doesn't  get  too  much  in  the  way 
of  the  music  and  merriment.  Dailey  fans, 
too,  may  complain  that  the  long-legged 
hoofer  doesn't  have  enough  to  do  in  the 
song-and-dance  category.  The  way  Danny 
Thomas  fills  in  the  blank  spots,  however, 
it  is  a  safe  bet  that  audiences  generally 
won't  mind  the  abbreviations  in  Dailey's 
customary  stint.  Grable  is  at  her  best  in 
the  singing  and  hoofing  departments, 
shining  particularly  in  the  popular  "I'm 
Gonna  Love  That  Guy"  number.  Tunes 
from  the  original  include  "Going  Home 
Train",  "Military  Life"  and  the  title  song. 
Three  new  songs  have  been  added,  "1  Just 
Can't  Do  Enough  For  You,  Baby",  "Love 
Is  Back  in  Business"  and  "Japanese  Girl 
Like  American  Boy". 

Grable,  Dailey  and  Thomas  carry  the 
proceedings  with  their  verve  and  talent, 
getting  an  occas:onal  assist  from  Dale 
Robertson,  a  good-looking  newcomer,  who 
vies  for  Grable's  affections  with  Dailey; 
Benay  Venuta  in  a  wise-cracking  role,  and 
Frank  Fontaine  as  a  hard-headed  ser- 
geant.   Production  values  are  topflight. 


STORY:   On  V-J  day,  sergeant  Da! 
Dailey  is  accidentally  reunited  with  hi 
long-separated    wife,    Betty   Grable,   i  I 
Tokyo.   Grable  and  her  pal,  Benay  Veni  I 
ta,  now  in  the  Civilian  Actress  unifornl 
have  been  organizing  camp  shows.  Stil 
griping  at  Dailey's  fickle  reputation,  Gr;| 
ble  takes  an  assignment  in  Kyoto  to  g( 
away  from  Dailey,  but  he  goes  AWO 
to  see  her,  and  finds,  upon  returning  1 
his  unit,  that  it  has  sailed  for  the  State 
He  fakes  special  orders  assigning  him  1 
the  Kyoto  division  and  persuades  Grab 
to  let  him  perform  in  the  show.    In  tt 
following  month,  Dailey's  attempts  at  re 
onciliation  are  continually  foiled  by  mi 
haps  that  break  up  scheduled  dates  wit 
Grable.    On  the  night  of  the  big  shov 
Dailey  is  picked  up  by  MP  s  after  h 
phoney  orders  are  discovered,  but  he 
permitted  to  do  the  show  preliminary  1 
the  looming  court  martial.    Word  come 
however,  that  his   discharge  from  tt 
Army  was  put  through  by  some  ove 
worked  clerk  in  New  Jersey  and  he  ; 
now  a  civilian.  Final  reconciliation  come 
when  Grable  realizes  that  Dailey  is  trul 
in  love  with  her.  BARN. 


CAUSE  FOR  ALARM'  WELL-PLAYED  MELODRAMA  HOLDS  INTEREST 

Rates  *  •  +  generally 


MGM 

74  minutes 

I/>retta  Young,  Barry  Sullivan,  Bruce 
Cowling,  Margalo  Gillmore,  Bradley 
Mora,  Irving  Bacon,  Georgia  Backus, 
Don  Haggerty,  Art  Baker,  Richard 
Anderson. 

Directed  by  Tay  Garnett. 

"Cause  For  Alarm"  is  a  fairly  engross- 
ing suspense  melodrama  that  is  fashion- 
ed much  in  the  manner  of  a  radio  soap 
opera.  However,  the  rather  shallow  tale 
of  a  mentally  unbalanced  invalid,  who 
suspects  his  wife  and  physician  of  plot- 
ting to  kill  him,  is  superbly  played  by 
Loretta  Young  and  a  competent  support- 
ing cast,  who  manage  to  build  interest 
steadily  down  to  the  surprise  climax. 
Parts  are  talky  and  slow-moving.  Box- 
office  prospects  for  this  Metro  offering 
can  be  rated  as  a  bit  above  average  gen- 
erally.   Where  double  features  prevail, 


it  should  be  coupled  with  a  comedy  or 
musical. 

Loretta  Young's  fine  portrayal  of  the 
unjustly  accused  wife  goes  a  long  way 
toward  sustaining  the  whole  premise  of 
the  story.  She  does  an  excellent  job  of 
expressing  the  emotions  of  a  woman 
suddenly  entangled  in  a  web  of  frighten- 
ing circumstances.  Barry  Sullivan  turns 
in  a  solid  performance  as  the  psychotic 
husband  whose  diabolical  plan  to  incrim- 
inate his  wife  generates  the  cause  for 
alarm.  Irving  Bacon,  as  a  complaining 
mailman,  tops  a  good  supporting  cast. 
Producer  Tom  Lewis  collaborated  with 
Mel  Dinelli  on  the  screenplay. 

STORY:  Mentally  as  well  as  physically 
ill,  Barry  Sullivan  secretly  writes  a  let- 
ter to  the  district  attorney,  accusing  his 
doting  wife,  Loretta  Young,  as  well  as 
his  best  friend  and  physician,  Bruce 
Cowling,  of  plotting  to  kill  him.  After 
Miss  Young  gives  the  postman,  Irving 


Bacon,  the  incriminating  letter,  Sulliva 
locks  her  in  his  room,  and  at  gunpoin 
tells  her  of  the  letter's  contents.  H 
points  out  that  everything  she  has  don 
though  normally  innocent  acts,  will  bran 
her  as  guilty  of  his  death  when  the  di 
trict  attorney  reads  his  letter.  As  he 
about  to  kill  Miss  Young,  Sullivan  fal 
dead  of  a  heart  attack.  Loretta  become 
panicky,  discharges  one  shot  from  Ui 
pistol  as  she  tries  to  remove  it  from  he 
dead  husband's  hand,  then  rushes  out  c 
the  house  to  try  to  get  back  the  lette 
from  the  mailman.  Bacon  refuses  t 
return  it,  and  Miss  Young  goes  to  th 
superintendent  of  the  postoffice  to  plea, 
for  the  letter.  When  this  fails,  she  I 
turns  home.  Cowling  calls  to  check  o 
the  condition  of  Sullivan,  and  after  r 
pries  the  whole  story  from  Loretta,  tfci 
doorbell  rings.  It  is  the  postman,  I 
turning  the  letter  for  postage  du 
JACKSON. 


Release 


THE  SECOND  WOMAN"  MOODY  AND  INVOLVED  MYSTERY 

Rates  9  »       as  <jua||er  generally 

"The  Second  Woman"  should  get  above- 
average  grosses  as  a  dualler;  it  lacks  the 
marquee  values  and  the  punch  to  stand 
on  its  own. 

Robert  Young  is  properly  distraught 
as  the  central  figure,  while  Betsy  Drake, 
as  the  girl  who  sets  about  righting  him, 
is  properly  sympathetic.  Good  support  is 
lurnished  by  veterans  Morris  Ca.rnovsky 
Florence  Bates  and  Henrv  O'Neill.  .lohr 


<  nlted  Artist- 

n  mhnilw 

Robert  Young,  Betsy  Drake,  John  Sutton, 
Honor, •  Bates,  Morris  Carnovsky,  Henry 
O'Neill,  Jean  Sogers,  Raymond'  Largav 
Shh-le>  Ballard,  Yiei  Raaf,  John  Galludet 

MM  Bobarde,  Steven  Geray,  Jimmy 

Dodd,  SmOke*  Whitfield,  Cttfl  (  lark.  ' 
Dire,  led  |,y  James  Y.  Kem 


This  mystery  melodrama,  made  by 
Harry  M.  Popkin.  sports  some  handsome 
sets  and  plenty  of  atmosphere,  as  well 
as  an  overabundance  of  plot.  Mort  Bris- 
kin's  fine  production  is  complemented  by 
?l\\?°S  V"  Korn's  'li-eciion.  which  main- 

'&n5  *  fair  r,rKrf,°  of  suspense,  in  spite 

Vat;iii!,',ry  ,haf  is  '"v0^'1'1  and  highly 
iSi'l    ',f)l'''  11  rf';ill>'  u,kl  -  *ome  strange 

33BP*  AO/I  turns  in  probing  the  troubles 
K£X  dfflBf   arcnltoct  w"o  is  suffering 

ittftj  V  Oft  form  of  paranoia,  the  re- 

*r™V'ftfein^.*ul,Vor,  a      ,,"  ,,h 

rnVrt'  Is*  lirrTK  anion,  the  Interest  arising 
from  the  Interplay  of  human  emotions. 


Bates  and  Henry  O'Neill.  John 
Sutton  is  properly  saturnine  as  the  guilty 

one. 

STORY:  Rising  young  architect  Rob- 
ert Young,  who  falls  in  love  with  Betsy 
Drake,  is  continually  beset  by  misfortune. 
She  suspects,  however,  that  some  human 
agency  is  at  work.  Her  first  suspicions 
are  directed  towards  John  Sutton  who, 
like  Young  himself,  works  for  Henry 
O'Neill.  The  doctor,  Morris  Carnovsky, 
thinks  that  Young  is  a  dangerous  paran- 
oic, who  is  punishing  himself  for  the 
death  of  his  fiancee,  O'Neill's  daughter, 
in  a  car  crash  when  he  was  driving.  His 
diagnosis  appears  to  be  justified  when 


Young  tries  to  commit  suicide.  In  th 
hospital,  however,  Young  confesses 
Betsy  that  he  has  "faked"  the  suicide  a 
tempt.  Betsy  has  convinced  him  th; 
someone  is  trying  to  drive  him  out  < 
town,  and  he  thinks  that  if  his  unknow 
enemy  imagines  he  has  been  driven 
the  point  of  desperation,  he  may  g.ro 
careless  and  show  his  hand.  Betsy  doi 
a  smart  piece  of  detective  work.  SI 
finds,  for  instance,  that  the  car  in  whic 
Young's  fiancee  was  killed  was,  in  fac 
driven  by  Sutton,  who  was  eloping  wi 
her.  Young  had  concealed  the  fact 
spare  the  feelings  of  his  boss,  the  flj 
ncee's  doting  father.  O'Neill,  confront! 
with  the  facts,  admits  he  has  been  tryii 
to  revenge  himself  on  Young.  He  suffe 
a  brainstorm  in  which  he  tries  to  sho' 
Betsy,  imagining  her  to  be  his  daughte! 
But  Young  saves  her  life,  and  the  doct- 
says  that  O'Neill's  confession  has  rid  hi 
of  a  deep-seated  complex,  and  that  h 
mental  balance  will  soon  be  restore 
YORK 


FILM    D  U  L  L  E  T  I 


THREE  GUYS  NAMED  MIKE' 

ates  •  •  •  —  except  in  action  houses 

il-G-M 

0  minutes 

ane  Wyman,  Van  Johnson,  Howard  Keel, 
iarry  Sullivan,  Phyllis  Kirk,  Anne  Sar- 
ent,  Jeff  Donnell,  Herbert  Heyes,  Har- 
are Billingsley.  Lewis  Martin,  Robert 
herwood,  Hugh  Sanders,  Ethel  "Pug" 
Veils,  Don  McGuire,  John  Maxwell,  Syd- 
ey  Mason. 

ilrected  by  Charles  Walters. 


The  charming  and  talented  Jane  Wy- 
lan  once  again  proves  her  ability  as  a 
?lightful  comedienne  in  this  lightheart- 
ll  M-G-M  romantic  comedy  about  the 
>riunes  and  misfortunes  of  an  airline 
ewardess.  Starting  off  as  a  sort  of  docu- 
entary  for  American  Airlines  and  its 
aining  program  for  stewardesses, 
Three  Guvs  Named  Mike"  loses  little 
me  developing  into  a  rollicking,  carefree 
ughfest   that   should  send  customers 


ENJOYABLE  COMEDY 


away  in  a  happy  frame  of  mind.  One  of 
the  funniest  situations  in  the  picture  is 
the  one  in  which  the  novice  stewardess 
forgets  to  bring  along  lunches  for  the 
passengers  and  crew,  and  the  plane  is 
forced  to  return  to  pick  up  the  food.  Re- 
action to  this  slort  of  entertainment  will 
be  favorable  in  situations  generally,  with 
the  powerful  cast  of  marquee  names  in 
suring  better-than-average  receipts  in 
metropolitan  first  runs.  Grosses  will  be 
considerably  less  in  action  houses. 

Miss  Wyman  is  superb  as  the  steward- 
ess and  handles  her  allotment  of  Mik-/? 
in  an  engaging  and  humorous  fash'on. 
The  three  Mikes,  olaved  lightly  by  Van 
Johnson,  Barry  Sullivan,  and  Howard 
Keel,  ar~  a  vir;le  trio  of  leading  men  and 
real  whistlebait  for  the  bobbysoxers. 
Chailes  Walters  handles  the  directorial 
chores  for  this  Armand  Deutsch  produc- 
tion with  an  appropriately  feathery 
touch,  in  keeni"^  v^h  the  amusing 
screenplay  by  Sidney  Sheldon. 


STORY:  In  the  course  of  her  service 
as  a  stewardess  for  the  American  Air- 
lines, Jane  Wyman  attracts  the  amorous 
attentions  of  Van  Johnson,  Howard  Keel 
and  Barry  Sullivan,  all  coincidentally 
named  Mike.  Johnson  is  a  graduate 
science  student  working  as  a  bartender 
to  pay  for  his  education;  Keel  a  pilot  for 
American  Airlines,  and  Sullivan  a  crack- 
erjack  advertising  executive.  When  SuUi- 
van's  photographer  lures  Jane  to  his 
studio,  supposedly  to  pose  for  an  ad  cam- 
paign which  a  soap  company  is  running 
in  conjunction  with  he*-  airline,  the  three 
Mikes  suspect  his  motives,  and  start  a 
hassle  that  endangers  Johnson's  chances 
for  a  fellowship  toward  which  he  has 
been  working,  grounds  Keel  indefinitelv 
and  costs  Sullivan's  company  the  soap  ac- 
count. Jane,  who  is  also  suspended, 
smooths  things  over  for  the  three  Mikes, 
and  when  confronted  by  proposals  from 
each  suitor,  agrees  to  marry  Johnson. 
JACKSON. 


by  Bendix.  Although  he  wins  acquittal. 
Mature  is  picked  up  by  immigration  au- 
thorities and  learns  that  he  is  not  an 
American  citizen,  never  having  been 
naturalized  since  he  came  over  from 
Italv  at  the  age  of  five.  On  the  basis 
of  his  record,  he  is  faced  with  deporta- 
tion as  an  undesirable  alien,  but  the 
judge  agrees  to  let  him  stav  if  Mature 
can  convince  the  court  of  his  sincerity 
to  become  a  pood  American  citizen.  A 
socialite  aide  in  the  immigrant  service. 
Terry  Moore,  takes  an  interest  in  Ma- 
ture and  offers  her  help  to  the  cocky 
gangster.  Spurning  it  at  first,  he  eventu- 
ally is  benefited  bv  her  preachments  and 
they  fall  in  love.  Although  he  jeopardizes 
his  position  before  the  immigration 
court  Mature  stages  a  holdup  at  Ben- 
dix' gambling  club  and  forces  the  gang- 
lord  to  give  him  the  S50.000,  then  turns 
the  monev  over  to  Moore  for  h°r  immi- 
gration work.  He  wins  from  the  court 
the  right  to  stay,  but  the  vengeful  Ben- 
dix seeks  him  out  on  a  deserted  street 
and  orders  his  men  to  shoot  him  down. 
Mature,  however,  convinces  them  to  kill 
Bendix  instead  just  as  the  police  come 
upon  the  scene.  Mature  is  free  to  marry 
Moore.  BARN. 


His  pending  death  by  electric  chair  is  big 
news  because  it  will  mark  the  first  time 
the  state  has  used  that  means  of  execu- 
tion. As  reporters  watch  and  Chaplain 
Walter  Reed  prays,  Shawn  is  strapped  in- 
to the  chair,  but  it  doesn't  work.  The 
condemned  man  is  taken  back  to  his  cell, 
while  technicians  work  feverishly  to  re- 
pair the  faulty  electric  wires.  Meanwhile, 
back  in  town  at  the  postoffice,  a  mail 
trustee  recognizes  Lee  Fredericks,  a 
trucking  operator,  as  The  Parrot,  a  crim- 
inal wanted  for  five  murders  but  who 
was  supposedly  found  at  the  bottom  of 
a  river  in  a  cement  block.  Fredericks, 
whose  face  has  been  changed  bv  surgerv 
is  famed  for  his  knack  of  shooting  his 
victims  so  fast  with  six  shots  it  sounds 
like  one.  He  kills  the  trustee  with  six 
rapid  shots,  is  captured  by  prison  guards 
and  identified  as  The  Parrot  by  his  finger- 
prints. Fredericks  confesses  to  the  kill- 
ing for  which  Shawn  is  to  be  burned  just 
in  time  to  stop  the  execution.  YORK. 


GAMBLING  HOUSE'  TALKY 

ates  •  •  for  duallers;  slightly  more  in 

KO  Radio 
i  minutes 

ictor  Mature,   William   Bendix.  Terry 
[oore.  Zachary  A.  Charles,  Basil  Buys- 
iel,  Donald  Randolph,  Damian  O'Flynn, 
leo  Moore,  Ann  Doran. 
Ilrected  by  Ted  Tetzlaff. 


RKO's  decision  to  change  the  title  of 
,iis  •  film  from  "Alias  Mike  Fury"  to 
Gambling  House"  is  not  unlike  that  of 
He  gentleman  who  went  to  court  to  have 
•is  name  changed  from  John  Clamnczv- 
[lous  to  George  Clamnczyklous.  Both 
ties  are  meant  to  appeal  to  action  fans 
ut  the  film  will  undoubtedly  elicit  the 
luirms  from  this  class  of  moviegoer. 
Ixcept  for  a  few  isolated  action  se- 
uences,  it  is  essentially  one  long 
Ireachment  on  the  acknowledged  privi- 
lege of  being  an  American.  Only  a  single 
petmg  scene  briefly  injects  the  titular 
Tuporium  to  justify  the  tag.  The  bulk 
•C  the  film  consists  of  wordv  sermons 
sped  out  by  Terry  Moore  to  Victor  Ma- 
ire,  seen  as  a  hoodlum  who  tries  to 
nd  why  he  would  like  to  stay  in  this 
>untry  when  faced  with  deportation  as 
i  '  undesirable  alien."  Interwoven  is  a 
3uble-cross    by    gang   leader  William 

THE  SUN  SETS  AT  DAWN* 

ates  •  •  as  dualler  generally 

agle  Lion  Classics 
(  minutes 

ally  Parr,  Philip  Shawn.  Walter  Reed, 
ee  Fredericks,  Housley  Stevenson,  How- 
rd  St.  John,  Louise  Lorimer,  Raymond 
ramley.  Charles  Meredith,  Jack  Rey- 
>lds.  King  Donovan,  Charles  Arndt  Sam 
Owards,  Percy  Helton,  Perry  Ivans, 
irectetl  by  Paul  H.  Sloane. 


7jf  Sun  Sets  At  Dawn"  is  a  program 
lelodrama  on  a  familiar  theme,  but  one 
|iat  will  keep  the  average  spectator  mild- 
|  engrossed  for  the  greater  p-rt.  Although 
iost  of  the  plot  is  developed  by  dialogue 
rector  Paul  H.  Sloane  handles  it  in  such 

manner  as  to  produce  a  reasonable 
Inount  of  suspense  and  excitement.  His 
etnod  of  telling  the  condemned  man's 
ory  by  shifting  from  one  narrator  to 
lother,  for  example,  eliminates  lengthy 
)eeehes  and  the  use  of  the  overworked 
isnback.  However,  both  as  entertain- 
ent   and   boxofficewise,   this  Holiday 


.  MISTITLED  MELODRAMA 

action  spots 

Bendix  —  also  through  the  medium  of 
dialogue  —  that  brings  Mature  into  the 
deportation  court.  Disappointing  to  the 
type  of  moviegoer  that  might  ordinarily 
be  attracted  by  the  title,  and  only  spot- 
tily  interesting  to  any  others,  "Gamb- 
ling House"  falls  into  the  programmer 
category  where  it  will  ek»  out  some  fair 
returns  on  the  basis  of  the  Mature- 
Bendix  names. 

Mature  does  creditably  in  a  difficult 
and  rather  far-fetched  role.  Bill  Bendix 
seems,  understandably,  a  bit  embarrass- 
ed as  a  chicken-hearted  ganglord  who 
kills  in  a  fit  of  fury  (it  says  in  the  dia- 
logue) and  arranges  for  his  underlings 
to  take  the  rap;  Terry  Moore's  childlike 
face  and  speech  is  totally  unsuitable  to 
the  socialite  social  worker  she  portravs 
and  the  sermonizing  requirements  of  the 
part.  Warren  Duff's  production  is  minor 
league;  Ted  Tetzlaff 's  direction,  reiving 
as  it  does  on  the  sound  track  rather  than 
the  picture  to  make  his  points,  fails  to 
make  the  film  either  credible  or  enter- 
taining. 

STORY:  Victor  Mature,  member  of  a 
gambling  gang  headed  by  William  Ben- 
dix, agrees,  for  $50,000  and  assurance  of 
acquittal,  to  stand  trial  for  a  killing  done 

MILDLY  INTERESTING  MELLER 

Films  film  has  its  faults.  The  production 
is  strictly  low-budget;  the  script,  also  by 
Sloane,  is  often  too  obvious  and  some- 
times confusing,  and  the  cast  has  no  mar- 
quee value.  Released  through  Eagle  Lion 
Classics,  "Sun  Sets"  figures  to  do  lairly 
well  as  in  dual  situations  generally.  Its 
value  will  be  highest  in  sma.l  towns  and 
action  houses. 

As  the  youthful  condemned  prisoner 
who  just  misses  being  executed  for  a 
murder  he  did  not  commit,  Philip  Sh^wn 
is  adequate.  Little  more  mav  be  said  for 
the  performance  by  Sally  Parr,  as  the 
weepy,  heartbroken  girl  who  stands  by 
her  man  till  the  end.  More  impressive 
are  the  odd  assortment  of  characters  who 
await  Shawn's  execution,  particularly  Lee 
Fredericks  as  the  real  killer,  and  Housley 
Stevenson  as  the  postmaster.  Director- 
writer  Sloane  also  collaborated  with  Helen 
H.  Rathvon  as  producer. 

STORY:  Philip  Shawn  is  awaiting  ex- 
ecution for  a  murder  he  did  not  commit. 


E  B  R  U  A  R  Y    12.  1951 


T 


Short  Subjects 


By  BAR 


pOLLOWING  Ohio's  Pete  Wood's  dia- 
tribe  on  the  excessive  emphasis  placed 
on  the  sweets  concessions  in  theatres  (see 
Exhibitors'  Forum),  Indiana  Allied  re- 
ported the  experience  of  one  of  its  mem- 
bers re  the  same  subject.  Stopping  in  for 
lunch  in  a  "good-size"  Indiana  city,  this 
exhibitor  overheard  a  next-table  conversa- 
tion among  four  ladies.  "All  agreed,"  he 
reported,  "with  one  of  the  women  who 
said  very  emphatically  that  her  family 

never  attended  the  theatre  any 

more  because  they  were  tired  of  all  the 
efforts  made  there  to  sell  concessions,  all 
the  people  in  the  audience  munching  dur- 
inp  the  show,  and  most  of  all,  having  to 
sit  through  advertising  trailers  telling 
about  how  delicious  were  the  concession 
stand  wares."  The  bulletin  concludes  with 
the  query:  "Is  it  possible  that  theatre 
lobby  merchandising  can  be  a  factor  why 
people  are  staying  away  from  the  movies, 
and  is  it  worth  a  little  re-study?" 

Another  dim  view  of  the  same  subject 
was  taken  by  E.  C.  Grainger,  president 
and  general  manager  of  the  Shea  Circuit. 
Take  care  of  the  boxoffice,  he  told  his 
managers  and  executives,  and  the  con- 
cessions will  work  out  satisfactorily.  He 
pointed  out  that  in  a  recent  managers' 
contest  for  efficiency  in  theatre  operation, 
no  consideration  whatsoever  was  given 
to  concessions  returns  in  selecting  the 
winners. 


COGNIZANCE  OF  television's  inroads 
^  into  boxoffice  grosses  is  evident  in 
some  of  the  newspaper  ads  for  current 
films.  Such  phrases  as  "our  75,000  inch 
screen"  and  "only  the  bigness  of  the 
motion  picture  screen  can  bring  you  such 
etc."  are  finding  their  way  into  m.ovie 
ad  copy  more  and  more,  pointing  up  in 
impressive  manner  the  contrast  between 
home  and  theatre-size  screens. 


fNITED  ARTIST'S  ad-publicity  de- 
partment, marking  time  for  the  most 
part  because  of  the  company's  dearth  of 
product,  finally  was  handed  an  assign- 
ment into  which  they  could  really  dig 
their  teeth.  They  bit  into  the  "Second 
Woman"  campaign  like  a  starving  man 
faced  with  a  fat,  juicy  fillet.  Virtually 
from  a  standing  start,  because  of  the 
sudden  decision  to  book  the  film  into  the 
Rivoli  on  Feb.  1,  the  UA  tub-thumpers, 
under  the  supervision  of  Al  Tamarin,  in 
a  week's  time  generated  enough  flack 
to  carry  the  campaign  into  every  med- 
ium —  newspapers,  radio,  TV,  wire  serv- 
ices, columns,  subway  posters,  tie-in  ads, 
contests,  and  a  widespread  teaser  cam- 
paign. The  latter  is  built  around  the  in- 
triguer: "Eve  was  the  first  woman.  Who 
was  the  second  woman?"  The  subways 
were  flooded  with  placards  bearing  the 
teaser  and  thousands  of  post-card  size 
teaser  cartoons  were  sent  to  columnists, 
feature  writers  and  radio -TV  program 
directors.  Several  other  angles  built 
around  the  title  and  situations  in  the 
film  were  exploited  to  a  fare-thee-well. 
The  "Second  Woman"  campaign  has  put 
the  UA  flackmen  back  into  business  with 
a  vengeance. 


-TRY  TO  PICTURE  how  it  would  be  in 
your  town  if  several  ideologically  op- 
posed administrations  took  monthly 
turns  running  things,  including  thought 
control,  and  you  had  to  book  your  pic- 
tures according  to  the  censorship  rules 
of  each  administration.   That'll  give  you 


JAMES  V.  FREW 

New  U  District  Manager 


a  rough  idea  of  what  Vienna  theatremen 
are  up  against  in  the  city's  international 
zone,  under  the  unique  quadripartite  sys- 
tem of  rotating  controls.  As  an  example, 
two  houses  in  Vienna  were  playing  "Ni- 
notchka"  last  month.  It  was  Russia's 
turn  to  take  over  the  reins,  so  the  film 
was  yanked.  Then,  this  month,  Britain 
slid  into  the  driver's  seat  and  the  two 
theatres  resumed  playing  "Ninotchka." 
Knowing,  however,  that  the  Soviet  MP's 
would  be  back  on  the  beat  three  months 
hence,  the  exhibitors  reopened  the  film 
without  fanfare  or  publicity.  That  was 
like  trying  to  sneak  an  elephant  into  the 
White  House.  Word-of-mouth  spreads 
fast  in  Vienna,  and  on  the  second  night, 
the  two  houses  were  jammed  to  capacity. 
Now  ail  the  exhibitors  have  to  worry 
about  are  the  consequences  once  the 
Reds  return.  And  you  think  things  are 
tough  here. 


"■HE    UNIQUE    investment    made  by 
business    associates    of    ELC's  Bill 


Heineman  to  finance  production  of  "Tl' 
Jackie  Robinson  Story"  paid  its  first 
vidend  —  75  per  cent  plus  interest.  TJ 
modestly-budgeted  film  was  financed, 
Heineman's  suggestion,  by  scores  of  i 
dividual  businessmen  who  invested  sun 
varying  from  several  hundred  to  sever 
thousand  dollars  apiece.   The  initial  di' 
dend  returned  three  quarters  of  the  i 
vestment,  with  interest,  and  it  seems 
sure  bet  that  the  backers  will  be  w< 
in  the  black  before  the  last  dividend 
paid. 


AMERICAN  ENTRIES  in  the  Inte 
national  Film  Festival  at  Punta  d 
Este,  Uruguay,  Feb.  15-Mar.  5,  were  i 
vealed  by  the  Motion  Picture  Associate 
last  week.  All  the  companies  except  Cc 
umbia  made  their  selections  from  fe 
tures  currently  in  release,  or  already  oi 
of  domestic  circulation.  The  list  follow 
Columbia,  "Valentino";  M-G-M,  "I 
truder  in  the  Dust";  Paramount,  "Suns 
Boulevard";  Republic,  "Sands  of  Iv 
Jima";  Samuel  Goldwyn-RKO,  "Our  Vet 
Own";  Walt  Disney-RKO,  "Treasure  ] 
land";  20th  Century-Fox,  "Halls  of  Mo 
tezuma";  Stanley  Kramer-United  Artist 
"Cyrano  de  Bergerac;  Universal,  "Ha 
vey"  and  Warner  Bros.,  "Breakir 
Point." 

In  the  short  subjects  and  special  cat 
gories  are:  "Beaver  Island"  (Disne 
RKO);  "Trading  Post"  (RKO  Pathe 
"Of  Men  and  Music"  (20th-Fox-Uniti 
World);  "Gerald  McBoing  Boing"  (Unit* 
Productions-Columbia)  and  Universal 
"Thundering  Rails"  and  "Fun  at  tl 
Zoo." 

*  * 

INTERNATIONAL  VARIETY'S  fort 
A  coming  annual  convention  in  May  w 
have  the  climactic  banquet,  featuring  tl 
annual  Humanitarian  Award,  on  tel 
vision  for  the  first  time.  The  procee 
ings  will  go  over  the  video  waves  v 
the  Ken  Murray  show,  which  will  1 
moved  intact  —  cast,  equipment  and  < 
—  to  Philadelphia's  Bellevue-Stratfo 
Hotel,  Saturday  evening,  May  12,  wh< 
the  formal  dinner  is  held.  It  marks  tl 
first  time  the  Ken  Murray  show  has  ev 
been  televised  outside  of  New  York,  ; 
well  as  the  initial  Variety  banquet 
the  fifteen  annual  shindigs  to  be  tel 
cast.  The  convention,  a  four-day  affai 
is  under  the  general  chairmanship 
Victor  H.  Blanc,  with  Ted  Schlange 
Chief  Barker  of  the  Philadelphia  Ter 
heading  the  Banquet  Committee. 


BIG  SCREEN  ADS 

75,000  Inches  Vs.  TV 


OF  MEN  AND  THINGS:  Universal 
domestic  sales  manager,  C.  J.  Fel 
man,  made  three  switches  to  comple 
realignment  of  U's  distribution  set-u| 
James  V.  Frew,  Atlanta  branch  manage 
was  upped  to  district  manager,  supt 
vising  the  Atlanta,  Charlotte,  Cincinna 
Indianapolis  and  Memphis  exchange 
P.  F.  Rosian  was  shifted  from  Cincinna 
to  head  the  district  including  Clevelan| 
Detroit,  Pittsburgh,  Albany  and  Buffali. 
and  William  D.  Kelly,  Jr.,  Atlanta  salii 
head,  was  promoted  to  branch  manag<| 
of  the  exchange  .  .  .  Abe  Dickstein,  a  9 
year  sales  veteran  with  United  Artisl 
has  taken  over  the  post  of  20th  Centur 
Fox  New  York  branch  manager,  recent' 
vacated  by  Sam  Diamond  when  he  i| 
turned  to  the  Philadelphia  exchange  .  j 
Arthur  Greenblatt,  Lippert  general  saL; 
manager,  has  been  elected  a  vice-pre: 
dent  of  the  company  . 


8 


FILM  BULLETI 


Red-Hot  Romance  Is  The 


GLENN  FORD  EDMOND  O'BRIEN 
HONDA  FLEMING 


redhead 


Produced  by  Irving  Asher- Directed  by  Leslie  Fenton 

Screenplay  by  Jonathan  Latimer  and  Liam  O'Brien  •  Based  on  a  Story  by  Charles  Marquis  Warren 


action  as  great  as 
"THE  GREAT  MISSOURI  RAID  "! 
Be  sure  to  play  them  both 


BROTHERHOOD  WEEK-Februory  18 
~tn'  "  i  r 


ruary  18-25  Brotherhood 
ill  Snnnorl  ill 


"FOR  MOLTS  OEY!" 


{Continued  from  Page  3) 

dren  is  a  minor  factor  in  the  exhibitor's 
gross  business,  except  on  weekends  and 
holidays.  This  was  always  the  case  in 
the  vast  majority  of  situations,  and  today 
there  is  an  added  deterrent  in  the  televi- 
sion areas.  Many  exhibitors  have  recog- 
nized the  value  of  running  special  week- 
end matinee  shows  for  the  kiddies,  and, 
while  this  offers  a  partial  solution  to  the 
handling  of  juvenile  trade,  it  fails  to  re- 
solve some  of  the  touchiest  facets  of  a 
complex  problem.  The  question  is  what 
to  do  about  the  youngsters  in  relation  to 
films  which  are  unsuitable  for  them,  or 
actually  harmful.  While  this  problem 
persists,  parents  and  educators  will  con- 
tinue to  funnel  juvenile  interest  into  other 
activities,  away  from  the  movie  theatre. 
How,  then,  shall  we  cope  with  it? 

Would  it  not  be  feasible  to  label,  frank- 
ly and  openly,  as  "Unsuitable  far  Chil- 
dren" every  picture  so  adjudged  by  rea- 
sonable standards?  This  label,  carried  in 
the  advertising,  would  put  the  decision  of 
juvenile  attendance  directly  up  to  the  par- 
ents. "Unsuitable"  pictures  would  be 
those  films  which,  by  the  nature  of  story, 
dialogue,  subtlety,  etc..  might  bore  young- 
sters and  make  them  restless  to  the  point 
of  creating  annoyance  for  the  adult  audi- 
ence. Some  interesting  facts  about  films 
of  this  type  are  discussed  below. 

Mark  Some  'Taboo' 

But  let  us  go  beyond  this  point.  If  the 
idea  of  properly  classifying  films  for  chil- 
dren is  to  be  carried  through  to  a  logical 
conclusion,  pictures  which  are  patently 
harmful  to  juveniles  would  be  clearly 
marked  taboo  for  them.  Thus,  we  would 
have  a  number  of  movies  each  season 
unequivocally  advertised  "For  Adults  On- 
ly!" and  to  which  children  would  be  de- 
nied admittance. 

Does  this  sound  radical?  Will  exhibi- 
tors be  driving  dollars  away  from  their 
boxoffices?  To  the  contrary,  it  is  more 
likely  that  such  a  plan  would  stimulate 
the  interest  of  the  grownups  to  a  degree 
that  would  far  overcome  the  decrease  in 
children's  admissions.  True,  in  the  past 
this  term  has  been  applied  as  a  gimmick 
to  exploit  cheap  sex  films,  but,  if  adopted 
as  suggested  above,  "For  Adults  Only!" 
could  take  on  new  meaning  as  descriptive 
of  regular  Hollywood  product  of  adult 
stature,  beyond  the  ken  of  juveniles,  or 
apt  to  scar  their  impressionable  minds. 
And  it  would  still  retain  its  high  exploita- 
tion potency. 

We  see  several  valuable  by-products  of 
such  a  policy.    Local  censors  might  well 


adopt  a  more  liberal  attitude  toward  dele- 
tions from  films  that  would  be  designated 
"For  Adults  Only!"  Hollywood,  itself, 
might  be  inspired  to  break  the  shackles 
that  have  restricted  its  choice  of  story 
material  and  to  avoid  the  watering-down 
of  dialogue  and  situations  contained  in 
successful  plays  and  novels  purchased  for 
screen  translation. 

Here  may  lie  a  golden  opportunity  to 
recapture  that  vast  "lost  audience"  which 
has  rejected  movie  entertainment  because 
of  Hollywood's  proclivity  for  seeking  to 
make  each  film  a  catch-all  for  the  audi- 
ence "from  8  to  80."  Pause  and  consider 
whether  films  advertised  "For  Adults  On- 
ly!" might  not  bring  the  over-35  age 
group  streaming  back  to  the  movie  the- 
atres.   Gentlemen,  it  has  possibilities! 

Naturally,  the  whole  scheme  poses  a 
vital  question:  Who  would  classify  the 
films? 

It  could  be  done  wholly  within  the  in- 
dustry by  boards,  each  composed  of  a 
studio  executive,  a  distribution  executive, 
and  a  prominent  exhibitor.  Or,  added  to 
these  tribunals  might  be  one  or  more  rep- 
resentatives of  responsible  groups  active 
in  child  guidance  and  welfare.  There 
could  be  only  recommendations,  of  course, 
the  final  decision  necessarily  resting  with 
the  exhibitor  himself. 

The  industry  already  has  a  head  start 
on  its  analysis  of  what  elements  are  de- 
sirable, optional  or  objectionable  in  films, 
insofar  as  the  juvenile  trade  is  concerned. 
The  research  carried  on  by  the  MPAA's 
National  Children's  Film  Library  Com- 
mittee, under  the  leadership  of  Mrs.  Mar- 
jorie  G.  Dawson,  has  resulted  in  findings 
that  should  be  of  great  importance  in 
determining  the  labeling  of  features. 

Divergence  of  Opinion 

Mrs.  Dawson  explains  that  her  Com- 
mittee has  at  various  times  considered 
the  question  of  special  films  for  young- 
sters between  the  ages  of  eight  to  twelve 
years,  but  has  found  a  wide  divergence 
of  view  on  the  subject  between  parents, 
educators  and  psychologists.  Moreover, 
children's  behavior  reactions  to  motion 
pictures  has  revealed,  she  says,  many  dis- 
crepancies between  adult  theories  concern- 
ing child  reactions,  and  the  actual  reac- 
tions themselves.   In  short: 

"No  small  part  of  the  movies'  charm 
for  children  may  rest  on  the  fact  that 
movies  are  'not  made  for  children,'  — 
they  are  part  of  the  grown-up  world  m 
which  a  child  can  share." 

This  view  is  based  on  considerable  re- 


search, in  which  Mrs.  Dawson's  "Wiggle 
Test"  plays  a  prominent  part.  Before  the 
"Wiggie  Test"  was  evolved,  the  National 
Children's  Film  Library  had  tried  to  deJ 
termine  children's  reactions  to  motion  pic. 
tures  by  questionnaire  and  discussion 
methods.  The  results  obtained,  however, 
were  different  from  those  actually  ob- , 
served  during  a  screening.  That  is  toj 
say,  the  children  gave  the  answers  which 
they  thought  adults  would  expect  them 
to  give.  They  would,  for  instance,  tell 
an  adult  inquirer  that  they  "liked"  a; 
speech  of  high  moral  calibre,  yet  during 
that  very  sequence  of  the  film  they  were 
seen  to  be  restless  and  inattentive.  Ac- 1 
cording  to  the  Bernstein  questionnaire 
submitted  to  50,000  English  children,  his- 
torical pictures  were  rated  top  favorites, 
with  cowboy  films  at  the  bottom  of  the  | 
list;  yet  the  favorite  star  of  both  boys* 
and  girls  was  Roy  Rogers. 

Because  of  such  experiences,  Mrs.  Daw- ! 
son  devised  the  Wiggle  Test.  Eighty  un 
selected  kiddies  were  given  a  test  screen 
ing  at  which  their  facial  expressions 
bodily  movements  and  comments  were' 
recorded  by  trained  observers.  Audience 
reactions  were  found  to  fall  into  sever 
basic  behavior  patterns  ranging  from  Ac  j 
tive  Participation  (shouts,  laughter,  tears)- 
through  Passive  Acceptance  (childrer 
lean  back  as  if  dreamily  hypnotized;  lei 
the  picture  "wash  over  '  them  withoui 
signs  of  pleasure  or  displeasure)  anc , 
Restlessness  (wiggles,  fidgets,  competitive, 
conversation;  the  picture  has  lost  its 
hold)  to  Open  Revolt  (audience  out  oJ, 
hand,  clothing,  etc.,  thrown  at  the  screen 
kids  milling  about  in  the  aisles). 

On  the  strength  of  these  tests,  the  Com  J 
mittee  notes  that  most  children  in  the, 
eight  to  twelve  group  particularly  enjo> 
Westerns,  slapstick  Comedies  and  Adven 
ture  stories.  Witty  repartee  goes  oveij 
their  heads.  Passionate  love  is  taboo 
Films  which  carry  an  obvious  and  highh 
verbalized  moral  or  educational  messagt 
they  find  boring. 

Could  Solve  Problem 

The  problem  of  juvenile  attendance  a 
the  movies  and  what  constitutes  "suit 
able"  entertainment  for  our  youth  ma; 
actually  turn  out  to  be  the  beacon  whicl 
will  guide  the  film  industry  into  a  nevj 
era.  In  a  system  of  classification  ma; 
lie  salvation  for  the  industry's  perpetua 
problem  of  satisfying  those  responsibli 
for  the  welfare  of  their  —  and  our  —  owr 
children. 

It  is  a  bold  maneuver  for  the  movii 
business  to  undertake,  but  it  holds  pre1 
mise  of  reaping  rich  rewards.  Such  ai| 
endeavor  harbors  the  manifold  potential 
benefits  of  invaluable  good  will,  recoup 
ing  a  lost  audience,  inseminating  nev, 
millions  with  the  movie  habit  and  open 
ing  grand,  new  vistas  for  Hollywood';j 
film  makers. 


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ACTIVE  PABTlCIPATlON 
ClOSE  ATTENTION 

INTEREST 

PASSIVE  ACCEPTANCE 

I — 

BOSEDOM 

PESHESSNESS 

©«N«EVOlT 

THE 


WICELE 


TEST 


Risinx  and  fatting  interest  of  child  audience  recorded  by  Wiggle  Test  praph  of  THE  SEA  HAWK. 

f'l  L  M  BULLET! 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 

CxcluAiDe  ^k,  BULLETIN  feature 


COLUMBIA 

COHN  BOLSTERS  STUDIO 
WITH  NEW  INDE  MANPOWER 

""THE  OVERALL  production  picture  at 
A  Columbia  is  beginning  to  take  a  def- 
inite turn  for  the  better,  principally  be- 
i  cause  bossman  Harry  Cohn  is  finally  get- 
i  ting  around  to  bolstering  some  of  "them 
to  work  as  Columbia  contractees.  and 
i  others  with  independent  units  which  will 
i  release  through  the  company.  Of  course. 
!  the  old,  old  problem  on  this  lot  is  keeping 
its  people  happy.  Nobody  seems  to  last 
long  at  Columbia. 

Frank  Seltzer  has  just  inKed  a  contract 
'  to  produce  two  pictures  per  year  for  Col- 
umbia  release.   His   last   picture.  "711 
1  Ocean  Drive''  also  was  released  by  the 
1  company,  but  was  a  completely  independ- 
ent production.  Under  terms  "of  the  new 
:  past,  Columbia  will  provide  a  major  por- 
!  tion  of  the  financing  on  the  two  picture 
per  year  which  he  is  committed  to  pro- 
duce. His  first  production  will  be  "The 
,  Kansas  City  Story,"  for  which  George 
Callahan  is  now  completing  the  script. 
Edmond  O'Brien  will  star,  with  Joe  New- 
,  man  directing. 

A  commitment  was  also  obtained  from 
i  Elia  Kazan  and  Arthur  Miller  to  direct 
i  and  write  "The  Hook"  as  an  independent 
venture  in  partnership  with  Columbia. 
Then,  of  course,  there  is  the  recent  deal 
with  Stanley  Kramer  to  produce  three  to 
six  pictures  annually  for  Columbia  re- 
J  lease;  another  with  Sidney  Buchman  to 
1  make  a  minimum  of  two  per  year;  one 
I  with  Burt  Lancaster  also  calling  for  two 
I  per  year;  the  Humphrey  Bogart-Robert 
'  Lord  Santana  company  comitment,  and 
a  similar  one  with  Robert  Rossen. 

Aside  from  these  independent  produc- 
tion units  which  have  been  brought  into 
1  Columbia's  fold,  however.  Cohn  has  also 
cdded  Sam  Marx  and  Voldemar  Vetluguin 
l  to  serve  as  producers,  along  with  such 
previous  producer  contractees  as  Buddy 
'  -Adler.  Sylvan  Simon  and  Jerrv  Bressler. 


EAGLE  -  LION  -  CLASSICS 

ELC  AIMS:  MORE  PRODUCT, 
LOWER  COSTS,  HIGHER  FEES 

^TLLIAM  MacMILLEX'S  proposed  trip 
to  Hollywood,  reported  last  issue, 
has  been  postponed  until  the  middle  of 
this  month,  at  which  time  he  will  make 
an  effort  to  line  up  more  top  inde  pro- 
ducers. That  the  company  is  in  dire  need 
of  more  quality  products*  is  obvious,  and 
until  such  time  as  it  is  available  the 
company  will  continue  to  cut  its  operat- 
ing expenses  wherever  possible. 

One  primary  matter  of  business  on 
MaeMillens  slate  when  he  arrives  on  the 
coast  will  be  to  close  the  deal  with  Fidel- 
ity Pictures,  headed  bv  A.  Pam  Blumen- 
thal,  Howard  Welsch  and  Joseph  Seidel- 
man.  The  principals  have  alreadv  agreed 


on  the  general  terms  for  a  pact  covering 
10  pictures  to  be  turned  out  over  a  two- 
year  period.  First  money  reportedly  will 
be  supplied  by  the  Bank  of  America",  with 
an  Eastern  firm  providing  secondary 
financing. 

The  disclosure  that  ELC  will  attempt 
to  exact  a  higher  percentage  of  distribu- 
tion fees  will  have  all  of  Hollywood 
watching  developments  with  keen  inter- 
est. In  the  past,  the  company  has  been 
getting  25  to  27  percent  distribution  fees. 
However,  the  new  ruling  ups  that  figure 
to  30  per  cent,  w  ith  the  possibility  of  even 
higher  fees  in  some  instances. 

Negotiations  were  concluded  with  Cu- 
sick  International  Films  of  New  York. 
Inc.  for  the  distribution  of  "The  Lonr* 
Dark  Hall."  a  Xunnallv  Johnson  Stray, 
starring  Lilli  Palmer  and  Rex  Harrison, 
and  two  other  Peter  Cusick  productions, 
it  was  announced  today  by  MacMillen. 

The  other  two  Cusick  productions  are 


MAYOR  SALUTES  MONOGRAM 

Monogram  President  Steve  Broidy  receives  con- 
gratulations from  Los  Angeles  Mayor  Fletcher 
Bowron  on  the  film  company's  20th  Anniver- 
sary. The  occasion  will  be  celebrated  nationally 
Feb.  11-17  as  Monogram  Week:  during  which  a 
drive  will  be  on  to  have  at  least  one  Monogram 
film  exhibited  in  every  theatre. 


"Pardon  My  French."  a  Roland  Kibbee 
comedy  costarring  Merle  Oberon  and 
Paul  Henreid,  now  in  its  final  editing 
stage,  and  a  Harry  Kumitz  film  adapta- 
tion of  the  Somerset  Maugham  short 
story.  "His  Excellency."  schedu'ed  for 
shooting  in  July.  Cusick  is  reported  ne- 
gotiating with  Hedv  Lamarr  and  Rex 
Harrison  to  play  the  leads  in  this  pro- 
duction which  will  be  made  in  London. 

Another  new  deal  involves  the  outright 
purchase  of  Wallv  Kline's  recently  com- 
pleted comedy.  "Skipalong  Rosenbloom," 
starring  Maxie  Rosenbloom  and  Max 
Baer.  Previously  ELC  had  planned  on  a 
straight  releasine  deal  with  Kline.  FILM 
BULLETIN  also  hears  that  the  deal  ma, 
include  further  "Skipalongs." 


LIPPERT 

GROSS  OF  OVER  2  MILLION 
EXPECTED  ON  "STEEL  HELMET' 

TIPPERT  PRODUCTIONS  appears  to  be 
1-1  on  its  way  to  bigger  things.  That  is 
the  consensus  of  most  industryites  here  in 
Hollywood,  who  have  seen  Lippert  films 
showing  steady  improvement  in  the  past 
two  years.  This  is  due  to  shrewd  produc- 
tion operations  and  sound  exploitation 
methods.  The  latest  example  is  "Steel 
Helmet."  which  is  mopping  up  in  all 
situations,  despite  an  unimpressive  invest- 
ment reportedly  in  the  neighborhood  of 
S127.000.  Company  toppers  are  predicting 
the  picture  will  gross  over  S2.000.000. 

Due  in  part  to  the  success  of  "Helmet," 
and  another  financial  success  of  the  past 
year.  "Rocketship  XM."  Robert  L.  Lip- 
pert,  the  company's  guiding  light,  is  veer- 
ing away  from  the  sagebrushers  in  plan- 
ning his  future  productions  in  favor  of 
added  emphasis  on  topical  subjects. 

Within  the  next  60  days.  Lippert  will 
put  five  pictures  before  the  cameras.  First 
to  roll  was  "Little  Big  Horn."  which  Pro- 
ducer Carl  Hittleman  launched  last  week. 
"Kentucky  Jubilee,"  a  western  musical  to 
be  produced  by  Ron  Ormand  rolls  on  Feb- 
ruary 15;  "The  Lost  Continent"  (Caesar 
Romero)  hits  the  cameras  on  February 
27;  "Savage  Drums"  follows  on  March  6, 
and  "FBI  Girl"  winds  the  quintet  on 
March  28. 


METRO-GOLDWYN-MAYER 

SCHARY  SEEKS  MORE  EPICS 
AS  "MINES,"  "KIM"  PAY  OFF 

^  GENERAL  renaissance  of  adventure 
stories  produced  on  the  grandiose 
scale  may  be  in  the  offing  at  Metro,  due 
primarily  to  the  astounding  success  of 
"King  Solomon's  Mines"  and,  to  a  lesser 
degree,  "Kim."  This  would  naturally  en- 
tail an  over-all  budget  increase,  inasmuch 
as  most  studio  executives  are  now  agreed 
such  pictures  cannot  be  attempted  on 
budgets  under  Sl.500.000  to  S2.000.000. 

Dore  Schary,  the  studio's  production 
chief,  has  been  one  of  Hollywood's  staun- 
chest  defenders  of  the  old  theory  that 
movie-makers  have  to  spend  money  in 
order  to  make  money.  "King  Solomon's 
Mines,"  which  appears  to  be  headed  for 
the  top-money  spot  this  year  should  be 
argument  enough  to  back  up  Sehary's 
contention.  Then  along  comes  "Kim." 
right  on  the  neels  of  this  earlier  adven- 
ture extravaganza,  with  an  amazing 
Sl.300.000  gross  in  its  first  51  engage- 
ments. Small  wonder  then,  that  Senary 
started  looking  through  the  script  pile 
for  similar  stories  upon  his  return  from 
Florida  this  month. 

The  studio  chief  was  greeted  with  still 
further  good  news  upon  his  return,  when 
his  latest  personal  production.  "Go  For 
Broke"  was  sneak  previewed  to  an  en- 
thusiastic audience  in  West  Los  Angeles. 
Sehary's  next  two  personal  productions, 
incidentally,  have  just  been  decided  upon. 
They  are:  "Pioneer  Woman"  "Robert 
Taylor),  and  "The  Plymouth  Adventure" 
(Spencer  Tracy-Deborah  Kerr- Van  John- 
son). 

(Continued  on  Sext  Page) 


FEBRUARY   12,  1951 


11 


STUDIO  SIZ6-UPS 

(Continued  from  Preceding  Page) 

MONOGRAM  -  AA 

FEBRUARY  LULL  SEES  ONLY 
SINGLE  SOUND  STAGE  WORKING 

'pHERE  HAS  BEEN  a  general  slacken- 
ing off  in  production  here  during 
recent  weeks,  with  not  more  than  one 
picture  shooting  at  a  time.  Moreover,  only 
two  productions  are  in  the  final  planning 
stages,  as  of  this  writing,  indicating  that 
the  slow-down  will  probably  continue  for 
at  least  another  30  days. 

Four  releases  were  set  for  February, 
however,  including:  "Abilene  Trail" 
(Whip  Wilson),  which  went  out  on  Feb- 
ruary 4;  "Rhythm  Inn"  (Jane  Frazee- 
Kirby  Grant-Lois  Hall),  February  11; 
"The  Vicious  Years  ',  February  18,  and 
"Navy  Bound"  (Tom  Neal-Wendy  Wald- 
ron),  February  25.  Allied  Artists'  "I  Was 
An  American  Spy"  has  now  wound  and  is 
being  edited  for  an  Easter  release. 

The  next  Allied  Artists  high  budgeter, 
"The  Highwayman"  will  roll  on  February 
19,  with  Wanda  Hendrix  and  Charles  Co- 
burn  thus  far  set  for  top  roles.  The  pro- 
duction will  be  filmed  in  Cinecolor,  with 
Hal  E.  Chester  producing  and  Lesley 
Selander  directing.  Although  no  state- 
ment is  available  as  to  the  budget  on  the 
picture,  it  is  set  for  one  of  the  longest 
shooting  schedules  of  any  AA  picture  in 
many  months. 

During  the  current  week  (February  11- 
17)  which  has  been  designated  as  Nation- 
al Monogram  week,  the  company  is  send- 
ing five  of  its  contractees  to  52  key 
cities  for  personal  appearances.  Whip 
Wilson  has  been  set  for  12  p.a.'s  in  the 
south;  Johnny  Mack  Brown  will  cover  the 
northwest;  Leo  Gorcey  is  making  the 
rounds  of  the  Pacific  northwest;  Kirby 
Grant  the  midwest  and  southwest,  and 
Jane  Nigh  will  hit  three  coast  cities  be- 
fore flying  to  New  York  City  to  talk  with 
exhibitors  on  the  eastern  seaboard. 


PARAMOUNT 

10-PICTURE  SCHEDULE 
FOR  PAR  IN  NEXT  QUAKER 

PARAMOUNT  is  losing  no  time  in 
launching  the  heavy  production  sche- 
dule which  the  big  chief,  Barney  Bala- 
ban,  announced  in  New  York  late  last 
month.  Studio  toppers  here  on  the  coast 
say  they  will  put  10  pictures  before  the 
cameras  during  the  next  three  to  four 
months.  This  will  mark  one  of  the 
heaviest  production  programs  undertaken 
by  the  studio  in  many  years  and,  for  the 
weeks  immediately  ahead,  will  put  it 
ahead  of  all  other  studios  in,  at  least,  the 
number  of  pictures  shooting  simultan- 
eously. Two  new  productions  went  before 
the  cameras  during  the  closing  days  of 


FOR  SWEET  CHARITY 

Herbert  J.  Yates,  president  of  Republic  Pictures 
signs  contract  with  Jimmie  Fidler's  Valley  Vista 
Productions  whereby  a  percentage  of  profits 
from  a  neiv  western  series  goes  to  National  Kids' 
Day  Foundation.  Above:  Fidler,  Yates,  Frank 
Harmon,  Kiwanis  executive,  and  the  young 
stars  of  the  western  series,  Michael  "Red" 
Chapin  and  Eilene  "Judy"  Janssen.  < 


January,  five  more  will  get  the  green 
light  in  February  and  two  more  will  roll 
in  March.  What  the  quality  of  this  output 
will  be  is  the  big  question.  There  is 
plenty  of  room  for  improvement  over 
what  Paramount  delivered  in  the  past  six 
months! 

"My  Favorite  Spy"  (Bob  Hope-Hedy 
Lamarr)  got  underway  on  the  home  lot 
at  about  the  same  time  Cecil  B.  DeMille 
started  the  cameras  rolling  at  Sarasota, 
Florida,  on  his  "Greatest  Show  On  Earth." 
The  February  lineup  includes:  "Detec- 
tive Story"  (Kirk  Douglas),  one  of  the 
most  expensive  properties  purchased'  by 
any  Hollywood  company  in  the  past  year; 
Hal  Wallis'  Martin  and  Lewis  comedy, 
"The  Stooge";  William  Perlberg  and 
George  Seaton's  initial  comedy  offering 
for  the  company,  "Rhubarb,"  based  on  the 
H.  Allen  Smith  yarn;  Wallis'  "Peking  Ex- 
press" (Joseph  Cotten-Corinne  Calvet), 
and  "The  Rage  of  the  Vulture"  (Alan 
Ladd). 

As  of  this  writing  (  no  successor  has 
been  named  to  fill  the  spot  vacated  by 
Sam  Briskin  when  he  resigned  unexpect- 
edly as  studio  production  head  last 
month.  However,  sources  in  authority  are 
of  the  opinion  that  Hal  Wallis  will  be  the 
final  choice  to  replace  him.  Meantime, 
Y.  Frank  Freeman  continues  to  assume 
full  studio  production  responsibilities. 

REPUBLIC 

YATES  PLANS  INCREASE  IN 
BIG-BUDGET  FILMS  FOR  1951 

T  IKE  MOST  other  studios,  Republic  is 
coasting  along  on  backlog  at  the  pres- 
ent time,  with  only  one  film  shooting 
most  of  the  time.  However,  the  tempo  is 
expected  to  pick  up  around  mid-March 


when  some  of  the  medium  to  high-bud^ 
geted  productions  are  ready  to  roll. 

Prexy  Herbert  Yates  is  planning  a  bid 
increase  of  high  budget  shows  for  Rej 
public  release.  For  example,  "WingJ 
Across  the  Pacific"  will  be  one  of  the  imffl 
portant  war  pictures  of  the  year,  anc  \ 
will  be  accorded  a  budget  and  shooting 
schedule  commensurate  with  its  impart 
a  nee.  Another  important  property  that  iJj 
being  readied  for  the  cameras  is  "Hood  I 
lum  Empire,"  based  on  the  recent  Bocjl 
Considine  yarns. 

Within  a  few  days  of  each  other,  Re)| 
public  dropped  one  of  its  biggest  mal;i 
contract  stars,  John  Carroll,  and  repactj 
ed  the  long-time  queen  of  the  lot,  Ver; 
Ralston.  Republic  reportedly  would  nojl 
agree  to  Carroll's  demands  that  he  b|| 
permitted  to  continue  his  recently  launch 
ed  night  club  career  without  interference 
from  picture  production.  Miss  Ralston'; 
new  three  year  pact  calls  for  two  picjl 
tures  annually,  with  an  option  on  a  third  | 
One  surprising  detail  was  the  stipulatioi 
that  she  will  make  no  more  period  pics 
tures — but,  rather,  appear  only  in  modeni 
roles. 

A  handsome  gesture  for  sweet  charit;' 
was  the  unique  contract  Yates  recentl; 
signed  with  Valley  Vista  Productions,  th 
Jimmie  Fidler  unit  that  will  make  fou 
westerns  per  year  for  the  next  seve: 
years  for  Republic  release.  Under  th 
terms  of  this  deal,  Valley  Vista  will  dor; 
ate  a  liberal  percentage  of  the  profit 
from  these  films  to  the  National  Kid; 
Day  Foundation,  an  organization  to  bem 
fit  underprivileged  children.  First  of  th' 
novel  western  series,  which  stars  two  ne\ 
youngsters,  13-year-old  Michael  Chapi 
and  11-year-old  Eilene  Janssen,  title. 
"Buckaroo  Sheriff  of  Texas",  was  recen 
ly  completed. 

RKO 

TATELMAN  APPOINTMENT  TO 
BOLSTER  STORY  DEPARTMEN1 

/~\NE  OF  the  major  developments  of  thj 
^  past  two  weeks  at  RKO  was  tr 
signing  of  Harry  Tatelman  to  succeel 
William  Fadiman  as  story  head.  The  la 
ter  was  shifted  to  a  new  berth  as  a  pr! 
duction  executive  responsible  for  supe 
vising  script  development  on  top  proj 
erties.  Tatelman,  who  has  been  head  i 
the  literary  department  of  MCA  far 
number  of  years,  is  considered  one  of  tl| 
top  authorities  on  motion  picture  stoil 
material,  and  his  addition  to  the  st3 
clearly  indicates  that  Howard  Hughes  e 
pects  to  place  strong  emphasis  on  goc1 
stories  as  the  foundation  of  his  futu| 
productions. 

J.  K.  Nunan,  past  manager  of  the  rr. 
tion  picture  division  of  Ansco,  is  anuth| 
new  addition  to  the  Hughes  compan 
serving  in  the  capacity  of  executive  £i 
sistant  to  C.  J.  Tevlin.  And  still  anothj 
important  addition  is  Sam  Wiesenth;| 
who  has  been  signed  to  a  term  produc 
contract.  The  first  assignment  for  tj 
latter  will  be  "Cat  and  Mouse,"  a  my 
tery-melodrama,  tentatively  set  to  roll 
March. 

In    addition   to    personnel  contrac| 


12 


r  ilm  rullkti 


STUDIO  SIZ6-UPS 

'     Hughes  has  signed  a  releasing  deal  with 
„'.'    'he    Breakston-McGowan    inde   unit  on 
,'    I  heir  recently  completed  "Tokyo  File  212." 
!   (The  picture,  filmed  entirely   in  Tokyo, 
r    Heals  with  the  formation  of  a  Communist 
•underground  in  that  city  to  inform  Mos- 
bow  on  what  American  troops  are  doing 
.;   4n  Korea.  Because  of  its  timeliness,  the 
r   jpicture  will  be  rushed  into  release  as 
'quickly  as  possible. 

Wald  and  Krasna  now  have  screenplays 
"'  'on  the  first  14  pictures  of  their  forth- 
'coming  RKO  program  in  stages  ranging 
from  completed  first  drafts  to  those  which 
'are  actually  ready  for  filming.  By  the 
lime  they  roll  their  initialer,  "Strike  A 
Match,"  the  middle  of  this  month,  they 
"expect  to  have  all  14  scripts  completed 
'and  ready  for  casting. 

20th  CENTURY-FOX 

NO  SLACK  IN  PRODUCTION 
PACE;  6  BIG  ONES  SHOOTING 

20th-Fox  is   one   of  the  few  studios 
■  where  production  has  kept  up  a  brisk 
pace  during  the  first  month  of  the  new 
I  year.  Whereas  most  other  companies  have 
t  slackened  off  to  one  and  two  pictures 
J  shooting,  the  Westwood  plant  has  six  be- 
I  fore  the  cameras,  and  two  in  the  final 
i  stages  of  preparation.  Furthermore,  all 
I  eight  are  in  the  high-budget  class,  and 
1  will  be  produced  on  shooting  schedules 
j  ranging  from  28  days  up  to  a  high  of  55. 
And,  as  if  this  heavy  production  isn't 
enough  to  stock  the  distribution  end  of 
the  business  with  adequate  product,  two 
separate  deals  have  been  closed  to  re- 
|  lease  inde  product — something  Fox  sel- 
!  dom  goes  in  for.  First  of  the  indes  is 
"Chuck-A-Luck,"  a  Fidelity  Pictures  pro- 
duction to  star  Marlene  Dietrich,  under 
I  the  direction  of  Fritz  Lang.  The  film  is 
i  scheduled  to  roll  late  this  month  at  Mo- 
tion Picture  Center.  The  other  new  in- 
dependent picture  contracted  for  20th  re- 
lease is  the  Bernhard-Justman  production 
of  David   Lord's  Pulitzer   Prize  novel. 
"The  Ravager."  No  definite  starting  date 
has  been  set,  although  it  is  expected  to 
go  on  location  in  Mexico  sometime  with- 
in the  next  60  to  90  days. 

Of  comparable  interest  are  the  num- 
erous new  contracts  signed  with  produc- 
er, director  and  stellar  talent  in  recent 
weeks.  For  example,  Andre  Hakim  has 
been  boosted  to  full  producership  and  as- 
signed to  "The  Silver  Whistle"  (Clifton 
Webb- Joanne  Dru),  under  terms  of  a  new 
pact  handed  out  by  Darryl  Zanuck  this 
month.  Otto  Lang  likewise  drew  a  new 
producer  pact,  and  Julian  Blaustein  had 
his  option  lifted  for  another  term.  Del- 
mer  Daves,  whose  old  pact  still  had  sev- 
eral years  to  run,  received  a  brand  new 
one  with  considerable  increase  in  salary 
as  a  result  of  his  work  on  "Broken 
Arrow"  and  "Bird  of  Paradise."  And  final- 
ly, Ethel  Barrymore  has  been  signed  for 
a  picture  at  Fox  as  her  first  chore  as  a 
free  lancer.  Miss  Barrymore  will  co-star 


with  Glenn  Ford  and  Gene  Tierney  in 
"The  Secret  of  Convict  Lake,"  which  i  i 
juet  gelting  underway. 

UNITED  ARTISTS 

HELLER  $  CONDITIONED 
ON  BENJAMIN-KRIM  CONTROL 

^LL  OF  the  independent  producers 
who  have  been  releasing  through  UA 
must  be  developing  a  bad  case  of  eye- 
strain from  "keeping  a  watchful  eye  on 
developments,"  for  the  sale  of  the  com- 
pany. As  of  this  writing,  all  of  the  prin- 
cipals involved  in  the  current  negotiations 
with  the  Krim-Benjamin-Heller  syndicate 
are  still  trying  to  iron  out  their  differ- 
ences in  an  attempt  to  close  the  deal. 
Again  the  reports  are  flying  that  the 
sale  will  at  long  last  be  accomplished,  al- 
though sources  close  to  the  men  heading 
the  new  syndicate  say  there  arc  still  some 
ominous  stumbling  blocks.  For  example, 
the  Heller  company  will  go  along  with 
the  deal  ONLY  if  Krim  and  Benjamin  ge; 
final  and  absolute  management  control. 
The  syndicate  is  offering  to  put  up  $3,- 
000,000  in  a  revolving  fund  to  finance  pro- 
ducers, as  well  as  the  $1,000,000  to  be 
made  available  to  the  company  as  op- 
erating funds.  The  revolving  fund  mil- 
lions, incidentally,  will  all  come  from  the 
Heller  company. 

However,  even  the  pending  transfer  of 
management  has  not  served  to  deter 
Harry  Popkin  from  filing  that  proposed 
suit  against  the  company  over  release  of 
his  picture,  "The  Second  Woman."  Pop- 
kin  notified  his  lawyers  right  in  the 
midst  of  the  sale  negotiations,  that  they 
were  to  proceed  with  the  filing  of  the 
suit  if  the  picture  is  shown  anywhere  in 
the  United  States,  other  than  the  Rivoli, 
in  New  York,  where  it  has  already  open- 
ed. 

It  is  interesting  to  note,  also,  that  Al 
Rogell  is  the  one  independent  producer 
who  set  a  starting  date  on  a  new  picture 
for  UA  release,  during  the  period  of  the 
current  negotiations.  Rogell  has  announc- 
ed that  "No  World  Beyond"  will  roll  on 
April  15,  and  that  casting  is  about  to  get 
underway. 

UNIVERSAL-INTERNAT'L 

U-l  IDLING  THRU  MONTH; 
PACE  TO  PICK  UP  IN  MARCH 

TT  APPEARS  that  there  will  be  no  pick- 
up  in  production  activity  here  during 
February,  as  the  studio  continues  to  coast 
along  at  its  lowest  ebb  in  a  year.  How- 
ever, this  situation  is  not  unique  to  U-I, 
inasmuch  as  there  are  only  two  studios  in 
town  operating  at  anything  like  capa- 
city at  the  present  time. 

It  is  generally  conceded  that  the  slack- 
ening off  is  a  result  of  the  impending 
state  property  tax  date  coming  up  on 
March  5.  This  levy,  which  is  assessed 
against  all   film   negatives  either  com- 


pleted or  in  the  process  of  production,  is 
a  major  item  which  all  companies  must 
reckon  with,  ind  this  is  not  the  first  year 
that  production  has  dipped  during  Janu- 
ary and  February  as  a  result  of  it.  Legal 
eagles  for  some  of  the  majors  point  out 
that  the  start  of  a  single  new  picture 
just  prior  to  the  March  5th  date,  could 
conceivably  cost  them  upwards  of  525,000. 

The  next  picture  to  roll  at  U-I  will  be 
"Fiddler's  Green,"  (Shelley  Winters-Rich- 
ard Conte).  According  to  those  who  have 
read  the  script,  this  is  one  of  the  most 
promising  screenplays  the  company  has 
put  before  the  cameras  in  many  months, 
and  may  be  the  forerunner  of  a  general 
trend  toward  improved  story  properties, 
one  of  the  studio's  weakest  divisions 
currently.  Perhaps  the  latest  acquisition, 
"The  Great  Companions,"  a  Gene  Markey 
original,  will  help  bolster  this  shady  facet 
of  the  company's  production. 

U-I  was  the  first  studio  in  town  to 
pledge  full  cooperation  in  the  govern- 
ment's film  conservation  program  an- 
nounced last  month.  Within  a  week  after 
it  became  known  that  a  shortage  of  raw 
stock  was  imminent,  the  company  insti- 
tuted a  policy  of  conservation,  which  con- 
sists of  film  allocations  for  each  pic- 
ture, restrictions  on  the  number  of  takes 
of  each  scene,  and  the  printing  of  only 
one  okayed  take  on  each  scene.  Of  course, 
this  will  save  U-I  a  pretty  penny,  too. 

Yvonne  DeCarlo,  the  now  faded  Tech- 
nicolor darling  of  the  studio  since  1944, 
has  asked  for  and  received  "amicable" 
release  from  her  contract.  She  is  current- 
ly making  "Hatel  Sahara"  in  London  for 
J.  Arthur  Rank. 


WARNER  BROS. 

WB  HEADS  SEE  BIG  BACKLOG 
PROMISING  PROFITABLE  YEAR 

WITH  THE  picture  company  showing  a 
profit  of  over  four  nrllion  for  last 
year,  company  toppers  think  they  sec 
even  better  prospects  for  profits  in  the 
substantial  backlog  of  films  that  are 
completed  or  nearing  completion  here. 

Coming  up  for  spring  release  are: 
"Sugarfoot"  (Randolph  Scott),  "Lullaby 
of  Broadway"  (Doris  Day-Gene  Nelson). 
"Only  the  Valiant"  (Gregory  Peck-Bar- 
bara Peyton),  "I  Was  A  Communist  For 
the  FBI"  (Frank  Lovejoy),  "Strangers 
On  A  Train"  (Farley  Granger-Ruth  Ro- 
man-Robert Walker),  "On  Moonlight 
Bay"  (Doris  Day-Gordon  MacRae). 
"Goodbye,  My  Fancy"  (Joan  Crawford- 
Robert  Young),  "Captain  Horatio  Horn- 
blower"  (Gregory  Peck-Virginia  Mayo), 
"The  Story  of  Folsom"  (David  Brian- 
Steve  Cochran),  "Raton  Pass"  (Dennis 
Morgan  -  Patricia  Neal),  "Lightning 
Strikes  Twice"  (Richard  Todd-Ruth  Ro- 
man). 

Coming  up,  are  at  least  a  half  dozen 
productions  that  hold  promise  of  better 
things  from  this  studio,  based  on  scripts, 
casts  and  producer  and  director  assign- 
ments. For  example,  Michael  Curtiz  has 
three  of  his  strongest  assignments  in 
years  now  in  the  final  preparation  stages. 
They  are:  "Force  of  Arms,"  which  An- 
thony Veiller  will  produce;  "The  Will 
Rogers  Story,"  and  "Sam  Houston." 


FEBRUARY    12,    195  1 


13 


6XHIBITORS  FORUfTl 

Opinions  Culled  from  Organization  Bulletins 


AD  BUDGETS 


ATO  of  Indiana 
We  have  heard  exhibitors  comment 
aoout  some  of  the  more  or  less  elaborate 
direct  mail  pieces  that  they  receive  from 
the  film  companies  that  such  money 
would  be  better  spent  if  directed  toward 
the  customers  rather  than  toward  the 
theatre  owner.  We  agree  that  it  would 
appear  to  be  the  shortest  way  to  a  ticket 
sale  to  try  and  enthuse  the  potential  pat- 
ron  to  go  see  a  picture  rather  than  bally- 
^TV h?product  to  theatre  owners  who 
S5?^?iy  f  'e  the  PiCtUre  Under  cont™ct 
"ated  P  ymg  time  Pretty  much  dic" 
We  were  curious  as  to  how  a  maior 
ors  nbutor  did  allocate  his  adverted 

ey  wnat  the  relationship  was  in  M-G-M's 
appropriation.  He  told  us  that  last year 

over  fr,,  a«vertlsing  appropriation  of 
over  four  million  dollars  only  $8  960  vn 

Z?trin  dlr£Ct  Dy  maiI  advertising  to  the 
theatre  owner.  This  is  less  than  M  of 
one  percent  of  the  total,  so  even  thou eh 

JSC  may  rm  qulte 

portion  If  Z  T%an  extremely  small 
portion  of  the  advertising  budget  AnH 
/easonable  proportion  is  jSs- 
the exhibit  ?S  PUrp°Se °f 

s|SSH5 

ofgsaleforar        J***  is  ^ 

ui  sale  lor  the  distributor  we  would  pv 

JgLX?  t0  direct  at  ^st  some  of  h£ 
advertising  ammunition  in  this  direction 
On  lhis  subject  mention  should  be  made 
of  the  desirable  feature  of  Leon  SJnf 

t«f  i  ^  do  not  know  how  much  of  the 
total  budget  is  channelled  into  this  2 
>um  but  suppose  that  it  Too  represent ;  a 
relatively  minor  portion  of  the  entire an 
pronation  for  advertising  anV^LS 

VIDEO  PLUGS 

ITO  of  Ohio 

bnder  date  of  December  22,  we  wrote 

SlSSS         PreSldent  Abe  M~ 
"Peimit  me  to  offer  my  felicitations 
To  the  executives  and  other  personnel  n* 
J  Mr  organization  which  resulted  in  yes- 
terday s  televising  on  the  "Kate  Smith 
Hour    of  the  three  or  four  clips  from 
Born  Yesterday." 
Of  course,  it  had  the  advantage  of  be- 
ing handled  by  that  master  showman 
Ted  Collins.  ?r.d  to  him  we  also  extend 
our  congratulations  and  the  appreciation 
of  all  exhibitors. 

All  of  th<  major  film  companies 
should  immediately  undertake  to  adver- 
tise their  productions  in  a  similar  man- 
ner so  that  we  can  obtain  the  advantage 
of  this  ever  increasing  TV  audinnce. 

I  am  sending  a  copy  of  this  letter  to 
the  chief  executive  of  every  film  com 


pany,  the  trade  papers  and  Ted  Collins. 

Holiday  greetings  to  all  of  you,  and 
again  thanks  for  what  you  are  attempt- 
ing to  do  for  theatre  owners." 
As  stated  in  the  letter  copies  were  sent 
to  the  heads  of  all  of  the  film  distributing 
companies.    To  date  the  only  response 
has   been   from   RKO's  President,  Ned 
Depinet: — 

"I  have  a  copy  of  your  letter  of  Dec- 
ember 22nd  to  Abe  Montague,  and  I 
hasten  to  ask  if  you  saw  and  heard 
Walt  Disney's  advance  plug  for  ALICE 
IN  WONDERLAND  which  was  tele- 
vised Christmas  afternoon. 

Incidentally,  the  program  closed  with 
a  recommendation  to  visit  their  favorite 
house  where  good  pictures  are  playing. 

We  intend  to  make  judicious  use  of 
television  for  the  promotion  of  our  pic- 
tures at  every  opportunity. 
I  saw  the  telecast  of  "Alice  In  Won- 
derland" and  it  cannot  help  but  benefit 
the  picture  at  the  boxoffice. 

Undoubtedly,  the  other  film  companies 
haven't  made  up  their  minds  what  to  do 
but  will  wait  until  the  boxoffice  takes  a 
still  further  drop. 

PARKING  PROBLEM 

ATO  of  Indiana 

COMPO  has  been  making  some  tenta- 
tive surveys  of  the  causes  of  decreased 
attendance  at  motion  picture  theatres 
and  has  been  impressed  by  the  large  per- 
centage of  answers  emphasizing  the  dif- 
ficulties of  parking.  It  is  apparent  that 
all  motion  picture  people,  especially  the- 
atre owners,  should  actively  concern 
themselves  in  all  local  movements  look- 
ing to  the  creation  of  improved  parking 
conditions. 

There  is  scarcely  a  community  of  a:  y 
size  in  the  country  that  has  not  under 
consideration  some  plan  for  the  establish- 
ment of  a  municipal  parking  lot.  Thea- 
tre owners  have  too  much  at  stake  to  per- 
mit delay  and  they  should  be  in  the 
forefront  of  any  movements  supporting 
such  parking  lots  or  any  other  proposals 
for  remedying  the  congested  area  pro- 
blem. The  cost  of  such  activity  on  their 
part  would  be  little  and  the  results  could 
be  highly  beneficial. 

COKES  VS.  PICS 

ITO  of  Ohio 

At  a  recent  exhibitors  convention  one 
of  the  main  speakers  was  the  President 
of  the  Coca  Cola  Company.  He  expound- 
ed for  nearly  an  hour  telling  the  audience 
how  to  sell  an  extra  bottle  of  coke. 

Maybe  this  is  the  reason  that  the  box- 
office  has  taken  such  a  dive.  1  am  told 
that  the  Wolf  South  Coast  Theatres  em- 
ploy more  clerks  to  check  reports  cov- 
ering candy,  popcorn  and  coke  snles  than 
they  do  to  check  the  daily  boxoffice  re- 
ports. 

Recently,  the  head  of  this  circuit,  after 
noting  a  $10,000,000  drop  in  their  boxoffice 
receipts,  announced  that  they  would 
easily  recover  this  loss  by  launching  a 
campaign  in  their  600  theatres  tc  sell  pat- 
rons two  bottles  of  coke  where  only  one 
had  been  sold  before. 

We  urge  all  of  our  members  to  follow- 
in  the  footsteps  of  this  great  showman — 
forget  pictures  and  give  their  undivided 


attention  to  the  sale  of  popcorn  and  cok. 
If  enough  theatre  owners  will  do  thi  | 
next  year  the  President  of  the  Coca  Col 
Company  will  be  able  to  announce  the , 
they  are  using  thousands  of  theatre  lo' 
bies  for  the  storage  of  cases  of  coke. 
*         *  * 

MOVIE  CURE 

Allied  of  Indiana 
In  a  book  titled  DELINQUENCY  AN! 
HUMAN   NATURE,  the  author,   D.  F 
Scott,  concludes  that  it   is  abundantl 
evident  that  the  causes  of  delinquenc 
go  much  deeper  than  exposure  to  the  iri 
cidental  influences  of  movies.    He  sail 
that  practically  every  case  of  the  15  t 
18  year  old  delinquents  studied  centere 
around  the  youth's  relationships  with  hi , 
parents.   On  the  credit  side  of  the  movie  j 
he  stated  that  "avoidance  type"  delinqv.' 
ents  find  a  certain  amount  of  substitute: 
excitement  and  escapism  in  pictures  am 
as  a  result  are  kept  out  of  mischief.  Th'l 
emotionally  withdrawn  who  have  neve  l 
learned  any  spontaneity  of  affection  ii 
their  own  families  find  a  certain  emotior 
al  education  in  movies. 

CHECKER'S  DUTIES 

ATO  of  Indiana 
We  .recommend  that  members  retail 
and  post  this  bulletin  or  keep  it  filed  ii 
a  convenient  place  for  future  reference 
It  may  enable  you  to  avoid  unpleasan 
argument  in  the  event  that  a  checke: 
exceeds  his  authority  and  you  will  bi 
informed  as  to  how  a  checker  is  speci 
fically  advised  to  conduct  himself.  Th( 
admonitions  below  are  part  of  the  officia 
instructions  issued  by  CRI  to  its  fiek 
men. 

What  the  bonded  representative  is  in 
structed  to  do  at  the  theatre: 

Present  a  letter  of  introduction  fron 
the  distributing  company,  countarsignec 
by  the  field  representative. 

Personally  take  opening,  closing,  hour 
ly,  and  mealtime  readings.  He  is  not  tc 
enter  box  office  for  this  or  any  othei 
purpose. 

Make  occasional  spot  inspections  o 
ticket  stubs  collected  at  door.  He  has  nc 
authority  to  retain  them  or  to  collec 
tickets  himself. 

Take  an  inconspicuous  position  fron 
which  all  admissions  and  ticket  sales  car 
be  accurately  observed. 

Politely  report  to  the  theatre  manage 
ment  any  differences  between  hourl>| 
ticket  readings  and  the  no  irly  count. 

At  the  enj  of  each  day  call  to  the  at 
tention  of  the  management  any  signifi 
cant  difference  between  the  count  and  thf 
theatre  report  of  ticket  sales. 

If  so  requested,  a  copy  of  the  theatre's 
report  of  ticket  sales  may  be  left  with' 
the  management. 

Be  properly  dressed. 

Be  courteous,  business-like,  and  not  act 
officiously  or  as  a  detective. 

Refrain  from  discussing  the  affairs  ol 
that  or  any  theatre  with  anyone. 

Refrain  from  inquiring  about  the 
rental  terms  of  the  picture. 

He  is  not  to  meet  friends  and  relatives 
at  the  theatre. 

He  is  in  no  way  to  interfere  with  the| 
regular  theatre  operation. 

He  is  fo:Vidden  to  accept  or  request, 
favors  or  gratuities  of  any  kind. 

He  is  forbidden  to  turn  over  his  assign- 
ment to  anyone  else  without  the  prior 
knowledge  and  permission  of  the  C.R.I.| 
branch  office. 


F  IL 


ULLET 


tt  INCREASE  IN  ADMISSION  BULLETIN 


[AX,  SNYDER  TELLS  CONGRESS 

Secretary  of  the  Treasury  John  Sny- 
jier's  tax  message  to  Congress  last  week 
made  the  movie  industry  breathe  a  little 
,'asier.  Having  given  up  its  Congres- 
sional battle  to  slash  the  admissions  tax 
ast  year  when  the  critical  international 
situation  reached  emergency  status,  the 
industry  was  gratified  to  learn  that  its 
arguments  had  made  an  impression.  This 
was  evident  In  Secretary  Snyder's  recom- 
mendation that  the  present  20  per  cent 
admissions  tax  was  high  enough  and  that 
fio  increase  will  be  sought  as  part  of  the 
Administration's  program  of  raising 
more  than  $10,000,000,000  in  additional 
Federal  taxes. 

There  was  more  good  news  to  the  in- 
dustry in  Snyder's  detailed  recommenda- 
tions before  the  House  Ways  and  Means 
Committee.  The  present  25  per  cent 
manufacturers'  excise  on  photographic 
equipment  and  the  15  per  cent  levy  on 
raw  stock  will  remain  unchanged,  accord- 
ling  to  the  recommendations. 
I  On  the  other  hand,  competitive  indus- 
tries were  jarred  by  proposals  for  in- 
creases. Snyder  urged  an  increase  from 
10  per  cent  to  25  per  cent  in  the  manu- 
facturers' excise  on  television  sets,  ra- 
dios, phonographs  and  records.  New  20 
per  cent  levies  were  recommended  on 
bowling  alley  rates,  billiard  tables  and 
golf  green  fees. 

;  In  maintaining  the  present  amuse- 
ments tax,  the  Administration  spokes- 
iman  noted  that  taxes  on  consumer  dur- 
ables were  lagging  far  behind  amuse- 
Iments  taxes. 

I  The  picture  was  not  all  rosy-hued,  how- 
lever.  The  indirect  effect  of  the  increased 
(income  taxes  and  other  recommendations 
'which  will  siphon  $10,000,000,000  more 
into  the  Treasury  will,  naturally,  leave 
'the  public  with  less  money  for  entertain- 
ment spending. 

I  "The  whole  industry  can  thank  the 
COMPO  taxation  and  legislative  commit- 
tee which  did  such  magnificent  work  in 

I  Washington  last  spring,"  Arthur  L.  May- 
er, COMPO  executive  vice-president, 
stated  after  Snyder's  tax  message.   A.  F. 

I  Myers,  who  headed  the  COMPO  tax  com- 
mittee, also  declared  his  gratification  that 
no  admissions  tax   increase  was  being 

|  sought,  adding  his  belief  that  "it  is 
largely  the  result  of  the  impression  made 
and  the  good  will  gathered  during  the 

I  long  campaign  last  winter." 

EAGLE  LION-RANK  CALL 
IT  QUITS  AFTER  3  YEARS 

j  The  mutual  releasing  contract  between 
Eagle  Lion  Classics  and  the  J.  Arthur 
Rank  Organization  was  ended  last  week, 
according  to  a  joint  announcement  from 
the  two  companies.  Termination  of  the 
pact  leaves  Universal-International  as 
sole  distributor  of  current  Rank  product 
in  this  country.  ELC,  however,  will  con- 
tinue to  distribute  those  JAR  films  al- 
ready delivered  under  existing  agree- 
ments. 

The  contract,  under  which  ELC  has 
been  distributing  its  portion  of  the  Rank 
product  in  the  Western  Hemisphere, 
while  the  Rank  Organization  handled 
distribution  of  ELC  product  in  the  Eas- 
tern Hemisphere,  had  been  in  effect  for 
the  past  three  years. 


February  12,  1951 
Volume  19,  Number  1 


News 


and 
Opinion 


U-I'S  BLUMBERG 

Economy  Pays  Off 


LOWER  PRODUCTION  COSTS 
PUSH  U-l  INTO  THE  BLACK 

Universal's  "economy  program"  and 
return  to  lower-budgeted,  more  exploit- 
able product  last  year  paid  off  to  the 
tune  of  nearly  $3,500,000,  the  company's 
financial  statement  revealed.  Consoli- 
dated net  jumped  from  a  loss  of  $1,- 
125.000  in  1949  to  a  profit  of  $2,305,000. 
before  taxes,  in  1950.  Net  after  taxes 
was  $1,355,000. 

The  gross  income  dip  in  1950,  ($55.- 
591,000  compared  with  $56,738,000  in  '49) 
was  more  than  offset  by  what  president 
N.  J.  Blumberg  referred  to  as  "policy 
changes,"  inaugurated  a  few  years  ago, 
which  resulted  in  "substantially  reduc- 
ing the  cost  of  our  pictures  and  at  the 
same  time  has  maintained  its  standard 
of  quality  and  box  office  values."  He 
cited  the  studio's  "careful  selection  of 
stories,  sharp  reduction  of  shooting 
schedules,  increasing  the  productivity  of 
manpower  and  institution  of  sound  eco- 
nomies in  production  operations,"  as 
factors. 

Amortization  of  film  costs  as  reported 
in  the  profit  and  loss  statement  was  the 
key  to  the  difference.  More  than  six 
million  dollars  was  slashed  here,  with 
the  1950  figure  set  at  $33,415,000.  com- 
pared with  $39,884,000  for  the  preceding 
year. 

The  president  noted  that  a  new  table, 


slightly  faster  than  the  previous  one,  for 
use  in  amortizing  costs  of  feature  films 
was  now  being  used.  The  new  schedule 
showed  that  average  film  is  almost  half 
(48.25'-  t  amortized  at  the  end  of  its  first 
13  weeks  in  release.  Entire  cost  of  each 
feature  i.s  written  off  in  60  weeks. 

Blumberg  also  served  notice  that  pro- 
duction of  films  for  television  is  being 
seriously  viewed  by  the  company.  He 
told  stockholders  the  studio  "has  set  up 
a  special  unit  to  study  the  problems  in- 
volved in  the-  production  of  filrr,  for 
television.  In  our  opinion,  our  studio 
can  play  an  important  part  in  the  pro- 
duction of  films  for  television  programs 
.  .  .  There  i.s  reason  to  believe  that 
eventually  television  will  rely  to  a  large- 
extent  on  motion  pictures  for  its  enter- 
tainment and  may  become  a  major 
source  of  revenue  and  not,  as  it  now  is, 
a  purely  competitive  medium  of  enter- 
tainment." 

Blumberg  also  pointed  out  that,  with 
the  prospect  of  a  laige  defense  program, 
"it  is  more  than  likely  that  our  economy 
will  continue  to  expand,  which  ought  to 
be  of  benefit  to  the  motion  picture  in- 
dustry." 

Officers  of  the  company  who  received 
more  than  $25,000  for  the  year  were 
listed  as  follows:  Blumberg,  $78,000;  J. 
Cheevtr  Covvdin,  board  chairman,  $63,- 
115;  John  J.  O'Connor,  vice-president, 
$44,200;  Leon  Goldberg,  vice-president 
and  treasurer,  $32,250;  William  A.  Scully, 
vice-president,  $65,000. 

Mcdonald  sees  phonevision 
tripling  movie  audience 

The  first  four  weeks  of  the  Phone- 
vision  test  in  300  Chicago  homes  pro- 
duced results,  according  to  Zenith  presi- 
dent E.  F.  McDonald,  that  the  sponsors 
of  the  subscription  television  system 
vveie  "almost  afraid  to  believe."  Basing 
his  analysis  on  figures  compiled  by  the 
Zenith  controller  from  the  initial  four 
weeks  viewings,  McDonald  came  up  with 
the  following  report: 
fl  The  average  test  family  saw  approxi- 
mately two  Phonevision  movies  per 
week. 

f  I  Thirty  per  cent  of  the  potential  audi- 
ence was  reached  during  the  period  on 
an  overall  average.  The  10  lowest  gross- 
ing pictures  drew  22  per  cent  of  the 
audience. 

f[  Nine  out  of  10  test  families  prefer  a 
movie  on  Phonevision  at  home  rather 
than  seeing  it  in  a  theatre. 
gT  Based  on  the  currently  reported  60 
million  movie  theatre  admissions  per 
week,  which  "would  indicate  that  the 
average  American  goes  to  the  movies 
less  than  once  every  two  weeks,"  the 
test  families  are  "seeing  movies  more 
than  three  times  as  often  at  home  on 
Phonevision  as  the  average  American 
sees  them  at  the  movie  houses." 

It  was  when  McDonald  applied  the  re- 
ported results  for  the  300  test  receivers 
proportionately  to  the  10,000,000  sets  cur- 
rently in  use  that  the  figures  jumped 
to  startling  magnitude.  While  his  an- 
alysis conveniently  omitted  many  quali- 
fying factors  that  would  have  a  bearing 
on  the  end  results,  he  reasoned  that  if 
all  ten  million  current  set  owners  paid 
for  subscription  television  at  the  same 
rate  as  the  300  test  families,  the  gross 
would  top  a  billion  dollars  a  year. 

Hollywood's  annual  income  from  PV 
would  be  over  $450,000,000,  based  on  a 

(Continued  on  Next  Page) 


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j\**8rs  and  Opinion 


(Continued  from  Preceding  Page) 
1.8  average  attendance  per  family,  with 
50%  as  the  producers'  share.  "And  pre- 
dictions are,"  McDonald  added,  "that  we 
will  eventually  have  40  million  or  more 
TV  sets  in  homes  —  Chairman  Wayne 
Coy  oi  the  FCC  predicts  50  million." 

During  the  first  week  of  the  test,  with 
a  high  novelty  factor  present,  the  aver- 
age family  saw  3.1  movies,  but  for  the 
last  three  weeks  patronage  settled  down 
to  an  average  of  1.8  features. 

"We  fully  expect,"  McDonald  said, 
"that  as  the  novelty  of  this  test  wears 
off,  and  after  our  test  families  have  re- 
ceived their  first  month's  bill  for  home 
movie  entertainment,  our  patronage  may 
decline  during  the  second  and  third 
month."  He  also  pointed  out  that  the 
PV  features,  all  no  later  than  1948  re- 
leases and  already  seen  in  their  theatre 
run  by  "some  20%"  of  the  test  audience, 
are  competing  with  the  latest  movies 
showing  in  Chicago  theatres." 

He  claimed  that  PV  was  reaching  into 
the  audience  "who  were  never  habitual 
movie-theatre  customers."  Many  of  those 
who  did  not  buy  the  pictures  on  Phone- 
vision  refrained  because  they  had  al- 
ready seen  them,  he  said,  adding,  "This 
would  suggest  that  many  of  our  audi- 
ence are  oeeing  the  pictures  they  pur- 
chase for  the  first  time  in  spite  of  the 
fact  that  each  of  these  pictures  has  long 
since  completed  its  theatre  run,  and  some 
have  been  re-issued.  In  reaching  this 
new  audience  —  th-:t  vast  segment  of 
our  population  that  never  were  regular 
theatre-goers  —  Phonevision  would  en- 
able Hollywood  to  add  a  heretofore  un- 
available audience." 

'HIGHBROW  CRITICS  HURT 
BIZ,  MISLEAD  READERS:  MYERS 

Most  movie  critics  have  "lost  contact 
with  the  great  majority  of  movie-goers," 
Allied's  A.  F.  Myers  bulletinized  in  a 
blast  at  "highbrow"  film  reviewing. 

"If  a  picture  doesn't  meet  their  exact- 
ing standards  —  and  few  do  —  they  kick 
it  all  over  the  lot  and  are  unwilling  to 
concede  that  it  might  have  some  enter- 
tainment value  for  movie-goers  —  those 
quaint  people  who  support  our  industry, 
and,  incidentally,  make  the  reviewers' 
jobs  possible,"  Myers  declared.  He  added 
that  by  applying  their  own  standards  to 
the  films  they  review,  the  critics  are 
"misleading"  their  readers  and  injuring 
the  film  business.  He  said  it  was  time 
the  critics  "started  telling  their  readers 
Whether  the  pictures  reviewed,  despite 
their  ivory-tower  point  of  view,  will  give 
the  audience  a  good  time." 

The  independent  exhibitor  leader  point- 
ed to  the  exceptional  grosses  being  rolled 
up  by  "At  War  With  The  Army"  despite 
cri i;cs'  pans,  taking  particular  exception 
to  Time  Magazine's  review  of  the  film. 

He  suggests  that  exhibitor  groups  in 
key  cities  make  scrapbooks  containing 
lay  press  reviews  and  the  boxofnee  re- 
ports on  various  films.  "If  the  results 
are  as  we  expect,"  he  added,  "we  may 
send  the  volume  to  the  reviewer  with 
the  lowest  average,  in  place  of  the  usual 
fur-lined  bathtub."  Perhaps  such  ac- 
tion, he  concluded,  will  help  convince 
some  i if  the  professional  critics  "who 
are  now  soaring  in  the  stratosphere  to 
come  down  to  earth  and  try  to  find  out 
what  their  readers  are  like." 


PARAMOUNT'S  BALABAN 

Success  "No  Accident" 


BALABAN  REAFFIRMS  50% 
HIKE  IN  PARAMOUNT  OUTPUT 

"Our  announced  objective  of  a  50% 
increase  in  product  output  will  be  met." 
Thus  did  Paramount  president  Barney 
Balaban  reaffirm  the  company's  quanti- 
tative promise  for  1951,  following  a  four- 
day  top-level  meeting  at  the  home  office 
attended  by  production  and  distribution 
chieftains.  Qualitatively,  Paramount's 
product  for  the  next  year,  was  based  on 
the  assurance  by  studio  head  Y.  Frank 
Freeman  to  Balaban  that  it  "represents 
the  best  we  have  ever  put  forth,"  the 
prexy  announced. 

Commenting  on  the  spectacular  busi- 
ness being  done  by  "At  War  With  the 
Army,"  as  reported  by  Paramount  dis- 
tribution head,  A.  W.  Schwalberg,  Bala- 
ban noted,  "These  results  are  not  pure 
accident.  We  have  found  out  that  the 
only  policy  that  pays  off  is  to  analyze 
what  the  people  want  to  see  in  a  motion 
picture  and  then  putting  those  things 
into  our  films.  The  critical  period  for 
any  picture  is  the  period  of  planning  and 
preparation  before  it  is  put  into  produc- 
tion. This  is  the  policy  we  are  applying 
to  our  entire  product." 

Twenty-five  films,  completed  and  await- 
ing release  or  in  various  phases  of  pro- 
duction, were  listed  and  another  24  were 
named  as  scheduled  for  forthcoming 
production. 

Eleven  films  were  named  for  release 


FOX  PUBLICISTS  REHIRED 

The  dispute  aroused  by  recent 
dismissals  in  the  20th  Century-Fox 
ad-publicity  departments  was  amic- 
ably settled  last  week  at  a  joint 
meeting  between  Jack  Lang,  head 
of  labor  matters  for  the  company, 
and  a  committee  from  the  20th-Fox 
unit  of  the  Screen  Publicists  Guild. 
Two  members  of  the  department 
were  returned  to  fill  the  key  vac- 
ancies occasioned  by  their  layoff. 
The  company  also  stated  that  it 
"saw  no  reason"  for  any  additional 
layoffs  for  economic  reasons  for 
the  rest  of  the  budget  year. 


from  March  through  July,  at  the  ratdl 
of  two  per  month,  with  the  exceptior 
of  March,  with  three  set,  including  the> 
general  release  of  "Samson  and  Delilah.' 

Balaban  expressed  regret  that  Sarrjl 
Briskin,  assistant  to  Freeman,  was  preil 
vented  by  illness  from  continuing  in  the  U 
post.  He  also  noted  his  gratification  that  i 
Briskin  "is  willing  to  carry  on  until  Mr  ' 
Freeman  can  relieve  him  of  the  heavy«l 
duties  which  the  condition  of  his  healtHl 
makes  it  impossible  for  him  any  longei 
to  perform  without  strain."  He  adder 
that  Briskin  will  continue  at  the  studicil 
"in  some  capacity  less  physically  tax  i 
ing." 

On  hand  for  the  top  echelon  confab 
which  ended  Feb.  1,  were,  in  addition  tc 
Balaban,  Freeman  and  Schwalberg,  board ! 
chairman  Adolph  Zukor;  vice-presidents 
Paul  Raibourn  and  Austin  Keough;1 
Eastern  production  head  Russell  Hoi- 
man.  Paramount  International  president 
George  Weltner,  British  director  James 
E.  Perkins  and  Paramount  Film  Distrib-' 
uting  Corp.  vice-presidents  E.  K.  O'Shea 
and  Max  E.  Youngstein. 

POSERS  FOR  INDUSTRY 
IN  RAW  STOCK  CONTROLS 

Tightening  of  the  film  supply  situation 
posed  a  two-faced  problem  for  the  in- 
dustry. While  both  distributors  and  ex- 
hibitors will  have  their  headaches  be- 
cause of  the  raw  stock  decrease,  the  for- 
mer will  stand  to  derive  some  financial 
benefit,  at  least,  from  a  cutback  in  the 
number  of  prints.  On  the  production ' 
front,  directives  have  been  issued  to  keep 
down  the  number  of  takes  and  hold  to  ai 
minimum,  the  droppings  on  the  cutting- 
room  floor. 

In  a  meeting  with  film  company  rep-1 
resentatives,  Nathan  D.  Golden,  director 
of  the  National  Production  Authority's 
Molion  Picture-Photographic  Products! 
division,  urged  voluntary  conservation 
to  obviate  the  necessity  for  government' 
allocations.  He  explained  duPont's  25% 
curtailment  in  raw  stock  as  the  result 
of  commitments  to  produce  an  increased 
supply  of  X-ray  film. 

Golden  advocated  exercising  "utmost 
care  in  film  usage  and  handling  —  all 
the  way  from  studio  production  to  even- 
tual exhibition."  Toward  that  end,  he 
said,  a  section  devoted  primarily  to  con- 
servation, standardization  and  simplifica- 
tion procedures  will  be  set  up  in  his 
division. 

REGIONAL  MEETINGS  SHOW 
INTEREST  IN  BROTHERHOOD 

Brotherhood  Week,  Feb.  18-25,  is  going 
to  get  the  greatest  film  industry  sup- 
port in  the  history  of  the  observance, 
if  the  initial  meetings  in  exchange  cities 
to  whip  up  enthusiasm  for  the  campaign 
is  any  indication. 

From  reports  received  by  Charles 
Reagan,  national  chairman  of  the  indus- 
try's Brotherhood  Week  Committee,  the 
mass  meetings  were  met  with  100%  at- 
tendance and  a  lively  enthusiasm  by  m- 
dustryites  throughout  the  country. 

Announced  objective  of  the  industry 
drive  this  year  is  "to  have  every  em- 
ployee join  in  the  campaign  not  only 
with  a  financial  contribution  but  with  a 
conscious  realization  of  his  duty  as  a 
citizen  to  help  stamp  out  bigotry  in 
America." 


16 


FILM  BULLETIN 


ENFORCER'  IS  STANDARD 
BOGART  THRILLER  -  CRITICS 

The  reception  afforded  the  Warner 
iBrothers'  latest  Humphrey  Bogart  melo- 
drama, "The  Enforcer,"  by  the  New  York 
mewspaper  critics,  was  tempered  by  their 
(appreciation,  or  lack  of  appreciation,  of 
violence  and  carnage  as  motion  picture 
entertainment.  Most  of  the  critical  com- 
ment was  centered  about  the  goriness  of 
;the  script  and  the  casting  of  Bogie  as  a 
law  enforcer,  the  latter  being  generally 
credited  with  his  usually  tough,  fwo-fist- 
eci  performance. 

Archer  Winsten,  in  the  Post,  calls  it 
•  exciting  in  the  usual  gangster  style,"  a 
film  that  becomes  "standard  product, 
Grade  A,"  in  a  field  that  has  been  so 
thoroughly  worked  "that  only  the  great 
ones  can  raise  their  heads  above  the 
common  crowd  of  entertainers." 

The  Times'  Bosley  Crowther  finds 
"murder  on  such  a  gaudy  scale  tends  to 
l>ecome  monotonous — and  a  little  ridicu- 
lous, too."  It  has  been  made  so  "natural- 
istic and  grisly"  that  "the  sheer  accumu- 
lation of  ugly  violence  and  brutality  even- 
tually becomes  dull." 

"Slick,  well  oiled  murder  melodrama" 
'in  which  "carnage  is  tremendous,  bodies 
scattered  all  over  every  reel,"  writes  Al 
ton  Cook  in  the  World  Telegram.  "If  you 
like  your  gore  flowing  freely  and  a  flood 
i  of  excitement  to  match,"  he  adds,  see 
i  "The  Enforcer." 

;  In  the  Journal  American,  Rose  Pels- 
wick  contends  that  the  fact  that  it  is 
"tense  and  taut"  and  "provides  grim  sus- 
pense .  .  .  hardly  makes  it  the  type  of 

i  entertainment  to  which  one  recommends 
taking  the  kiddies." 

•  With  tongue  in  cheek,  the  Compass' 
Seymour  Peck,  who  admits  to  a  fascina- 
tion for  death  in  movies,  says  it  is  "fairly 
fast,  lean  and  sizzling  melodrama"  that 
"pretends  to  be  righteously  indignant, 
about  crime  and  lawlessness,"  but  shows 
a  real  enthusiasm  "for  outright  blood, 
gore,  sadism,  cruelty  and  murder." 

OPERATION  X" 

COLUMBIA 

"Poor  .  .  .  very  heavy  drama  .  .  .  Must 
all  prove  something,  but  for  the  life  of 
me,  I  can't  imagine  what. '  —  PECK, 
N.  Y.  COMPASS. 

"Superficial  drama  couched  in  florid 
phrases."  —  A.  W.(  N.  Y.  TIMES. 

"Curiously  lifeless,  uncertain  treatment 
I  -  .  .  Script's  lack  of  intrinsic  cohesiveness 
and  drive  at  fault  .  .  .  Merely  becomes  a 
Hallowe'en  'Boo'  that  failed  to  scare  any- 
one." —  WINSTEN,  N.  Y.  POST. 
!     "Story  is  just  as  obscure  as  its  title 
I  •  •  •  Heavy-handed  treatment  of  a  vague 
script  and  even  vaguer  characters  make 
this  one  of  the  lesser  British  produc- 
tions." —  PELSWICK,  N.  Y.  JOURNAL 
AMERICAN. 

THE  MUDLARK' 

20th  Century-Fox 

"A  warm  and  rewarding  show.  .  .  .  Sen- 
timental fiction  .  .  .  produced  in  the  rich- 
est sort  of  port-and-mutton  style.  .  .  .  Cer- 
tainty is  something  to  see." -  CROW- 
THER, N.  Y.  TIMES. 

"Odd  and  beguiling  combination  of  state- 
ly pomp  and  impudent  fantasy  .  .  .  blend- 
ed into  a  pleasant,  sentimental  glow.  .  .  . 
Good  climax  to  one  of  the  best  vear-long 
picture  lists  Twentieth  Century-Fox  ever 
has  had."— COOK,  N.  Y.  WORLD  TELE- 
GRAM. 

"Interesting  film  enactment  of  a  charm- 
ing little  historical  legend,  but  on  the 
whole  it  contains  too  much  tour  de  force 


"QUOT6S"  . 

and  too  little  heart.  ...  A  good  imitation 
of  a  movie— but  an  imitation  neverthe- 
less." —  GUERNSEY,  N.  Y.  HERALD 
TRIBUNE. 

"A  bit  bloodless.  .  .  .  Small,  personal 
and  engagingly  human  Incident"— PECK, 
N.  Y.  COMPASS. 

"Completely  saccharine  pipe-dream  of 
the  popular  fablemaker.  Too  silly  for 
words,  and,  in  the  other  sense,  too  sweet. 
.  .  .  Some  of  it's  boring,  and  a  lot  of  it 
is  enjoyable,  though  never  intensely  so." 
—WINSTEN,  N.  Y.  POST. 

VFNDETTA' 

RKO 

"Too  simplified  to  be  interesting  .  .  . 
Because  it  holds  the  audience's  mentality 
cheap  .  .  .  seems  dull,  labored,  not  quite 
bright."  —  WINSTEN,  N.  Y.  POST. 

"Slow-moving  melodrama  of  nocturnal 
stalkings  for  vengeance."  —  A.  C,  N.  Y. 
WORLD  TELEGRAM. 

"Atmosphere  of  unrelieved  gloom  .  .  . 
At  best,  looks  like  an  unintentional  satire 
of  the  Hat  field-McCoy  legend  .  .  .  Ausurd 
mixture  of  arch  phrases  and  cliches  "  — 
BARSTOW,  N.  Y.  HERALD  TRIBUNE. 

"Deuced  depressing."  —  S.  P.,  N.  Y. 
COMPASS. 

"Garrulous,  slow  and  obvious  period 
piece."  —  A.  W.,  N.  Y.  TIMES. 

"Slowly  paced  melodrama  about  family 
feuds  .  .  .  Stilted  pace  and  action  give  it 
all  the  air  of  a  carefullv  studied  tableau." 
—  PELSWICK,  N.  Y.  JOURNAL  AMERI- 
CAN. 

GROUNDS  FOR  MARRIAGE' 

M-G-M 

"Reliable  elements  of  farce  comedy  .  .  . 
are  not  in  working  order." — COOK,  N.  Y. 
WORLD  TELEGRAM. 

"Miss  Grayson  is  rendered  unable  to 
sing  for  a  lengthy  stretch  .  .  .  when  her 
talents  might  be  most  well  employed  .  .  . 
Minor  cut-up."  —  CROWTHER,  N.  Y. 
TIMES.. 

"Amiable  featherweight  amalgam  of 
romantic  nonsense  and  musical  inter- 
polations .  .  .  Has  almost  no  dramatic 
or  filmic  consequence,  but  it  blows  up 
its  title  rather  amusingly."  —  BARNES, 
N.  Y.  HERALD  TRIBUNE.. 

"Amiable  little  farce,  the  kind  of  a 
picture  that  depends  on  what  are  known 
as  'situations.'  .  .  .  Featherweight  as  to 
story."-  -PELSWICK,  N.  Y.  JOURNAL 
AMERICAN. 

'THE  SUN  SETS  AT  DAWN' 

Eagle  Lion  Classics 

"Cliche-ridden  and  often  overly  senti- 
mental .  .  .  Somber  little  item  plods  along 
at  snail's  pace."— A.  W.,  N.  Y.  TIMES. 

"Relentlessly  inept  movie  .  .  .  Most  in- 
tolerably talkative,  actionless  and  dull  job 
within  recollection."— S.  P.,  N.  Y.  COM- 
PASS. 

"Unusual  strip  of  suspense  footage  .  .  . 
Clutches  the  beholder  by  the  throat  with 
one  hand  and  douses  him  with  buckets  of 
sob  stuff  with  the  other  .  .  .  Interesting, 
if  somewhat  morbid,  melodrama."  — 
GUERNSEY,  N.  Y.  HERALD  TRIBUNE. 

"Suspense-squeezer  .  .  .  When  you're 
two  steps  ahead  of  the  picture  it's  awful- 
ly easy  to  get  bored,  and  that's  what  hap- 
pens."—WINSTEN,  N.  Y.  POST. 

"Slambang  drama."  —  A.  C,  N.  Y. 
WORLD  TELEGRAM. 

"Gloomy  little  melodrama  .  .  .  Action 
.  .  .  practically  slow  motion."  —  PELS- 
WICK, N.  Y.  JOURNAL  AMERICAN. 


the  Newspaper  Critics  Sag  About  New  Film* 

WATCH  THE  BIRDIE' 

MGM 

"Skelton's  particular  costume  of  humor 
is  worn  right  down  to  the  underweave 
.  .  .  One  of  the  weakest  scripts  on  record." 

GUERNSEY,  N.  Y.  HERALD  TRI- 
BUNE. 

"Either  Red  Skelton  is  weakening  or 
his  writers  have  sadly  let  him  down  .  .  . 
The  time  has  come  for  Mr.  Skelton  to 
look  for  a  new  formula."  CROWTHER. 
N.  Y.  TIMES. 

"Has  proved  a  severe  disappointment 
to  one  of  his  long-time,  long-term  admir- 
ers, this  reviewer  .  .  .  Seems  almost 
criminal  to  waste  so  much  animation  and 
energy  on  such  feeble  comic  exercises." — 
WINSTEN,  N.  Y.  POST. 

"Plot  is  painful.  Skelton  ...  is  all  the 
picture  has  to  offer  as  entertainment." — 
CREELMAN.  N.  Y.  WORLD  TELE- 
GRAM. 

"Boils  down  to  whether  vou  do  or  don't 
like  Red  Skelton's  b-and  of  clowning."  — 
PELSWICK,  N.  Y.  JOURNAL  AMERI- 
CAN. 


'HARVEY' 

Universal 

"Warm  and  gentle  whimsey  .  .  .  full 
of  spirit  and  sport  .  .  .  Overcomes  not 
only  time  and  space  but  any  objections 
.  .  .  Who  could  ask  for  anything  more?" 
—CROWTHER.  N.  Y.  TIMES.. 

"Delightful  entertainment  .  .  .  Gentle 
pathos  .  .  .  engaging  humor  .  .  .  slap- 
stick too  .  .  .  When  awards  are  handed 
out  .  .  .  there  should  be  one  for  the  rab- 
bit that  isn't  there."— PELSWICK,  N.  Y. 
JOURNAL  AMERICAN. 

"Very  funny  and  appealing  .  .  .  Brought 
off  with  taste  and  wit  all  the  way  .  .  . 
Charming  fable,  looking  into  madness 
and  drunkenness  with  sympathy  and 
grace  and  a  good  deal  of  very  engaging 
humor."— PECK,  N.  Y.  COMPASS. 

'Captivating  performance  (by  Jimmy 
Stewart)  .  .  .  Screen  radiant  with  happi- 
ness and  kindness  .  .  .  Will  boost  your 
sense  of  well  being  greatly." — COOK, 
N.  Y.  WORLD  TELEGRAM. 

"A  happy  and  popular  event  on  the- 
stage  and  is  likely  to  repeat  the  success 
on  the  screen  .  .  .  Rich  and  rewarding 
experience."— WINSTEN,  N.  Y.  POST. 

NEVER  A  DULL  MOMENT' 

RKO 

"Conceived  on  the  principal  that  the- 
funniest  sight  in  the  world  is  Irene  Dunne- 
flat  on  her  posterior  .  .  .  Does  not,  I'm 
afraid,  strike  me  as  wildly  funny." — 
PECK,  N.  Y.  COMPASS. 

"Skids  off  on  a  tangent  of  nonsense 
after  skirting  the  edges  of  an  amusing, 
if  unoriginal,  idea.  .  .  .  Might  be  called" 
a  modern  Western.  .  .  .  Substitutes  con- 
trivance and  slapstick  for  imagination 
and  insight.  .  .  .  No  joke  when  so  much 
talent  is  hog-tied  with  mediocrity  and 
branded  with  the  absurd." — GUERNSEY, 
N.  Y.  HERALD  TRIBUNE. 

"Slapstick  farce."— PELSWICK,  N.  Y. 
JOURNAL  AMERICAN. 

"Has  outdone  its  title  and  turned  out 
a  whole  dull  hour  and  a  half."  —COOK. 
N.  Y.  WORLD  TELEGRAM. 

"Hard  to  believe  that  adults  are  going 
to  find  'Never  a  Dull  Moment'  very  di- 
verting. Since  children  cannot  be  expected 
to  like  it  any  better,  one  may  well  wonder 
who  will  fully  enjoy  the  hearty  high- 
jinks."— WINSTEN,  N.  Y.  POST. 


FEBRUARY    12,  1951 


ir 


EXPLOITATION  PICTURE 


GMBLE,  DAILEY  PLUS  IN  B'WAY  Hr 

New  Comic,  $660  Show  Added  Angles 


NORMALLY,  Betty  Grable  and  Dan  Dailey  on  the  marquee  is  the  selling 
storv  for  exhibitors  who  play  those  lively  20th  Century -Fox  Technicolor 
musicals.  The  list  of  these  is  long  and  —  for  the  most  part  —  lucrative  in 
any  theatreman's  book.  In  "Call  Me  Mister,"  however,  there  are  a  couple  of 
angles  that  can  boost  the  grosses  a  few  more  notches  if  given  propef  ballyhoo. 

First,  the  film  is  based  on  the  smash  Broadway  musical  of  the  same  name, 
the  show  thai  thousands  paid  §6.60  to  see.  Several  new  songs  and  a  more  timely 
background  have  been  added  to  freshen  it  up  for  current  consumption. 

Secondly,  the  film  is  the  first  real  showcase  for  the  comedy  talents  of 
Danny  Thomas,  whose  recent  activities  in  night  clubs,  radio  and  television 
have  been  skyrocketing  him  into  popularity.  In  "Call  Me  Mister,"  Thomas 
attains  near-star  rating  and  his  clowning  will  have  audiences  looking  for  him 
in  future  films.  The  refreshing  news  to  moviegoers  that  here  is  one  of  the 
funniest  suys  to  hit  the  screen  in  a  long  time  should  be  played  to  the  hilt  for 
extra  dividends. 

Songs  in  the  film  include  three  from  the  original  stage  revue,  "Call  Me 
Mister,"  "Going  Home  Train"  and  "Military  Life";  four  new  tunes  that  should 
gain  high  rating  on  the  Hit  Parade  list,  "I  Just  Can't  Do  Enough  For  You. 
Baby."  "Ixve  Is  Back  In  Business,"  "Japanese  Girl  Like  American  Boy"  and 
"Lament  to  the  Pots  and  Pans,"  plus  a  revival  of  that  bouncing  classic,  "I'm 
Gonna  Love  That  Guy."  Most  of  these  are  ideal  for  use  over  the  house  front 
p. a.  system.  A  sound  truck  with  suitable  art  should  also  be  used  wherever 
possible  to  circulate  the  tunes  and  local  disk  jockeys  are  another  medium  that 
should  not  be  overlooked. 

And,  finally,  the  most  obvious  selling  feature  of  "Call  Me  Mister"  (men- 
tioned last  only  as  a  reminder)  is  the  lush  architecture  of  one  Betty  Grable. 
Some  excellent  stills  that  amply  emphasize  the  famed  gams  make  perfect 
material  for  blow-ups  and  displays.    As  previously  noted,  merely  a  reminder. 


NEWSPAPER  ADS 

Above,  some  of  the  feature  display  ads  that 
appear  in  the  press  book  are  available  in  varying 
sizes.  Note  the  references  to  the  Broadway  show 
and  the  high  rating  given  funnyman  Danny  Thomas 
in  the  star  credits. 

SELLING  AIDS 

One  of  the  top  names  in  the  entertainment 
world.  Jack  Benny,  has  been  enlisted  for  some  of 
the  most  important  selling  chores,  the  trailers  (in- 
cluding a  short  teaser  trailer  available  at  the  20th- 
Fox  exchanges),  and  a  special  transcription  for 
radio  spot  use.  The  latter,  available  free  from  the 
Fox  home  office,  consists  of  three  open-end  spots 
of  10.  30  and  60  seconds  each,  with  Benny's  com- 
ment that  "I  don't  expect  to  see  its  equal  not  if 
I  live  to  be  forty!"  The  transcription  can  also  be 
used  via  the  public  address  system  in  your  house 
front. 

In  the  trailer.  Benny's  comedy  delivery  plus 
some  highly  effective  scenes  from  the  film  will  be 
a  powerful  selling  aid.  Also  available  from  Na- 
tional Screen  Service  are  four  television  trailers, 
two  20-second  and  two  60-second. 

The  campaign  should  also  be  backed  with  var- 
ious means  of  using  the  musical  score.  Music 
store  window  and  counter  displays  of  sheet  music 
and  recordings  of  the  various  tunes  should  be  tied 
in  with  the  run  of  the  film.  Disk  jockeys  should 
be  alerted  for  the  new  wave  of  recordings  on  a 
great  favorite.  "I'm  Gonna  Love  That  Guy",  as 
well  as  the  other  tunes  in  the  film. 


is 


FILM  BULLETIN 


EXPLOITATION 
PICTURE 


of  the  issue 


CALL  ME  MISTER 


The  Broadway  click,  "Call  Me  Mister"  was  a 
series  of  skits  and  musical  numbers  that  delved 
into  the  humorous  vagaries  of  military  life  im- 
mediately after  the  end  of  World  War  II.  In 
its  screen  transcription,  it  has  droppd  much  of 
the  original's  music  and  playlets,  has  picked  up 
a  story,  four  new  tunes  plus  a  bouncy  revival 
of  'Tin  Gonna  Love  That  Guy,"  and  the  whole 
has  been  tailored  to  the  talents  of  20th  Century- 
Fox's  top  musical  team,  Betty  Grable  and  Dan 
Dailey.  A  special  addition,  who  may  well  turn 
out  to  be  the  cause  celebre  of  this  film,  is  a 


bright  new  comedy  star.  Danny  Thomas.  \\  hilc 
Dannv  has  appeared  in  a  few  other  films,  his 
recent  outburst  of  fame  in  this  country  and 
overseas  has  tremendously  enhanced  his  pop- 
ularity. In  "Call  Me  Mister,"  he  has  the  first 
real  opportunity  to  display  his  comic  talents. 
Mr.  Thomas  obliges  by  stealing  every  scene  in 
which  he  appears.  Also  featured  are  Benay 
Venuta.  the  Ethel  Merman-like  Broadway  star; 
newcomer  Dale  Robertson,  swoon-bait  for  the 
gals;  Frank  Fontaine,  the  "John  L.  C.  Savonie'1 
of  the  Jack  Benny  program,  and  a  nimble  dance 
trio.   The  Dunhills. 


J5  -..Ij^HH^        T  fx. 


■ 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1950-51  Features 
Serials 
Westerns 


Completed  (83) 
Completed  (  2) 
Completed  (24) 


In  Production  (2) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

  1950-51   


COMPLETED 

Title —  Running    Time  Cut 

At  Jennings  of  Okla'omi   (T)   Doryea-Storm 

••ware  of  Btondie  (66)   Singleton-Lake  . 

■orn    Ye  terday   Craw'ord-Hotliday 

Brave   Balls,    The   Ferrer-Quin   

■Chain   Gang   Kennedy-Lawrence 

Onco    Bill   MeGiIre— Moere  . 

Counterspy    Meets   Scotland   Yard   Blake-St.  John 

Onviettd    (91)   Ford-lrawford 

Criminal    Lawyer   O'Bricn-Wyatt 

•iek   Turpin's    Ride   rfiyiard-Mcd.na 

Emergency  Wedding    (78)   Parks-Hale   

Firefighters.  The   Williams-Reynolds 

flying    Miss  le.    The   Ford-Lin*ors 

Fart  Savage   Raiders   Starrett-Burnctte 

Forv  of  the  Congo   Weismu'ler-Talbot 

Gasoline   Alley   Becke  t-Lydon 

Gene  Autry  and  the  Mounties   Autry-Buttram   4-19. 

Harlem    Globetro  ters,    The   Gomez-Dandridge   11-6. 

Harriet  Craig   (94)  Crawford-Corey   

Her  Wonderful    Lie   Klepcra-Eggerth   11-10. 

Details  under  tit'e:  The  Eternal  Melody 

He's  a  Cockeyed   Wonder    (77)   Roonsy-Moore   

Hoe    Down   Arnold-O'Mahoney   7-4. 

Hurricane    Island   Hall-Windsor   10-23. 

Killer  That  Stalked  New  York   Keyw-Korvin   12-5. 

last  of  the  Buccaneers   (C)   Henreid-Booth   3-27. 

lightning  Guns   Starrett-Burnette   6-5. 

lorna   Doone    (C)   Hals-Greene   6-5. 

Magic  Carpet   Ball-Agar    12-18. 

10-23. 
12-18. 
12-18. 
10-24. 
.11-7. 


. 6-19 . 
. . 1-2 . 
12-18 
.11-6. 
. 4-10 . 

2-27 
.7-31. 
.9-25. 

.7-3. 
.10-9. 


.2-51. 
. .8-50. 
12-50 . 


. 11-50 

'.1-51.' 
. .3-51. 

.4-51. 
. .1-51. 

. 1-51 . 
. .2-rl. 
. 11-50 . 


.327. 
207 
344 


.332.... 1-1 
.335. .  WW 


.12-50. 
10-50. 

12-ro. 

.3-51. 


. 388 . . 12-18 

.341  

.361  


•ask  of  the  Avenger   Dcrrk-Lawrence 

My    True  Story   Parker-Walker 

fie  Help  From  Heaven   Cla  k-O'Oonn  n 

m»  Sad  Songs  For  Me  (89)   Sullivan-Corey 

dJutcast  of  Black  Mesa   (54)   Starrett-Burnett 

falomini    (T)   Cnurtland-Tyler 

Fyrjmy    Island   We  ssculler-Savagc     .  .  .1-19 

Fatty  Girl,   The  (T)    (87)   Cummings-Caulfl  ld  ...9-26 

»rairie  Roundup   Starrett-Burnette   7-31. 

Haiders  of  Tomahawk  Creek   Starrett-Burnette   6-19 

••venue  *gnt     Kennedy-Willes   7-31 

Wdin'  the  Outlaw  Trail   Starrett-Burnette   8-28 

•Mars  of  the  Whistling  Pines   Autry-Whlte   7-5 

Details  under  title:  Wings  Westward 

Komantic  Age,  The   O'Bren-Martin 

Ttookie  in  Korea   McAllister 

Santa  Fe  (T>   Seott-Carter 

Saturdays   Hero   Derek-RaRc 

Siroceo   Bogart-Toren 

Smuggler's  Gold   Mitcheli-Blaks 

Snake  River  Desperados   Starret'-Bcrnette   il-6. 

Sanny  Side  of  the  Street   Lane-Daniels   1-29. 

711   Ocean   Drive    (102)   O'Brien-Dru   

Texans  Neve-  Cry   Autry-Davis   7-31. 

Tougher  They  Come,  The   Foster-Morris   7-31. 

Two  of  a  Kind   Scott-Moore   10-23. 

Valentino   Parker-Dexter   6-19. 

When  the  Redskins  Root   Hali-^th   8-28. 

When  You're  Smiling    (75)   Courtland-Albright   

■wstirlwind   .Autry-Burnette   12-18. 

  1949-50   

Across   the   Badlands   Starre't-Burnette   4-10. 

■lazing  Sun   Autry-Gwynne   5-8. 

Captive   Girl   Wcismuller-Crabbe  ...10-24. 

David  Harding,  Counter  Spy   (71)   Parker-Long   1-30. 

raller  Brush  Girl.  The   Ball- Albert   2-27. 

In  a  Lonely  Place   Bona't-Grahame   11-7. 

Indian   Territory   Auiry-Buttram   4-10. 

•ogues  of  Sherwood  Forest  (C)    (80)   Dcrick-Lynn   9-12. 


.3-r0. 
.4-50. 

3-*0. 
11-50 . 
.9-50. 
.1-51. 
10-50 . 
.3-51. 

2-51. 


.8-28. 
.11-6. 
.  .7-3 
6-19. 
11-20. 
11-20. 


. .7-50. 
.3-51. 
12-5C. 


.9-50. 
11-50. 
. 7-50 . 
.7-50. 
10-50. 
8-50. 
.9-50. 
.7-50. 


.246. 
.240. 
.220. 
239. 
.242. 
.249. 
.243. 


1950-51 


EAGLE-LION-CLASSICS 


Completed  (    )     In  Production  (1) 


IN  PRODUCTION 


RELEASE  CHART 


COMPLETED 

Allee  In   Wonderland  (A) 


r.ast 

.  Preston-Sellers 

1949-50-51  — 


••rder  Outlaws  (58)    .  . 

Cattle  Queen   

Destination  Moon  (T)  . 
Cye   Witness  (104, 

(96) 


....  Marsh-Murray   Foreign  Feb 

 Marshall-Sande.-s     .  .  Foreign.  .  .9-50. 

.  .  .  Cooky-Hart   11-2. 

.   .Hart-Smith   10-23  

.  .  .  Ancerson-Areher   11-21 .  .  .  8-50 .  . 

.  .  .  Montgomery-Banks   9-50.. 

.  .  Anouk-Howard   Foreign ...  12-1 . 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  trfl 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  a 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  til 
Release  Number.  "Rev."  is  the  issue  in  which  the  Revie- 
appeared.  There  may  be  variations  in  the  running  time  I 
States  where  there  is  censorship.  All  new  productions  at 
on  1950-51  programs  unless  otherwise  noted.  (T)  immed 
ately  following  title  and  running  time  denotes  Technicolo 
(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 

Good  Time  Girl   Keni-Robson    5-50  

High   Lonesome  <T)    (81)   Barrymorc  Jf -Butler   . 11-16. . .9-50  044  

I    Killed   Geronimo   Ellison-Herrick   6-19... 8-50  j 

I'll  Be  Seeing  Yoi   Rogert-Cotten   Reissue  

Kangaroo   Kid    (73)   0  Kanor.ey-Borg   10-22  j 

Korea    Patrol   E  mory-Fong   10-9 ...  1-15  

Levakle  Cheat,  The  (77)   luggles-Garntr   1-31... 4-15  4-1 

Mr.    Universe   Carson-Paige   1-10  

My  Brother,  the  Outlaw   Rooncy-Hendrix   2-27  | 

Narcotic  Agent   Henry-Blake   3-27  

Oliver  Twist  (115)   Newton-Guinness   Foreign ...  1-18  1 

One  Minute  to  Twelve  (76)   Hanson-Brost  ont     ...  Foreign ...  10-1  

Paper  Gallows   (80)   Anderson-Bentley   For  ign ... 9-22  ! 

Passport  to  Plmlico   Rutherferd-Holloway    ..Foreign  010  I 

Prehistoric  Women   Luiz-Nlxon   5-8...  11-1  

Project  "X"    (60)   Cotton-Andes   10-7  ' 

Retecca   (SRO)   Fontaine-Olivier   Reissue. .  July  

Rogue  River   Calhoun-Lldell   8-14..  11-15  

Sarumba   (65)   Dowling-Whalen   Jan  014... 3-! 

Search  for  Danger  (63)   Calvert-Dell   1-3.... 4-S  

Second  Face,  The   Bennett-Johnson   5-8...  1-51  .1 

So  Long  at  the  Fair  (90)   Slmmons-Bogarde  ....  Foreign ...  3-29  1-ii 

Stronghold   Lake-Scott   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27...  1-22  .1 

Taming  of  Dorothy  (75)   Kent-Beatty   Fore  gn.  .  .9-29  

They  Were  Not  Divided   Underdown-Clanton    ..  Foreign  ...  .2-1  

Time  Running  Out   Clark-Signoret   Fore'gn  .  .10-31  

Tlnderbox   (C)   Cartoon  Feature   12-2=  | 

Two  Lost  WorlJs   fciliott-Amess   10-29  

Vicious  Years   Cook-Mcrritt   I 

Wicked    City   Montez-Aumont   1-2  , 

When    I   Grow  Up   Preslon-Scott   12-18... 3-22  J 

White   Heather   M;i:and-Roc   3-8  

Wind  Is  My  Lover,  The   Lindtors-Kent   


1950-51 


L  I  P  P  E  R  T 


Completed  (    )     In  Production  (0) 


COMPLETED 

Title— Running  Time 


oo  the  Draw 


UREASE  CHART 

  1949-50-51   


Cast  Details 

. .  Britten-Parker   9-25. 

.  .  .Barry-Lowery   

.  .Ellison-Hayden   

. .  clllson-Hayden   1-2. 

.  Carry-Lowery   

..Davis-Jones   5-8. 

..Hughes-street   6-5. 

..Barry-Lowery   5-8. 

..Travis-Ryan   12-18. 

.Castle-Nigh   3-13. 


Colorado 
Fast 
Centre 

Nliaeked   

Holiday  Rhythm   

I  Shot  Billy  the  Kid  (58) 

Mask  of  the  Dragon   

Motor  Patrol  (67)   

Return  of  Jesse  James  (75)   Ireland-Dvorak   6-5. 

Roaring  City   Beanmont-Travis   1-15 . 

Steel    Helmet,   The   Edwards-Brody   11-6. 

3  Desperate  Men   Foster-Davis   10-23. 

Details  under  title:  The  Dalton's  Last  Raid 

Train  to  Tombstone   Barry-Lowery   5-8. 

West  of  Brazos   Ellison-Hayden   12-19. 


Rel.  No. 

12-15  

.10-6. . .4933. 
.4-21. . .4925. 
.5-19... 4929. 
.8-11... 4932. 
.7-14. . .4920. 
10-13 . . . 4911 . 
.9-8... 4931. 

.'5^t2.W4923.' 
. .9-8. .4907. 

. .2-2  

. .2-2. . .5006. 
..1-5  


METRO-COLDWYN -MAYER 


1950-51  Features 


Completed  (83)     In  Production  (6) 


NEW  PRODUCTIONS 

THE  LAW  AND  LADY  LOVERLY 

Comedy— Started  Jan..  29 

Cast:    Greer  Garson,  Michael  Wilding,  Fernando  Lamas,  Mi 

jorie  Main 
Director-Producer:  Edwin  Knopf 

Story:    Period  comedy  concerning   titled  Englishwoman's  skirmishes  with  t 
law. 


RELEASE  CHART 


IN  PRODUCTION 


Bradley   Mason  Story,  The 

Ktnd  Lady   

Strie'ly  Dishonorable   

Str.p,  The   

Tall    Target.  The   

Details  under  title:  Man 

COMPLETED 

Across  the  Wide  Missouri  (' 


Ca<t  Details 

. .  Pidgeon-Hardlng   1-29. 

. .  Barrymore-Evant   12-4. 

.  Ptttza-Lelgh   1-29 . 

.  Rooney-Forrest   1-29 . 

 1-29. 


1950-51 
.  Taraer-Pinza 


20 


FILM  BULLETI1 


l«a  li  Peril  (T)   Kally-Caraa   8-14.. 

I  Bilioeg   DriMm*   Pldoean-lelahton   8-28.. 

ii  for  Aim  (75)   r»um-snii»ip   

Ii  Doorway  (84)   Tiyier-Biymind   8-29.. 

dllll9    <75)   inampson-MUd   3-27. 

,1111  eider  title:  Standedl 

■  I  My  Out   (T)   HIclEM-Femtl   11-6.. 

(,r'i  LI II I.  Dlridaad  (82)   Traty-Tayler   10-23. 

i  or  Brake   h«wniliiin   10-9.. 

,  Canto.   Tka   (T)   Lama-Blytk   9-25.. 

.  ,.  For  MarrHae  (91)   Jol.iuon-6  ayton   6-5  . 

I  Straight   (90)   Brian-Dahl   9-25.. 

||  ll|  Com  try   'II  SUr  4-24. 

a  (T)    (112)   Flynn-Stockwill   12-19  . 

,  ioioowri  MIim   (T)    (102)   A*rr-b,inger   11-/  . 

I  of  Her  tw».  A  (108)   Tarair-Caray   2-13  .. 

•  Ii  Ml  or  Tfcaa  Eror   Taylet-Parlu   12-18. 

ilteiat  Yaniae   (89)   Ciltism-Harding   7-17. 

lor  Story.  Tke  (104)   Canen-Pidneen   10-10. 

■  injmlio.    (T)   Gakle-Hodak   8-14. 

rt  llil  oy  1*4  Mr.  Malm  (69)   . . . .  Main-Whltnwe   6-19. 

i  Voloi  Yoi  Moor.  Tko  (82)   »  unman- mi  ,%   3-13  . 

■  outline  AiM   Silllwo-flaW   1-1.. 

I   Lev,  Sena  <T)    (77)   WHMMH-Kool   4-24. 

lid  Hill*.  Till  (T)   Luile-Kelly   6-H  . 

Ii  |„   Loio   Mllland-Hodlak   12-18.. 

I  Vials   <T>   raylo  -Kor,   

■  Badge  of  Coereae   Mirphy-Maildln   9-11. 

I  Toiri  and  FTitty  (T)    i  awell-uamene   12-4. 

i   Crow    (90)   p»««  l-tlomi  Un   4-10. 

I   Wedding   (T)   Aitalro-Powell   7-17.. 

lint  'T)   Cardin.--Koel   12-4. 

<r,  Tkro*   (T)   Brangir-Pldaeen   11-6. 

■  Keys  Naojo*  Mil*  (79)   Wymin-Johnson   8-14. 

■  Liu  A  Lady   SaUt-SUnwyei.   4-24  . 

I  of  Mow  •rioun,  Tko  (T)   (97)   . . .  Rrayioa-Lania   1-16.. 

■  Wool*  vita  lev.  (T)    (92)   Pctaell-Mentalka  4-10. 

in. i  Valloy  (T)    (83)   Lancaster-Walker   6-19  . 

I I  tki  Birdie  (70)   Skilton-BrUn   5-22. 

  1950-51   

i   Got  Yoar  Cm  (T)  (107)   Hitio,,-Kwl   10-24. 

U   JimU   (112)   Nayden-Hiaon   11-21 

I  (96)   CfanUFarrer   1-16., 

ID  of  Idaho  (T>  (98)   Wlllians-loknMii   11-7. 

Ir  at  tki  trMi.  Tki  (93)   Bonnett-Traiy   1-30. 

|   run.   Tko   (T)    (110)   StKiwcll-Boeiitt   9-26. 

I  Wltkoat  Paiiaort  (72)   Laeiarr-Hediak   1-16. 

»ry  Stroot   <»3)   MontaJfcan-FarrMt   11-21. 

■  or  Safaris*  Mil  WIN,  Tki  (85)   . .  .Walier-Lnlio   11-21. 

►  In  My  Cr»wr.   MeCr«i-Orew   6-20. 

nor  Stock  (T)    (109)   Garland-Killy   12-5. 

i  Uttli  Wardi  (T>   (102)   Aitalro-Stoltan   12-19. 


.118  

.102...  6-5 
107  10-23 


Jan. .  114  12-18 
.*ar  


115.  12-18 
. it» . . . io-9 
101... 9-25 


Fek... 116... 1-15 
Bet.  .  .  .106.  .10-23 

.Apr  

Dec  .  .  111.  .12-4 
Oct..   .110... 8-23 


112 


1-1 


.Fak. . 

.119 

..Oot.. 

.10.. 

.Sap*,.. 

.103 

lavas 

.  .Mm.. 

10-23 

.Fak.. 

.117. 

..Jan.. 

.113. 

.12-4 

..Aaf.. 

..33. 

.4-24 

.Jam.  . 

Jay.. 

..41 

.7-1 7 

..Aaj-. 

...33. 

.6-19 

Jim  . 

30. 

..6-3 

Jily.. 

. .  .32. 

.  6-5 

.Aa».. 

.  .37. 

.7-31 

Jaly.. 

...33. 

Jim.  . 

.  .31. 

.'5-22 

...40. 

-.Aa|.'.' 

.  .38. 

t-14 

..Alf.. 

..36. 

.7-17 

MONOCRAM 


950  51  Features  Completed  (    )     In  Production  (0) 

Westerns  Completed  (    )     In  Production  (1) 

ed  Artists  Completed  (    )     In  Production  (0) 

NEW  PRODUCTIONS 


Llll. 


VLD  HORSE  CANYON 
Vstern-^Started  Jan.  29 
Cst:   Whip   Wilson,  Fuzzy 

Woodell 
C  ector:  Lewis  Collins 

S-y  :    Not  available. 

RELEASE  CHART 


Knight,   Jim   Bannon,  Barbara 
Producer:  Vincent  Fennelly 


MI'LETED 
Nti*— » -«.ia«  Tin>, 

«-  ding   to    Mrt.  Noylt   

*•  >i  and  the  Hlddea  City   

•  cy  tattallaa   

•try  Scaat  (C)   

•i  forfeit   

t*tv  Fair  <C>   

■Wi  Wild  Cine  (61)   

«  t  Ckaieri   

•  «.H"ier>  '«-«*   

I  I'm  An  Americas  key   

•  Pi i»o*.  in  Mompkrey  Tain  a 

I    Hinten.  Tki   

■    From  Senora  (54)   

•lean  Slher   

•lorn   Marrlaio,   A  (66)   

•  ■  Bund   

■!»«  Ian   

•  1  Passage   

Tl  Ditt   

*•«  Yean,  Tki  (79)   

•  tan.  Tki   

«EJ  FD  ARTISTS 

•  »Hde  1-1080  (73)   

•1  Gran   


1950-51 


Cm' 

lyinron-Chandlor 
Sheffield-England 

Goreey-Nal   

Cameron-Loitg 

DeFaa-KIni   

Calhoan-NIgh 
Walkorn-Cray  . .  . 
Gorcty-Hall   


.11-20. ...3-4. 
...6-5... 9-24. 
.8-14... 1-21. 
..10-9...  4-1. 

..7-3  

..4-24.... 8-1. 
..10-9... 12-3. 
..1-29  


.5122. 
.4906. 
.5111. 
.5101. 


D«arak-Evans    . .  . 
Ktr»»  oc-  trrol 
ShrerTteld-Whitfield 

Brown-Hall   

Wlhan-Cryde  .  . 
Clarke-Field  ... 

Neal-Toomey   

Frazee-Grant  .  . 
Morrli-Hale  .  .  . 
Alkrlaht-Wintert 
Cook-Moore   


2  ..4-9.. 
..1-29  

3-lS  6-4. 
...1-1... 3-25.. 
.11-20. . .3-11. . 

.  6-5  

. .2-13. .10-15.. 
. .11-6. . .2-25. , 
.12-18... 2-11. 

 1-7.. 

.10-23. .12-31. 

 2-18.. 

.9-11  


.4012 
.5109. 
.5141. 

5199. 
.5120. 
.5115. 
.5107. 
.5107. 


DiFara-Kin. 


Biai  Trail   (64)  .. 

*a«i  Tirrltory   

«  Tlairir  ....... 

«i  Blood  (C)   

lika  and  tko  Lut  Vol 
•l  of  th,  Klondike  . 
jraku  Uiruiag  (57) 

>nu  Aaskeak   

•   **•  (61)   


'  I  I  MM 

**• 


1949-50  


.Yrloi   

...9-11. 

...2-4. 

..4946  

.  Wllion-C  yaa   

... .6-5. 

...7-2. 

..4942  

.  ■acDowerl-DonRell 

...6-19. 

..9-10. 

..4908  

.WilliOMa-Nifk  ... 

. . .9-25. 

..1-28. 

..4904  

.      Hall  -L»rP 

3-27 

«-<>•>. 

4c0s   

.Gra-it-Ckinaak  ... 

.. .10-9. 

.12-17. 

..4920  

.  Wll  on-Clyde  .... 

...8-28. 

. .10-8. 

. .4944  

.  Brawn-H-ll   

..10-23. 

..1-14. 

. .4955  

.  tydon-wl»:er«    . . . 

. . .8-14 

.10-22. 

..4918  

«lrl«M4-SI«4M  . 

.11-5. 

..5117  

.  krMri-kdami   

!.'.'7-3i! 

.11-26. 

..4*54  

.Wlban-Clyda  .... 

. . .9-11 

.12-10. 

..4945  

..a           -.H.i    .  . 

*-10 

.6-  '.K 

:4WH  .... 

Lwdii-Calloia  ... 

...7-9. 

..4»23  

.Graat-Vtrdiaa  ... 

'.'...5-8 

..-716. 

..4'19  

Gortiy-Hall   

....5-8. 

.  8-13. 

..4915  

PARAMOUNT 


1950-51  Features 


Completed  (    )      In  Production  (4) 


NEW  PRODUCTIONS 

MY  FAVORITE  SPY 
Comedy --Started  Jan.  29 

Cast:    Bob  Hope,  Hedy  Lamajr,  Arnold  Moss 

Director:  Norman  Z.  McLeod  Producer:  Paul  Jones 

Story:    Hope  Bets  tangled  up  Ln  International  intrlxue. 

THE  GREATIJST  SHOW  ON  EARTH 
Drama-^Started  Jan.  29 

Cast:    Betty  Hutton,  James  Stewart,  Lyle  Bettger,  Cornel  Wilde, 

Dorothy  Lamour 
Director-Producer:  Cecil  B.  DeMllle 


RELEASE  CHART 


IN  PRODUCTION 
la|  Tlaii 


Croanrladi 

Hire  Comes  the  Groom   

Sotmarlne  Command   

(Details  mder  title:  Sibmarlm  Stooy.  The  1 


1-29 
12-4. 
1-15 


COMPLETED 


1950  51 


Appointment  With  Danger   

Bttalla  mder  title:  PaHal  I  in  Motor 

At  War  with  the  Army  (93)   

Branded    (T)  (103)   

Lieulli  indei   title:  Montana  lliu 

Carrie   Ollelor-Joaai   9-11  

Casilno  to  Korea   (59)   Doeomentary   10-50..  5008... 10-» 

Om.r  Csavon   (T>    <85)   Ullland-Laioarr   4-25    10-12      5003  .  .8-14 

Darling.  How  Coold  Yoo!   FlsUlm-Lind   11-20  

Bart  City    ....  Heston-s«,ti   4-24    10-50  .  5004  

Diar  Brat   Freemjn-Arnold   11-6  

Fine,  Paati  (T)   (92)   Miae-Ball   7-4  ..  .9-4 ... 5001 ..  .8-14 

Fort  Savaao  <T>   Hpyoen-H„h   12-4  

Groat  MUsonri  Bald.  Tki  (85)   Corey-Carey   6-5.  .  .2-51    .5013  1-1 

lait  Bitaott.  Thi  (T)   Beaaan-Fleailaa   10-23  

Lemon   Drop   Kid.   Tko   Hon-ktaxwoll   4-51.  .. 5018  

lot'i   Daaco    (T)    (112)   Hatloa-Artalro   7-18    11-23.  ..  r006  .  8-88 

Mating   Season.   Tko   Tierney-Lmd   6-5 ...  3-51      5016  1-29 

Details  mder  title:  A  Rilativi  Stranger 

Molly   Berg-Loob   8-28    501 1 ...  12-4 

Mr.    Mask    (108)   Craiky-Hauti   11-7 ..  12-50.  .5007 ..  S-8S 

Flail  In  Tko  San.  A   clltt-Wlatan   10-24  

•aantrell'i  BaMan    (T)   Lada-Kenaidy   11-20  

•■afcai    (T)   Barryirere  Jr.-Cal»et    ...  7-3 ...  4-51 .  .  1017  

Redhead  and  the  Cowboy   (82i   Ford-F liming   3-51... 5015  1-1 

«aa»ofi  ua  Dollla»  (128)  l»  arr-natari   10-25  . .  .3-51.  .  .5010.  .11-21 

Soatember  ABair   (104)   Fontalnt-Cotten   8-29.  .  .2-51     5012  .  .1-15 

BaaMthlag  Ta  Ilea   For   Fontalno-niUand   6-5  

BwtaHi  ■  odor  tiUo:  Mr.  aad  Mn.  Aaonymoiai 

That'i   My    Bay   Martln-tiwli   12-18  

Trtn    (91)   5lainioa»-||oaali   F»nl»a  11-6 

Tripoli   (T)    (93)   O'Hara-Payai   3-27.  .11-11. .  .5005.  .10-13 

Bilaa  Skatlan   (80)   Maldia-Fltnorald     ...  .1-30. .  .9-50. .  .5002.  .  .7-31 

Worpatk   (T)   I'Briea-Jaaaar   9-11  

Wkaa  Warldi  MHtt   Borr-Baifc   1-1.. 

  1949-50   

Elate  aid  tko  Ni«t.  Tko  (T)  (104) 

PartM.  Tka  (109)   

Laartew.  Tka   (83)  .  .  .  .Cariy-BowoJl 

My  Frmd   Iraia  6ms  West   (90)   WlUea-tud 

(110) 


.6-50. 

.4916. 

.2-13 

. .12-5. 

.8-50. 

.4926. 

.7-17 

11-7. 

.7-50. 

.4923. 

.4-10 

.  2-U. 

.7-50. 

4922. 

.6-1* 

4-25. 

.8-30. 

.4927. 

4-M 

RELEASE  CHART 

  1949-58-51   


Title—  killing  Tlmi 
All  lilot  on  the  Western  Froit 

Beyond    tko  Siaiet   

Bowery  to  Broadway  (94) 

■Mi  Man's  Eyes  <64)   

East  Side  of  Meaeen  (88)   

Flesh  aad   Fantasy  (94)   

Fellow  the  Boys  (109)   

Fraaied  (60)   

FrUea  Sal  (94)   

Guilty  of  Mirder  (83)   

C.psy   Wildcat    <T)  (75)   

Her ■  Cine  tke  Coeds  (£0)  .  . . 
If  I   Had  My  Way  (93)  .... 

Imitation  of  Life  (109i   

I  ttole  a  Million  (80)   

Km,    Em    SI  aging  (61)   

Leather   Pishen  (64)   

M-gnlfceni    Otiession    (103)    .  . 

Merry  Monahins  (91)   

Nhjhtmaro  '82)   

Mr.   Dynamite  (68)   

Parii  Bairkskdl  (96)   

Parole  (67)   

&atpMt.    Tke  (85)   

Skadaw  of  a  Doakt  (108)   

Selll.ans.  Tko   

Taapk  As  Tkey  Core-   (61)  ... 

Walk   la  tko  San.  A   

T01  Can't  Get  Away  Wltk  It  I 


.kyret-Wolholai  .. 

Ford-O'Brien  ... 
.  B  Connar-Btytk  • 

Ckaniy-Partar 

Craiky-Blecdin  . 
.  Boklaun-Stanwyik 

Raft-Dlolrlik    . . . 


 8-50. 

 5-8. 

 2-50. 

 5-50. 

 1-50. 

 4-50. 

 2-50. 

 3-50. 

 2-50 

 6-50. 

 6-50 

 6-50. 

 1-50 

CilMn-aea.en   12-49. 

Baft-Trwar   3-50. 

•eed  End  Kids   5-30. 


.  Foiter-Boy   

.  Sandara-FrtiaeraU 
.  Moatei-HaJI 


.  Arlen-Doelai 
.  Banne-Tiylor  . 
.  B'Cenaor-Blytke 
.  .  Doaloey-iarryawjr 
.  Ralin-Narroy 


.  Wriakt-Cattn  . 
..Baxtar-Mittkell 
.  Bead  lad  Kkfa 

. .  Aadrews-Conte  . 


.1-51. 
.1-51.' 


.  .4-50. 
..1-50. 
.6-50. 
.5-50. 
..4-50. 
.2-50. 
..3-50. 
.6-50. 
.12-49. 

'.'.5-50. 

'.'.3-50. 


.027. 
.034. 

020. 
.036. 
.023. 
.016. 
.022. 
.041. 
.031. 
.032. 
.021. 

018. 
.017. 
.039. 
.037. 
.028. 
.035. 
.033. 
.038. 
.024. 
.015. 
.042. 
.019. 


EBRUARY  12,  196  1 


11 


REPUBLIC 


1950-51  Features  Completed  (    )     In  Production  (0) 

Serials  Completed  (    )     In  Production  (0) 

Westerns  Completed  (4)     In  Production  (1) 

NEW  PRODUCTIONS 

WELLS  FARGO  GUNMASTER 

Western— Started  Jan.  26 

Cast:    Allen  "Rocky"  Lane,  Michael  Chapin 

Director:  Phil  Ford  Director:  Gordon  Kay 

Story:    Rocky  Lane  protects  the  Wells  Fargo  express. 


COMPLETED 

Title — Mnnm,  Time 

Belle  Le  Grand   

Buckiroo  Sheriff  of  Texas  .  . 
Billflghter  and  the  Lady  .  . 
California  Passage 


RELEASE  CHART 

  1950-51   


Cut 

.  Rai  ton  -Carroll 
.  Chapin-Jansscn 
Stack-Page   .  . 
.  fueicer-Mara 


.7-31. . .1-27. . .5006. 


Cuban    Fireball   Estel;ta-Vineent   9-25. 

Fighting  Coast   Guard   Don  levy-Tucker   

Heart  of  the   Rockies   Rogers-Edwards   10-23. 

Hit  Parade  of  1951    (85)   MaeDonad-Carroll    ...  5-22. 

Noneyehlle   Cancva-Foy,  Jr  11-6. 

Insurance  Investigator   Denning-Long  12-18. 

Macbeth   Weiles-Nolan   

Missing   Women   Edwards-Alvin   11-20. 

night  Raiders  of  Montana   lane   12-4. 

tb,   Susanna!    <C)   Carr.eron-Tucker   6-19. 

Ptj<e  of  Maryland   Clemen  s-Stewart   10-9. 

■ft  Grande    (105)   Wayne-O'Hara   7-3. 

Sough    Riders  of  Durango   Lane-Towers   10-23. 

Silver  City  Bonanza   Allen-Ebsen   11-6. 

Strollers  of  the   Plains   Rogcrs-towards   8-28. 

Sirrendtr   Carroll-Mara   3-14. 

Details  under  title:  Untitled 

  1949-50  — 

Avengers,    The   Carroll-Ralston   3-13. 

Covered  Wagon   Raid   Lane-Walter   3-13. 

Destination  Big   House   Patrick-Rockwell   

Frist*    Tornado   Lane-Waller   6-5. 

fanoie   Stampede   Native  Cast   


North  of  the  Great  Divide  (C)   ftoaers-Edwards   5-22. 

Old  Frontier,  The   Ha  e-Herst   4-10. 

Pioneer    Marshal   Halo-Hirst   9-26. 

Powder    Ri.er  Rustlers    (60)   Lano-Waltor   9-12. 

In   Petticoats   Perkins-Rockwell   5-8. 

Forest   Trail   Allen-Dsnnell   11-7. 

Butlers  on   Horseback   Lane-Waller   7-31. 

Slowdown,    The   Elliott-Brennan   

sonset  in  the  West   (C)   Rooers-Edwards   3-27. 

Trail  of  Robin  Hood  (C)   (67)  Rogers-Edwards   7-3. 

Trial  Without  Jury   Patrick-Rockwell   2-27. 

Trigger.    Jr.    (Tr.)   Rogers-Evan;   12-19. 

Under  Mexican  Stars    *llen-Patriek  .. 

Vigilante  Hideout   Lane- Waller   5-8 


10-15. 

.3-23'. 

10-  20. 
.2-23. 
.2-28. 
.3-28. 
.1-20. 

11-  15. 
.1-30. 
. .3-1. 
. .2-5. 
.9-15. 


. .6-26. 
. . 6-30 . 
. . .6-1. 
. . .9-6. 
. .7-29. 
. .8-29. 
.11-25. 
.11-15. 
. .7-29. 
.19-24. 
.11-25. 
. .9-18. 
. . 9-18 . 
.10-23. 
.8-15.. 

.9-25. 
. 12-15 . 
. . .7-8. 
. .6-30. 

11-20 


.5005  

'.'.'.'.'.'.'.'.i-i 


.5023. . .1-29 
. 5004 . . 11-20 
.5058  


.4965. 
.4918. 
.4967. 
.4922. 
.4925. 
.4974. 
.4944. 
.4973. 
.4*71. 
.4961. 


.4953  

.4968  

4924  

.4943  

. 4946 . . . 1-15 

.4921  

.4945  

.4954  

.4966  


RKO  RADIO 


1950-51  Features 


Completed  (    )     In  Production  (4) 


IN  PRODUCTION 

Title—  Renning  Tint 

•n  The  Loose   

Flying   Leathernecks  (T)   

rum,  The   

Two  Tickets  to  Broadway  (T) . 


RELEASE  CHART 


GROUP  ONE 

»we>r  Treasure   

Bern  To  Be  Bad  (93)   

••■M   Sgoad  (67)   

outrage  (75)   

Walk  Softly,  Stranger  (81) 

GROUP  TWO 

Experiment  Aleatraz   

■  ever   a    DjII   Moment  .... 

■io  Grande  Patrol   Holt-Martin 

NOT  DESIGNATED 

Alice  lo  Wonderland   (T)   Disney  Cartoon 

Capture,  The  (81)   Ayres-Wright 

She  Keeps   Grcer-O'Keefe 


Cast  Details 

.  Evans-Bari   1-29. 

.  Wayne-Ryan   12-4 . 

.  Toocy-Sheridan   11-6. 

.Leigh-Martin   11-20. 

1950-51   


.Holt-Martin  .. 
.  Fontaine-Ryan 
.Sterling-Divftn 
.Andrews-Powers 
.Cotlen-Valli  .. 


Howard-Dixon 
Dunnz-MacMurray 


.  .7-4 
.2-27 
.2-27 


. .8-50. 
. .8-50 
. .9-50. 
.10-50. 
.11-50. 


.11-50 
11-50. 
11-50. 


.9-11 
.8-28 
.9-25 
.9-11 


8-29 
.3-13. 


Details  under  title:  The  Wall  Outside 

Crack   Down   Williams-Armstrong  ...6-19. 

Cry   Danger   Powell-Finning   6-19. 

Double   Deal   (64)   Denning-Windsor   7-31. 

Edge  of  Doom   Andrews-Granger   12-3. 

footllght    Varieties   Paar-»<t*ons   8-14. 

Gambling    House   Bendlx-Mature   2-13. 

Details   under   title:  Aiias   Mike  Firy 

Caunt  Woman,   The   Andrewt-Ral*,   8-14. 

Gan    Notehes   Holt-Martin   11-6. 

See  Tbudor   Holt- Mart  In   10-24. 

Hunt  the  Man  Down  (68)   Yomf-AndtrsM   5-22. 

Befalls   under  title: 


.  6-50 
.1-51 


073 
109 


.2-51. 
12-50. 
.8-50. 

.1-51. 


.1-1 

.12-4 


It's    Only    Money   Sinatra-Russell   12-6  j 

Jet   Pilot    (T)   Wayne-Ltih   12-19  

Macao   Rossell-Mkehum   9-11... 2-51    J 

Mad  Wednesday   (80)   Lloyd-Walburn   10-1. 10-50  166  I 

Mad  With  Much  Heart   Ryan-Luilno   5-8  ■ 

Man  He  Found,  The   Re!d-Tottl«   6-5  

Mother  of  a  Champion   Trevor-Forrest   7-31  1 

My  Forbidden  Past   Gardner-Mitchum   10-10... 3-51  

Our   Very   Own    (93)   Granger-Blyth   9-12.  .  . 8-50  151.  .9 

Payment  on  Demand   Davis-Sullivan   2-27.  .  .2-51  ' 

Details   under   title:   Story  of  a  Divorce 

Pistol    Harvest   Ho:t-Martin   12-4  

Roadblock   r.  MeGiaw-oixon   10-23  

Rustler's   Range   Holt-Martin   1-29  

Saddle    Legion     Holt-Martin   7-31  

Secret  Fury   (86)   Co!beri-Ryan   11-7... 9-50  075.. ..5 

Sons  of  the  Musketeers  (T)   Wilde-O'Hara   1-2  

Target   MeGraw-Whltd   6-19  

Tarzan's   Peril   Barker-Huston   11-6... 3-51  

Treasure   Island    (T)    (96)   Drisecll-Newton   7-50  191... 7- 

Texas   Triggerman   Holt-Martin   7-3  

Under  Arizona  Skies   isolt-Lesli    9-1.. 

Vendetta   Domergue-Dolem   8-19.  .12-50. 


.167. ..12| 


GROUP  SEVEN 

Rldor  frea  Tucson   

Armored  Car  Robbery   

Details  under  title:  Codt  3 

Destination   Murder  (72)   

Where  Danger  Lives  (82)   

White  Tower,  The  (T)   (98)    . .  . 

SPECIALS 
lihibod  and  Mr.  Toad  (T)  (68) 
My  Foolish  Heart  (99)   


1949-50 


.  MacKenzit-Clements 
.Mitchurn-Domergue 
.Valli-Ford   


 6-50. 

.1-16. .10-50. 
.8-29. . .4-50. 


Features 


SELZNICK  —  S. 


Completed  ( 


RELEASE  CHART 

COMPLETED 

Title — Running  Time  Cast 

Gone  To  Earth   (T)   Jones-Farrar   

Third  Man.  The   (104)   Cotten-Valll   


Rel. 

'.i-is. 


lOthh  CENTURY-FOX 


1951  Features 


Completed  (    )     In  Production  (6) 


NEW  PRODUCTIONS 

THE  HOUSE  ON  THE  SQUARE 

Drama— Started  Jan.  29 

Cast:    Tyrone  Power.  Constance  Smith 

Director:  Roy  Baker  Producer:  Sol  C.  Siegii 

Story:    Modernization  of  "Berkely  Square." 

THE  SECRET  OF  CONVICT  LAKE 
Drama — Started  Jan.  29 

Cast:    Glenn  Ford,  Gene  Tierney,  Ethel  Barrymore,  Ann  Dvora), 
Zachary  Scott 

Director:  Michael  Gordon  Producer:  Frank  P.  Rosenben 

Story:    Not  available. 


RELEASE  CHART 


IN  PRODUCTION 

Title — Ronnlng  Time 

David  and  Bethshoba  (T)   

Frog   Men,  The   

Golden   Goose,  The   

Kangaroo  (T)   

Meet  Me  After  The  Show  (T) 
Will  You  Love  Me  in  December?  . 


Cast 
.  Peei-Hayward 
.  Widmark-Andrews 
,  MacMurray-Parker 
.  O'Hara-Lawford 
.  Grable-Carey    .  .  . 
.  Wooley-pctcrs 


.12-4.... 

..1-1.... 

.  1-29  

. .11-20.. 
.1-29. . . . 
. .1-1. . .. 


COMPLETED    1950-51   

BIN  of  Paradise  (T)   

 Jordan-Paget   

8-14.. 

.3-51. 

Call   Me  Mister  (T)   

 Gratlo-Dailey 

. . .7-17. 

.2-51. 

Decision  Before  Dawn   

 Merrill-Basehart 

 9-25 

Details  under  title:  Legion  of  the 

banned! 

Follow  the  Sun   

 Ford-Baxter   

. . .10-9. . 

.4-51. 

Fourteen  Hours   

 Douglas-Basehart 

.5-51. 

Guy  Who  Sank  the  Navy   

 Douglas-Darnell 

. .12-18. 

.6-51 

 Young-Cotton  .... 

7-17. 

Halls  of  Montezuma,  The  (T)  (113) 

 Widmark-Gardner 

 6-5 

1-51. 

Holy   Year,   1950  (42)   

..Aug. 

 CO'tesa-Lundigan 

9-11. 

.6-51. 

1  Can  Got  It  For  You  Wholesale 

 Daily-Hayward    .  .  . 

. . 10-23 . . 

.4-51 

I'd  Climb  the  Highest  Mountain  (T) 

(88)  .  Hayward-Lundigan 

. . . .6-5. 

.2-51. 

Luekv  Nick   Cain  (87)   

 Raft-trav   

1-51. 

Mudlark,  The  (99)   

. .  6-5. 

1-51. 

No  Highway   

 Stewart-Dietrich    . . 

....  9-25 

Of   Men  and  Music  (85)   

.3-51. 

On  the  Riviera  (T)   

 Kaye-Ticrney   

. . .9-25. . 

.5-51. 

Rawhide   

 Powcr-Hayward    .  .  . 

...1-30.. 

.5-51. 

Sword  of  Monte  Crlsto,  The   

 Montgomery-Corday 

. . .9-25. . 

.2-51. 

Take  Care  of  My  Little  Girl  (T)  .. 

 Crain-Peterr   

...11-6. 

 Darnell-Boyer   

9-25. . 

.3-51! 

11-6.. 

.4-51 

  1949-50  

All  Abott  Eie  '138   

..Mm. 

American  Goerllla  In  Philippine!  (T) 

(105>P«wer-PrelI«   

. . .4-24 

Dee  . 

109 
104 


102...1- 
101  .12- 


F  I  L  M  BULLETI1 


let  Rose.  TIM  T  120  .. 
ken   Arrow   (T)  (93)   

•  lUt  Trail  <C)   

rati    To  festerday   

I  Ml.  TIM   

I   Hn.erTs  Sake  (92)   

•  k««hter.  The  (84)   

Git  By   (T)  (82)   

M*t.  The  (85)   

le  That  Brete  (85)   

.Mr  880  (90)   

Blue  Heaven   (T)  (97)   

IM  ana  the  City  (95) 

Way  Oit  (106)   

ilc  In  the  Streets  (93)   

ilia   

e  Flags  Wist   

Details  under  title:  Trompet  to 
tn  thi  Sidewalk  Ends  (95) 


P    e    *  hr 

5-23 

Sept 

019 

9-25 

Slewan— rigor   

An? 

Sea  t— Williams 

020 

Documentary 

.  J 
Set 

0211 

021 

.  WiJD-Benmt  t   

Dee 

033 

. . 12-4 

Haver— Londlgan 

Oct 

027 

10-23 

ftMsitii  rlkjTi,' 

.7-3 

Nan 

Olfi 

Mcf'mre  Lancaster 

4  24 

Oct 

024 

9-11 

Grable-Da  ley 

. 12-19 . 

Sect 

021 

.8-28 

.  Tierney-Wldmark    .  . 

.  8-29 

Je.-e 

.  013 

6-19 

Darnell-Widmark 

. . .11-7 

..Oct.. 

025 

.9-11 

.  Widmark-Bel  Geddes 

. . .1-2. 

Sept 

022 

.7-17 

.  Sheridan-Matire    .  , 

.  .Aug.  . 

018. 

.8-14 

Darnell-Wilde   

. .4-24  . 

.  .N»».  . 

.  029 

n 

1-30 

July 

017 

. .7-17 

UNITED  ARTISTS 


1950-ol  Features 


Completed  (    )     In  Production  (0) 


RELEASE  CHART 

OMPLETED    1949-50   

.  t —        I  n«    Tlst"  Cast 

■Iral  Was  a   Lady.   Tha   (?7)   Hmdrlx-E.  O'Brien 

Details   under   titlo:   The   Iron  Cage 
,r  Lights   Chaplin-Cherrill 

ana  De  Bergtrac  (112)   Ferrer-Pewers   

This  Be  Sin    (72)   LlT-CeMMins   

»e4s  Trail.   The    (85)   Montgomery-Marshall 

p.   The   (85)   jnndo-Wrlght  .... 

i  Neileo   Ryres-Maxwell   

t  A  Thief  (88)    Bow)aro-Ha»oe   

Oetails  under  title:   Once  Over  Lightly 

.•ler.   The   Helin-Keyas   

Da'alls  under  title:  Cost  of  Loving 

mi   Far  A  Day   Avery-MtGavIn  ... 

irf.  The   (93)   Ireland-MeCiBhridge 

Details  ander  title:    Dungeon.  Tha 

and  Waman,  The  (91)   Young-Drake   

lid  af   Fary  (90)   Lovejoy-Byan   

le  Hashands   (78)   Hilliams-Arden  .... 

-ee  Steps   North   aridges-Padatenl 

lerworld  Story   Diryea-Storm   


...8-4  

.9-50.  Cap 
Roads' ow  Kr 

 9-8  Rat 

. .10-24. .  616  S- 
. 11-21... 8-25  .  K 


.7-17 


.1-2.. 
.4-24. 


.7-7. 


G-C 


 1-51  .  Pop 

. 5-22 . . . 1-15 .  .  Stmn 
.  .7-3  .  .  Nov.  .  G-C. 

.7-3  

 7-21.  C-E. 


UNIVERSAL- INTER  NATIONAL 


1950-51  Features 


Completed  (31)     In  Production  (3) 


RELEASE  CHART 

IN  PRODUCTION 

TtHa— •taalaa  TlBM  Cast 

n  Harde.  The  (T)   Blythe-Farrar   1-29. 

Man.  The   Keyes-Chandler   1-29. 

MeCay,  The   Aaoot!  t,  Costello-Shay  1-29 


Data  lis 


holt  4  Costello  Meet  the  Invisible  Man. 

Cadat   

athe  Droaw  (T)   

irime  for  Banio   


.11-6. 


ttla  Orrve  (T)   

BartM  (88)   

w  Renegade  (T)   

able    Crosshants  (T)   

It  Baa,  Taa   

•"■it  (T)   MeCrea-Wlnters 

aaeis  Goes  to  the  Races   II  Connor-White 

eoa)  Wore  Saors   Ragtrs- Carson  .. 

Details  under  title:  Illegal  Bride 

■wet  (142)   Olivier-Simmons 

way  (104)   Stewart-Hall  .. 

Mlywood  Story,  The   Conte-Adams  . 

uisaa  Raiders  (T)    (80)   Donlcvy-Chapman 


1950-51   

Abbott  &  Costello 

McNally-Rassell   

Grey-MeRall,   8-28  

Reagan-Lynn   9-11  .  .  Feh  

Colfcert-Blyth   11-20  

Mecrea-S'ockwell   12-4  

Toren-Chandler   10-10  ..  Nov  ..  .103. 

Montalhan-Charlsse   

 10-10  


. .5-8  .  . 
.12-4. . 
.7-31. . 


. .5-8  . 
.12-18 

..6-5  . 


.101  

.107.  10-23 


Nov  ...104  . 11-20 


atie   Did  It   

•Ms  Oet   

ttle   Egypt  (T)   

a  and  Pa  Kettle  at  the  County  Fair, 
a  and  Pa  Kettle  Back  on  the  Farm  . 

lUkaan.  The  (87)   

Tstery  Submarine   


.  Blythe-Sterens   6-19 

.Dow-Kennedy   8-28. 

.Fleming-Stevens   12-4. 

.  Main-Kllhrlde   1-15. 

.  Main-Kllhrlde   2-27. 

.O'Connor-Dirante   5-8  . 

.Carey-Tortn   7-31  . 


aeration  Disaster    (100)   Mills-Cherry  . 

Hate  Who  Was  A  Thief,  The  (T)   Ctrtls-LatTie  . 

■aaelers  Island   (T)   Keyes-Chandler 


1-29 


Girl  (83) 
•dor  the  Gen  (84) 
i  Frant   


.  Heflin-DeCario 
.smith-Brady 
.Totter-Contc 
.Vayie-Ewell  . 


Foreign  .   .Jan.  . 

..9-25  

..7-17  

.9-11  ...Jan  

..  .6-5  ..  .Feh  1-29 

.  .7-31  .  .  .Dee  105.  .  11-6 

.  .5-22  .  .  Jan  1-1 

.  .10-9  


-OMPLETED    1949-50   

hewtt  t  Costello  In  the  Forelge  LeaJoa  (79)  Ahhett  I  Costello   5-8  . .  .  Aig .  .  .  924  

artaia  Call  at  Cutis  Creak  (M)   •'Ceaaar-Araaa   2-28  ..Jim  918  

•art  Hawk.  The  (T)   (77)   DeCa/la-Creeni   4-10.  ..Aig  925  ...8-14 

(JO)   Byington-Reagaa      .  ...  12-13  ...  Aig ...  .926  6-13 

i5»   (T>    (77)   Lynn-Ob  em   Jily.  . .  .922. . .  .7-3 

addle  Tramp  (T)   (76)   MeCm-JJeaarix   Seat.  .  .  .928  

!*tt,*»w    (80)   Oufl-Oow   Sept.... 929  

f"»    <T)    (83)   McCrta-Hendrli   Sep..  928  


Sleeping   City.    The  (85)   

Say   Hent  (75)   

Details  ender  title:  Pan  her  s  Moon 
Winchester    73  (92) 

Woman   on   the   Ren  (77)   

Mall    (T)  (87)   


■ante  Gray 

11-7 

Set 

933 

9-11 

Iwin-OeB   

.  2-27 

Je  e  . 

920 

7-31 

Stewort-Wlnten 

2-27 

)»l» 

jhef  .fan-O'Keefe 

5-22 

0:t 

932 

imr.h-M.-Nally  . 

5-22 

Oct 

931 

WARNER  BROTHERS 


1950-51  1 '"futures 


Completed  (27) 


•rrxllicliotl  (5) 


NEW  PRODUCTIONS 

PAINTING  THE  CLOUDS  WITH  SUNSHINE  ( 
Musical-  Started  Jan.  26 

Cast:    Gene   Nelson,  Dennis   Morgan,  Virginia 
Norman 

Director:  David  Butler  Producer: 

Story:    Young  singer  nets  break  in  the  big  time. 


T)  J 

Mayo,  Lucille 
William  J  a  dobs 


IN  PRODUCTION 

Ti'le—  leaning  Tim- 
Fort   Worth  (T) 
I    Was  A  Commonist 
Moonlight    Bay  (T) 
Toirorrow   Is   Another  Day 


RELEASE  CHART 

Cast  0 

 Scott-Brian   

 Lett  joy-Hart   

 Ma<Kae-Day   

 Rowan-Co:hran 


1-15 
1-29 
1-15 


  1950-51  — 

Alcatraz    Island    (64)   Ann   Sheridan  . 

Breaking  Point,   The  (97)   Girteld-Neal 

Srtakthrodgh    i91>   Brian-Agar   

Dallas  (T)   (94)   Cooper-Roman 

Folsom  Story,  The   Brlan-Cochrane  . 

Glass  Menagerie,  The  (107)   lawrcnee-Wyman 

Goadlye.   My  Fancy   Crawtord-Yoeng 

Highway  301   (83)   Cochran-Andre 

Lellahy  of  Broadway   (T)   Day-Nelson  ... 

Operation    Pacific    (111)   Wayrtt-Neal  ... 

  Scott-Morgan    .  . 

 Flynn-Wymre 

 Begart-Sheridan 

 Roger  >-Rea;an 

Storm  Center 

 #alker-Roman 

  Scott-Jtrgins  . 

 Oay-MaeKae 


4-10 

6-19 


11-  6 
.  11-7 
.9-25 

2-13 
9-11 
9-11 
1-2 
6-19 
Reissue 

12-  5 


Pretty  Bahy  (92) 
Rocky    Mountain  (83) 
San  Qientin  (70) 
Storm    Warning  (93) 

Details    ender  title: 
Strangers  On  A  Train  . 
Sogarfoet  (T)    (80)    .  .  . 
Tea  For  Two   (T)  (98) 

Three  Setrets    <S8)   Parker-Neal-Roman 

Travelers,  The   Ooeglas-Mayo   11-6 

West  Point  Story,  The  (107)   Cagney-Mayo   6-19. 

COMPLETED    1949-50   

Bright   Leaf    (110)   tooper-Neal   12-5. 

Caged   Parker-Maorhead   8-1. 

Captain    Horatio  Hirnbtower   (T)   Peck-Mayo   2-13 

Enfarter.  The   Bogart- Roberts   8-14. 

50  Years  Before  Yeer  Eyes  (70,  Doeimentary   

Flaae  and  the  Arrow  (T)   (88)   Laneas  er-Mayi   

God  Is  My  Co— Pilot  (88)   Morgan-Clark   Reissee 

Great  Jewel  Robber  (91)   Brian-Reynolds   8-29 

Jim  Thorpe.  All-Aaiericsri   lineaster-Bickford      .  .  .9-11 

Klsj   Toaiorrow   Goodbye    (102)   Cagney-Adler   5-8. 

Lightning   Strikes   Twke   Tidd-Roiran   2-13 

North  of  the   Rio   Grande   McCrn-IJayi   9-27 

Details   ender  title:   Colorado  Territory 

Only    The    Valiant   Peek-Corey   8-14 

Raton  Pass   Morgaa-Neal   7-31. 

Return  of  the  Frontiersmen    (T)    (74)       .  MacRae-Calhoin   4-25. 

Streetcar  Named   Desire,   A   Brando-Leigh   8-28 

This  Side  of  the  Law   (74)   Lindfors-Suith   10-25 


9-9 

002 



.  .9-30. 

.  005. 

.9-25 

12-9 

.  .010 

.11-6 

12-30 

oil 

12-4 

10-28 

007 

.11-6 

.1-13 

012 

1-27 

.  oia. 

1-29 

. .9-16. 

004 
008 

.7-31 

11-11 

9-9  . 

003 

. .2-10. 

014 

1-29 

3-10 

016 

2-12 

.  .  9-2. 

8-28 

10-14 . . 

10-23 

\\-2i.. 

11-20 

7-1 

J 

928. 

..«-5 

. .6-10. 

..S25. 

.  5-8 

"i'-is.'. 

931 

!  .1-3 

7-22. 

930 

.  .7-3 

.6-3 

.  .924 

. .7-15. . 

,929 

6-19 

];8-i9" 

!  .932 

9-U 

V.S-2A.. 

.927. 

'.  .  6-5 

. .6-17. 

. .926. 

6-5 

Your  Service  —  Our  Responsibility 

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Member  Nat'l   Ulna  Cesniera 

250  K*.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4*23 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed    containers    and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

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236  N.  23rd  St.,  Iftila.  3  —  1239  Vine  St*.  Phil*.  7 
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FEBRUARY   12,  1951 


23 


ALSO  STARRING 

-T-RICMARD     II    A    MERCEDES  f\  ZACHARY 

Todd  McCambridge  Scott 


Her  first  picture  since  winning 
the  Academy  Award  in  All  the  Kings  Men  ' 


KING  VIDOR 

moducco  ti  Screen  Play  by  LENOK 

HENRY  BLANKE 


DENVER 


CHARLOTTE 

*W  ^""''l  ***  ?Oth  (Mtory  F.«  Vimiwm  I 

■  unm.      3msowa$i  •  ?oorji 

ATLANTA  CHICAGO 
Mk  (Mkjey  to,  Siiliniog  bom    Worm  Viwnino  loon 

1T7  TMk-ft.  U.  •  J  JOP.M.     1307  S.  Wo»m»»n  .  1J0FJL  2100  Stoat  SI.  •  140  PJL 

■OSTOM                          CINCINNATI  DES  MOINES 

PIP '    1  '  I  *«■                  WO  fotor.  Iti  Vmrun,  Im  Poromounl  Vrommo  bom 

IM  Mil  Hi.  Si  .  2  JO  PJL       blor.n,  lid*  L  .r.  .  1 00  Ml  1I2S  Koh  II.  .  12:4$  PJL 

■OPFALO                          CLEVELAND  DETROIT 

•or  VrttoM*  boa  Fin  bring.  IuMmj 

I  Poyw  An  •  I  JO  PJL  2310  Cm  An.  •  200  P  M. 


SAN  FRANCISCO 


•  St.  •  I  00  f  JL 


 WARNER  BROS!  TRADE  SHOW  FEBRUARY  19  

2^*?    .    .      .    .        INDIANAPOLIS  MEMPHIS  NEW  ORLEANS  PHILADELPHIA 

ItMw^To  W"  t»l»r,.r.,  Vrnnin,  l«Hn  20rh  OnluryFo,  Sunning  loom  20th  Ontury-Fo.  Sc.nning  bom  WorM.  Sunning  loom 

MB  Wo*  St.  •  2  00  PJL  32.  No.  M  St.  .  100  P.M.  151  Von,.  An.  .  2  00  PJL  200  S.  liberty  St.  •  8  00  PJL  230  No.  13th  St  .  2  30  PJL  221  Wd.n  Got. 

JACKSONVILLE  MILWAUKEE  NEW  YORK  PITTSBURGH  SEATTLE 

florrfo  Ih.otr,  lid,.  V  Im.  Wom.r  Theolr.  Sunning  loom  Horn.  Offire  20th  C.ntory  Fo,  Sunning  lata  Mod.mH.Ntr. 

■  2»  E.  Fonylh  SI.  .  100  PJL  212  W.  Whroniin  An.  .  2  00  PJL  321  W.  44th  St.  .  230  P.M.  171S  Blvd.  ol  Allies  .  130  PJL       2400  Third  An.  I  E 

KANSAS  CITY  MINNEAPOLIS  OKLAHOMA  PORTLAND  ST  LOUIS 

20th  trntyry  Fo,  Sunning  loom  Wom.r  Sunning  loom  20th  CntoryFo.  Sunning  loom  J.»el  b,  Sunning  bom  S'rtnu  Sunning  low 

1720  Wyondolt.  St.  .  1.30  PJL  1000  torri.  An.  .  2.00  PJL  10  North  In  St.  .  1  30  PJL  1947  N  W  barmy  St.  •  2  00  PJL   3143  (Xin  SI.  '  1  00  F 

IOS  ANGELES  NEW  HAVEN  OMAHA  SALT  LAKE 
worn..  Sunning  loom 

An,  •  2  00  PJL 


WASHINGTON 


Wom.r  Theolr.  Proj.<rion  bom       20th  CnhjryFo,  Sunning  loom    20th  Century  Fw  ScrcMing  loom      Wom.r  Thootr.  bildag 
nrmonl  An.  •  2.00  PJL   70  College  Si.  •  2  00  PJL  1 S02  Donnport  Si.  •  1  00  P.M.      216  Eosi  Hi  Sovth  •  2.00  PJL         I3tb  1 1  Sti  AW.  • 

MOTHERHOOD  FOR  PIACl  AND  FREEDOM  ft)  liv.  j,,  $uppert  it|  BUOTHHHOOD  WEEK  -  FEB.  18-JS. 


BULLETIN 


FEBRUARY 


Myers  Repart: 


REALISTIC  A 
OPTIMISTIC 


.  The  Motion  Picture  Industry 
Con  and  Will  Fight  Its  Way 
Back  to  Prosperity!" 


Cecil  B.  DeMille  s  "SAMSON  AND  DELILAH  —Hedy  Lamart 

Produced  and  Directed  by  Cecil  B  DeMille  •  Scrmnplar  by  Jmm  L  U»ky.  Jr  •  Fradric  K  Prank  •  From 


(ature-George  Sanders -Angela  Lansbury- Henry  Wilcoxon 

■  tnd  Vl»dimir  Isbotinaky  -  Baud  upon  tha  hutonr  si  S*m»on  and  D«UI»h  in  tha  Holy  Bibla.  Judgi»  13-16    *  A  Paramount  Picture  I 

SER  OF  OUR  TIME! 


THE  SATURDAY 


I  refused  to  take  no 
I  hounded  him  day 
ling  him  into  a  car 
and  down  back 
I  emately  cajoled 
1  sld  firm. 
1  oss  racketeer  at 
I  ring  from  us." 
1  i't  sleep,"  Cohn 
1  en  by  the  recol- 
|  er  bothered  me 
lost  have  found 
the  lotteries 
lie." 

|  lind-the-scenes 
[tender  age  of 
I  sctural  peculi- 
l  'ee  of  business, 
l  esale  fur  mer- 
1  >n  the  second 
uilding.  Here 
the  lad  after 
I  night  proceed 
I  ires  at  home. 
|  ie  rear  of  the 
I  red  a  musty, 
\  it  descended 
He  scram- 
rough  a  fire 
|  uderland.  It 
Martin  ka 
|  ral  illusions. 
:,  Al  gaped 
he  velvet- 
le  whirring 
>me  of  all, 
I  stopheleap 
1  i  and  Van- 

I  ajestically 
the  place 

I I  persona 


fffiM  smash 
War  Comedy 

WILL  BE  THE  FIKST 
PICTURE  ACTUALLY  TO 
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IN  NATIONAL  MAGAZINE 
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I  had  been 
l-nmortals 
liar,  Her- 
1  "hurston, 
IbleHou- 
■  )ne  Max 
1  pinch  he 
lianghai, 
ilalini  to 
I  of -hand 
Iterpiece 
l  of  thin 
L"  said 
VbH  my 
Id  it  by 
It  heads 
■  tarried 
V  cases 
I  bril- 
1 1 , and 
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I  teach 
ljckly 


These  Theatres  from  Coast  to  Coast  will  be  pi  i 
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YOUR  THEATRE  NAME 
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STATE 

YOUR  THEATRE  NAME 
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STATE 

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STATE 

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STATE 

YOUR  THEATRE  NAME 
YOUR  THEATRE  NAME 
YOUR  THEATRE  NAME 
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STATE 

YOUR  THEATRE  NAME 
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STATE 

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mr  favorite  theatre  is  not  listed  here,  ask 
imanager  when  he  will  be  playing  "Up  Front* 


DAVID  WAYNE «  &0£" 
TOM  EWELU^r 

MARINA  BERTI  •  JEFFREY  LYNN  •  RICHARD  EGAN 


tuced  by  LEONARD  GOLDSTEIN  •  Directed  by  ALEXANDER  HALL  •  A  UNIVERSAL-INTERNATIONAL  PICTURE 


AMERICAN  LEGION  and  VETERANS  OF  FOREIGN  WARS  Magazines 


BROTHERHOOD  WEEK  FEB-  18-25 
To  Promote  Brotherhood  All  Year! 


DOLLAR  SIGN  LANGUAGE! 


ENGEANCE 


The  first  reports  are 
in  from  World  Pre- 
mieres at  Florence, 
Colorado  where  it 
did  more  than  twice 
as  much  as  any  pre- 
vious M-G-M  picture 
and  Canon  City,  Colorado  where  it 
did  more  than  three  times  as  much 
as  former  M-G-M  high.  The  next 
engagement  at  Nashville  doubled 


BURT  LANCASTER 

HOT! 
Plus  Technicolor 


cT)eviFs  Doorway"  and  at  Kansas 
City,  it  topped  the  Xmas  business 
of  "Ambush."  As  reports  come  in, 
it  is  evident  that  showmen  have 
a  sock  audience  attraction,  a  BIG 
M-G-M  Technicolor  entertainment 
to  promote  for  pleasure  and  profit. 


M-G-M  presents  BURT  LANCASTER  in"  VENGEANCE 
VALLEY"  Co-starring  Robert  Walker  •  Joanne  Dru  •  Sally 
Forrest  with  John  Ireland  •  Ray  Collins  *  Color  by  Technicolor 
Screen  Play  by  Irving  Ravetch  •  Based  on  the  novel  and  Saturday 
Evening  Post  serial  by  Luke  Short'  Directed  by  RICHARD  THORPE 
Produced  by  NICHOLAS  NAYFACK         An  M-G-M  Picture 


BULLETIN 


EDITORIAL 

Vol.  19.  No.  5  February  26,  1951 

Page  Seven 


I  ^ 

THINK  IT  OVER 

BETTER  THAN  NONE 

"rJ""0  toil  for  a  hard  master 
is  bitter,   but  to  have  no 
master  to  toil  for  is  more  bit- 
ter still" — Oscar  Wilde. 


REVIEWS  in  This  Issue 


Iather's  Little  Dividend 
icHTNiNc  Strikes  Twice 
he  Groom  Wore  Spurs 

he  Enforcer   

oval  Wedding 
|ry  Dancer 

'pehation  x   

Lost  Worlds   


FlLi  BULLETIN— An  laacHaaoct  Malice  Plttarc 
Trace  Piwf  aakllikec  mry  ether  NeeCoy  ay  Fllo 
lilletln  Ceoeaay.     Ill  Wax,  Editor  act  Paklleacr. 

RUSINESS  OFFICE:  35  Wert  53rt  St..  lira  Verk. 
19;  Click  6-9159.  Datla  A.  Bader,  Boelaeu 
■aaaeer.  PUBLICATION  -  EDITORIAL  OFFICES: 
1239  VIm  St..  Pklladelekla  7.  Pa..  Bltteo- 
leesc  6-7424;  Barney  St.la,  Haaaaiaa  Edltcr;  Jack 
fatter,  Piklltatlaa  Maaaaer;  Retort  Haath,  Clrea- 
•ti»a  Blaaaaar.  HOLLYWOOD  OFFICE:  659  Harar- 
ard  Aae.,  Pacific  Palliadet,  Calif.,  Hillside  8183; 
•»  Alice.  Heltywecd  Editor.  Sakeerlatlaa  lata: 
IRE  YEAR.  $3.00  la  tkc  Ualted  Stataa;  Ccacda. 
14.00;  Eereac,  $5.00.  TWO  YEARS,  $5.00  la  tkc 
lalted  Statcc;  Caaada,  $7.50;  Earaac,  $9.00. 


MR.  MYERS  ANNUAL  REPORT 

As  always,  the  annual  report  on  the  State  of  the  movie  industry  bj  Ulied 
States  Association's  General  Counsel  was  thorough  and  realistic.  That  is  the 
style  of  Ahram  F.  Myers.  And  for  that  reason,  his  note  of  optimism  ahout  the 
future  carried  a  tone  resounding  and  significant. 

"There  is  every  reason  to  believe  that  tin-  motion  picture  husiness 
can  and  will  fight  its  way  hack  to  prosperity." 

Coming  from  a  clear-eyed  man  like  Mr.  Myers,  these  words  arc  indeed 
encouraging  to  an  industry  in  which  the  pessimists  and  calamity  howlers  have 
heen  having  a  field  day  for  the  past  year  or  so.  The  Allied  leader's  prediction 
is  hased  on  a  comhination  of  concrete  evidence  and  sound  prophecy.  There 
are  indications  that  we  have  turned  the  corner  and  that  the  downward  trend 
in  theatre  receipts  is  slowly  being  reversed.  And  there  are  good  reasons  to 
assume  that  the  future  state  of  our  national  economy  will  bring  ahout  a  better- 
ment in  the  public's  ability  to  buy  movie  tickets. 

"Experience  teaches  us,"  he  said,  "that  a  wartime  economy  contributes  to 
the  prosperity  of  the  motion  picture  business.  Competing  amusements  — 
television,  bowling,  etc.  —  will  be  required  to  carry  a  heavier  share  of  the  tax 
burden  .  .  .  The  recession  has  served  to  jar  the  entire  industry  out  of  its 
lethargy  and  the  neglected  art  of  showmanship  is  being  revived  everywhere. " 

Mr.  Myers,  in  his  report  to  the  Allied  board  of  directors,  had  something 
pertinent  to  say,  too,  about  the  desire  of  the  public  to  buy  movie  tickets:  "The 
pictures  are  better  than  ever."  This  is  a  hackneyed  phrase,  but  keep  in  mind 
that  it  was  not  being  voiced  by  a  film  executive.  Mr.  Myers  is  well-known 
for  choosing  such  words  rather  judiciously.  He  can  derive  some  personal 
satisfaction  from  attributing  the  improvement  in  current  product  to  the  fact 
that  "divorcement  and  divestiture  have  created  a  competitive  market  and  has 
put  the  producers  on  their  toes."  Another  reason,  he  says,  is  that  Hollywood, 
"having  been  hit  in  the  pockethook,  has  thrown  off  its  complacency  and  gone 
to  work." 

On  the  vital  subject  of  television,  Mr.  Myers  offered  some  keen  observa- 
tions. "It  has  been  given  far  too  much  credit  for  the  movies'  present  distress 
and  that  false  emphasis  has  tended  to  tear  down  the  movies  and  build  up 
television.  Publicly  expressed  fear  of  this  new  competitor  has  done  serious 
harm  to  our  own  industry  and.  if  television  were  to  fold  up  tomorrow,  other 
adverse  factors  would  remain  to  plague  us,  at  least  for  a  while."  He  called 
attention  to  a  recent  survey  in  Detroit  which  indicates  "that  people  are  begin- 
ning to  judge  television  programs  on  their  merits  and  find  them  wanting." 
This  is  in  line  with  reports  that  are  becoming  increasingly  widespread  and 
which  should  offer  encouragement,  particularly  to  affected  exhibitors  in  heav- 
ily saturated  TV  areas. 

Ever  militant  in  his  protection  of  the  independent  exhibitors'  welfare, 
Mr,  Myers  pointed  up  the  danger  that  the  "yoke  of  compulsory  block-booking" 
might  again  be  foisted  upon  them  if  they  are  not  alert  and  organized.  He 
also  referred  to  the  increasing  rumblings  from  exhibitor  sources  accusing  some 
distributors  of  ignoring  the  plight  of  theatres  hit  by  the  slump.  "I  do  not 
suggest  there  is  a  price  agreement  among  them  (the  distributors)  in  the  usual 
sense;  merely  that  there  is  a  common  purpose  implicit  in  their  sales  policy 
to  maintain  their  own  profits  in  time  of  common  disaster  at  the  expense  of 
the  exhibitors." 

But,  in  the  main,  the  keynote  of  this  report  was  optimism.  There  is  faith 
and  hope  and  promise  in  Mr,  Myers*  comments  on  the  boxoffice  situation. 

"Since  the  first  of  the  year  the  situation  has  taken  a  turn  for  the  better. 
Higher  grosses  are  reported  from  all  sections  of  the  country,  although  still 
below  those  of  the  corresponding  period  of  last  year.  This  improvement  is 
generally  attributed  to  the  release  of  better  pictures  and  that  probably  is  the 
main  reason.  But  I  am  convinced  that  there  are  other  contributing  factors 
— factors  that  will  assert  themselves  with  increasing  force  as  time  wears  on." 


KtacttoH  to  'ADULTS  ONLY!1  94e* 


BUT .  .  .  IS  IT  PRACTICAL? 

In  the  search  for  an  answer  to  the  perennial  problem  of  children  and  motion  pictures, 
the  February  12  issue  of  FILM  BULLETIN  in  a  feature  story  titled  "FOR  ADULTS  ONLY!" 
explored  the  possibilities  of  an  industry-wide  policy  of  designating  pictures  as  (II  Recom- 
mended for  Children;  (2)  Unsuitable  for  Children;  (3)  For  Adults  Only.  It  was  suggested 
in  this  article  that  not  only  would  the  industry  find  this  system  a  means  of  fostering  good 
will  and  a  judicious  method  of  coping  with  repeated  allegations  that  some  films  are  harm- 
ful to  children,  but  that  it  might  also  prove  a  i  actual  boon  to  the  boxoffice  by  recapturing 
a  large  portion  of  that  so-called  "lost"  adult  audience. 

The  views  expressed  in  The  BULLETiN  article  stimulated  considerable  interest 
throughout  the  industry  and  evoked  some  cogent  reactions  from  people  who  have  studied 
the  problem  closely.  Following  are  some  of  t.ie  most  pertinent  comments  that  have  come 
to  us  on  the  ideas  contained  in  that  article.  We  feel  our  readers  will  find  them  of  consider- 
able interest. 


O'DONKLL 


Your  story  caption- 
ed, FOR  ADULTS 
ONLY  hits  very  close 
to  home,  and  I  can 
best  explain  that  ob- 
servation by  merely 
enclosing  a  copy  of  a 
memo  prepared  by 
our  John  Adams  in 
August  of  1949  whicn 
was  filed  with  COMPO 
at  that  time.  (See 
next  page). 

We  discontinued  car- 
rying these  classifica- 
ions  in  our  advertisements  rather  reluc- 
tantly in  the  fall  of  1950.  and  this  came 
about  as  a  result  of  a  conference  which 
foe  held  in  Dallas  of  all  our  City  Man- 
agers, when  the  subject  of  these  classifi- 
cations was  thoroughly  discussed  and  ap- 
praised. 

While  we  in  the  General  Office  felt  they 
nad  considerable  merit,  our  men  in  the 
jfield  felt  that  they  were  not  appreciated 
by  the  public  —  that  in  fact  the  classifica- 
:ions  were  confusing  and  sometimes  mis- 
eading  —  and  that  by  and  large  they 
vould  rather  be  without  them.  This  de- 
rision was  almost  unanimous  and  we  ac- 
cordingly bowed  to  their  decision. 

I  It  is  rather  interesting  to  note  that 
(when  we  eliminated  these  classifications 
in  our  some  157  theatres,  there  were  al- 
Jmost  no  complaints  from  the  parents,  l 
phink  the  sum  and  substance  of  the  reac- 

ion  amounted  to  no  more  than  two  or 

hree  letters. 

We  therefore  cannot  help  but  feel  that 
hile  our  original  theory  was  perfectly 
ound,  as  a  practical  matter  the  public 
d  the  parents  paid  little  or  no  attention 
o  the  classifications  and  that  they  were 
lot  truly  appreciated. 

As  a  final  note,  I  might  add  that  some 
of  our  newspapers  still  carry  the  classi- 
fications in  a  special  box,  which  appears 
a  week. 

R.  J.  ODONNELL. 
Interstate  Circuit,  Inc. 


tothpr 


INTERSTATE  Innovation 


ULLAS  MOTION  PICTURE  REVIEWING  BOARD  RATINGS  IN  ALL  AOS 


• 


..VP-— ADIT.T 


VO(  SC.  PFOPI.F. 


Classifications  of  pictures  as  to  suit- 
ability for  juvenile  audiences  shall  con- 
tinue to  depend,  as  it  has  in  the  past, 
on  the  good  taste  and  scrupulousness  of 
the  individual  theatre  manager  or  owner. 
It  is  notable  that  the  good  showman,  one 
who  is  able  to  forego  a  quick  buck  for 
the  sake  of  maintaining  good  will,  is 
never  criticized  for  bad  programming  or 
encouraging  juvenile  trade  on  unsuitable 
pictures. 

As  you  say,  the  term,  ADULTS  ONLY, 
is  too  universally  employed  to  exploit  sex 
pictures  or  other  sensational  claptrap  — 
which  might  better  be  labelled  FOR 
MORONS  ONLY  —  to  serve  as  a  designa- 
tion for  pictures  which  are  not  entertain- 
ing for  children. 

It  has  been  our  practice  to  identify 
thought-provoking  films,  or  those  whose 
subject  matter  is  above  juvenile  compre- 
hension, with  some  variation  of  this 
phrase:  ADULT  ENTERTAINMENT  — 
This  Picture  Will  Neither  Interest  Nor 
Entertain  Children.  For  example,  pic- 
tures like  SNAKE  PIT.  GENTLEMAN'S 
AGREEMENT,  even  ALL  ABOUT  EVE. 
We  believe  this  practice  serves  a  dual 
purpose.  It  keeps  the  "kiddies''  away, 
and  it  indicates  to  the  more  discriminat- 
ing patron  that  here  is  a  picture  which 
has  subject  matter  a  cut  above  the  aver- 
age film,  therefore  we  have  found  the 
practice  to  be  profitable. 

It  has  been  my  observation  that  most 
of  the  criticism  with  which  your  article 
deals  stems  from  bad  programming  in 
neighborhood  theatres  which  deal  with 
the  bulk  of  juvenile  patronage.  All  too 
often  a  wholesome,  family-type  picture 
is  teamed  with  one  entirely  unsuitable  for 
children.  Too  many  times,  I  am  afraid, 
this  is  done  deliberately,  in  a  mistaken 
effort  to  attract  patronage  with  divergent 
tastes,  but  with  the  net  result  that  nobody 
is  happy. 

SENN  LAWLER 
Publicity  Director 
Fox-Midwest  Amusement  Corp. 


We're  in  "dutch"  enough  now  witn  the 
public  —  why  deepen  the  hole! 

P.  J.  WOOD 
Secretary,  ITO  of  Ohio 


I  have  completed 
reading  your  article 
entitled  "For  Adults 
Only."  I  am  giving 
you  my  personal  reac 
ticn.  I  think  it  im- 
portant to  qualify  that 
this  organization  al- 
ways has  been  and 
still  is  most  interested 
in  our  child  patron- 
age. We  have  done  ■»  I 
our  utmost  to  culti- 
vate it.  We  must  ad-  Reade 
mit  we  have  not  had 
any  exceptional  success  in  this  field,  how- 
ever. 

Frankly,  I  am  pleased  with  your  think- 
ing and  will  go  along  with  some  of  its 
suggestions  and  possibilities.  The  main 
reason  that  we  are  loathe  to  say  "hurrah" 
and  "this  is  it,"  is  the  fact  that  so  often 
exhibitors  as  a  whole,  I  do  not  mean  to 
individualize,  merely  put  a  label  on  mo- 
tion pictures  "For  Adults  Only"  to  en- 
courage the  box  office  potential  of  the 
picture.  This,  it  goes  without  saying, 
would  defeat  the  thought  and  entire  pur- 
pose of  your  suggestions.  It  would  seem 
to  me  that  if  we  follow  through  on  the 
basic  premise  of  using  positive  advertis- 
ing rather  than  negative  advertising,  we 
might  accomplish  more.  In  other  words 
instead  of  "For  Adults  Only."  some  sort 
of  a  catch  line  or  phrase  like  "Recom- 
mended Especially  for  Children." 

I  don't  know  whether  I  have  made  my- 
self clear  or  whether  my  suggestion  or 
thinking  has  been  of  any  help  to  you, 
but  I  wish  to  take  this  opportunity  to 
congratulate  you  for  doing  anything  to 
encourage  child  patronage  in  motion  pic- 
ture theatres  today. 

WALTER  READE.  JR. 

W alter  Reade  Theatres 


It  seems  to  me  that  the  article's  pro- 
posal would  be  fine  if  it  were  workable. 
But  don't  you  underrate  the  obstacles? 
To  begin  with,  you're  dealing  with  one  of 
those  ideas  that  can't  even  get  a  fair  trial 
unless  it  is  uniformly  adopted,  at  least 
in  a  community  of  significant  size.  I'm 
afraid  that  even  such  a  limited  trial  is 
too  much  to  hope  for.  exhibitors  being  the 
free  spirits  they  are. 

However,  if  the  idea  could  be  tried  out, 
I  have  a  feeling  that  the  familiar  cheap 


(Continued  on  Page  12) 


FEBRUARY   26,  1951 


"FATHER'S  LITTLE  DIVIDEND'  SMASH  SEQUEL  TO  A  SMASH  HIT 


Rates  •  •  •  +  except  for  action  houses 

MG3I 

$2  (minutes 

Spencer  Tracy,  Joan  B2nnett,  Elizabeth 
Taylor,  Don  Taylor,  Billie  Burke,  Moroni 
Olsen,  Richard  Rober,  Marietta  Canty, 
Busty  Tamblyn,  Tom  Irish,  Hayden 
Rorke,  Paul  Harvey. 
Directed  by  Vincente  Minnelli. 


"Father's  Little  Dividend"  provides  one 
of  those  rare  occasions  in  movie  history 
—  a  smash  sequel  to  a  smash  hit.  Wise- 
ly retaining  all  the  people  instrumental  in 
making  "Father  of  the  Bride"  such  a  suc- 
cess both  boxofficewise  and  in  terms  of 
entertainment,  Metro  has  in  this  elegant 
Pandro  Berman  production  a  real  treat 
for  the  family,  far  discriminating  patrons, 
2nd  even  for  the  so-called  low-brow  ele- 
ment of  the  movie-going  public.  Business 
will  be  up  near  the  record-breaking  level, 
except  in  theatres  where  action  is  a  prime 
requisite.  The  script  of  "Dividend,"  by 
Albert  Hackett  and  Frances  Goodrich,  is 


•  POOR  •  •  FAIR 

•  •  •  GOOD  •  •  •  •  TOPS 


based  on  the  same  characters  created  by 
Edward  Streeter  in  the  original.  It  is 
crowded  with  warm,  true-to-life  situations 
and  bountiful  with  uproarious  dialogue. 
Once  more,  the  story  revolves  around 
Spencer  Tracy,  as  Father,  and  again  this 
veteran  actor  scares  a  great  triumph  in 
a  wonderfully  enjoyable  movie. 

The  other  principal  members  of  the 
cast  are  excellent,  though  not  approach- 
ing the  brilliance  of  Tracy's  performance. 
Elizabeth  Taylor,  in  particular,  is  com- 
pletely believable  as  the  young  mother- 
to-be,  with  an  extra  bouquet  in  order  for 
the  make-up  department  for  making  her 
pregnancy  look  so  real.  Don  Taylor  is 
back  as  the  proud  papa,  Joan  Bennett,  as 
Elizabeth's  mother,  and  Billie  Burke  and 
Moroni  Olsen  repeat  as  the  in-laws.  Vin- 


cente Minnelli's  direction  fully  capitalize; 
the  story's  human  and  comic  situations. 

STORY:  Picking  up  where  "Father  I 
the  Bride'  left  off,  Spencer  Tracy  develf 
ops  an  antagonistic  attitude  toward  hi.i| 
son-in-law,  Don  Taylor,  when  the  news* 
that  Tracy's  daughter,  Elizabeth  Taylor! 
is  expecting  a  baby.  Don's  parents  am 
Elizabeth's  mother,  Joan  Bennett,  an 
overwhelmed  by  the  prospects  of  having 
another  infant  to  raise,  and,  much  t< 
Tracy's  disgust,  immediately  set  out  t< 
make  plans  for  the  baby's  future.  Whei: 
the  boy  is  born,  he  and  Tracy  take  I 
quick  dislike  for  each  other,  and  nothing 
Elizabeth,  "Grandma"  Bennett  or  anyonr 
does  changes  the  situation.  Finally,  thiJ 
baby  smiles  for  the  first  time  when  Tracjj 
picks  him  up  and  from  then  on,  tin1 
"king"  can  do  no  wrong.  Tracy's  happi  I 
ness  is  complete  when,  after  a  six-monti: 
delay,  the  child's  parents  baptize  the  in' 
fant  with  the  maternal  grandfather*!  firs  I 
name.  LEON. 


"LIGHTNING  STRIKES  TWICE'  SPINE-TINGLING  SUSPENSE  MELODRAMA 


Rates  •  •  •  generally 

Warners 
91  minutes 

Richard    TodcL,  Ruth   Roman,  Mercedes 
McCambridge,  Zachary  Scott,  Frank  Con- 
roy,    Kathryn    Givney,   Rhys  Williams, 
Darryl  Hickman,  Nacho  Galindo. 
Directed  by  King  Vidor 


For  most  of  its  91  minutes,  the  sus- 
pense in  "Lightning  Strikes  Twice"  is 
drawn  as  tight  as  a  high-pitched  violin 
string.  Some  moments  in  this  Warner 
picture  reach  a  shrill  crescendo  that  send 
chills  running  up  the  spine  of  the  spec- 
tator, so  startling  and  shocking  are  their 
effect.  Basically,  this  is  a  mystery,  but 
it  has  soap  opera  overtones  that  should 
prove  very  appealing  to  the  women.  All 
of  this  adds  up  to  mean  that  "Lightning 
Strikes  Twice"  should  have  a  successful 
boxoffice  career  in  all  types  of  theatres, 
for  there  are  elements  to  please  every 
strata  of  the  moviegoing  public.  While 
the  cast  does  not  include  any  topflight 
names,  it  has  fairly  good  values  in  Ruth 


Roman,  Richard  Todd,  Zachary  Scott  and 
Mercedes  McCambridge,  of  "All  The 
King's  Men"  fame,  and  word-of-mouth  is 
bound  to  give  this  exciting  melodrama  a 
strong  boost.  The  taut  screenplay,  based 
on  a  novel  by  Margaret  Echard,  is  the 
product  of  one  of  Hollywood's  most  pro- 
ficient scripters,  Lenore  Coffee,  and  King 
Vidor's  shrewd  direction  extracts  the  max- 
imum tension  from  it. 

The  promising  Ruth  Roman  has  her 
strongest  dramatic  role  to  date  and  scores 
vividly  as  the  actress  who  goes  out  West 
for  a  rest  and  becomes  entangled  in  a 
web  of  strange  circumstances.  Richard 
("Hasty  Heart")  Todd  turns  in  a  well- 
shaded  performance  as  the  victim  of  sus- 
picion of  murder.  Mercedes  McCambridge 
lends  authority  to  the  role  of  the  jealous 
murderess,  and  Zachary  Scott  makes  a 
brief  but  effective  appearance.  Able  sup- 
port is  rendered  by  Frank  Conroy,  Kath- 
ryn Givney,  Rhys  Williams  and  Darryl 
Hickman.  The  Henry  Blanke  production 
is  first-rate. 

STORY:  Ruth  Roman,  stage  actress,  is 


ordered  by  her  doctor  to  take  a  rest.  En, 
route  to  a  dude  ranch  in  Texas,  she  loses, 
her  way  in  a  storm  and  seeks  refuge  in « 
house  occupied  by  Richard  Todd,  whon 
she  identifies  as  a  man  recently  acquittet 
of  his  wife's  murder.  Still  suspected  bj 
the  people  in  the  community,  he  is  livinf 
an  isolated  existence.  At  the  dude  ranch 
Ruth  meets  Mercedes  McCambridge  an«' 
her  crippled  young  brother,  Darryl  Hick 
man,  from  whom  she  learns  that  tht( 
ranch  has  been  closed  because  of  the  hos 
tility  of  the  townspeople  to  her  becaus> 
she  was  the  lone  juror  to  hold  out  fo' 
Todd's  acquittal.  Despite  the  doubt  a 
to  his  innocence,  Ruth  falls  in  love  witl< 
Todd  and  they  marry.  Subsequent 
Mercedes  confronts  Ruth  and  attempts  t| 
kill  her,  but  not  before  confessing  he> 
secret  love  for  Todd  and  the  fact  tha, 
she  had  murdered  his  wife.  Mercede 
escapes  when  Todd  and  Zachary  Scott  ar 
rive  on  the  scene,  but  she  and  her  brothe' 
are  later  found  dead  in  their  wrecked  caij 
leaving  Todd  and  Ruth  free  for  a  life  o; 
happiness.  JACKSON. 


'THE  GROOM  WORE  SPURS' 

Rates  •  •  +  as  dualler;  better  for  rural 

Universal-International 
£0  minutes 

Ginger  Rogers,  Jack  Carson,  Joan  Davis, 
Stanley  Ridges,  James  Brown,  John  Li- 
tel,  Victor  Sen-Yung,  Mira  McKinney, 
Gordon  Nelson,  George  Medder,  Kemp 
Nlver,  Robert  B.  Williams 
Directed  by  Richard  Whorf 


This  romantic  farce  tries  hard  to  be 
hilariously  funny,  but  the  strain  shows. 
It  manages  to  be  amusing  only  in  a  few 
spots.  Based  on  a  Collier's  story  by  Ro- 
bert Carson,  who  also  did  the  screenplay, 
"The  Groom  Wore  Spurs"  never  realizes 
the  comedy  potential  of  the  plot  about  a 
movie  cowboy  who  is  a  complete  fraud. 
Unfortunately,  it  wastes  the  humorous 


FARCE  FAILS  TO  COME  OFF 

locations;  less  for  action  houses 

and  dramatic  talents  of  a  cast  that  de- 
serves a  better  fate.  It  should  benefit  at 
the  gate  from  the  presence  of  Ginger 
Rogers,  Jack  Carson  and  Joan  Davis,  but 
despite  their  untiring  efforts,  the  tired 
satire  and  slapstick  embodied  in  the  script 
succeeds  in  mustering  only  a  light  sprink- 
ling of  chuckles.  Boxoffice  prospects  for 
this  Fidelity  Pictures  production  for  U-I 
release  are  just  fair  generally,  although 
it  might  do  surprisingly  well  in  rural 
areas. 

Ginger  Rogers,  as  the  attorney  who 
falls  in  love  with  a  movie  cowboy  hero 
only  to  find  he  is  a  complete  phony, 
handles  her  assignment  capably,  as  does 
Jack  Carson,  the  hard-ridin*,  sweet-singin', 
guitar-playin'  western  star  who  can't  ride, 
sing  or  play  a  guitar.  Joan  Davis.  Gin- 
ger's glib-tongued  roomie,  does  okay  with 


her  gag  lines.  Production  by  Howar 
Welsch  is  fair,  and  Richard  Whorf  s  dire 
tion  is  at  its  best  in  the  slapstick  scene 
such  as  the  wild  chase  climax  at  an  ai 
field,  with  an  airpiane  taxi-ing  crazil 
around  the  runways. 

STORY:  Jack  Carson,  a  cowboy  fib 
star  who  is  terrified  of  horses,  can't  sini 
and  is  always  chasing  dames,  hires  Gingti 
Rogers  as  his  attorney  to  settle  a  $60,0^ 
gambling  account.  He  owes  the  money  I 
Stanley  Ridges.  They  go  to  Las  Vegai 
where  the  attorney  falls  far  the  phom 
cowboy  and  marries  him.  She  continue 
to  love  him  despite  her  discovery  that  1 
is  just  a  fake.  When  a  gambler  is  bum 
ed  off  and  Carson  is  suspected,  she  maj 
ages  to  free  him,  and  together  they  rourr 
up  the  real  killer  in  a  slapstick  scene  \ 
the  airport.  LEON. 


10 


FILM  BULLET! 


THE  ENFORCER*  SORDID  17 

ates  •  •  •  for  action  houses;  less  in  fa 

Earners 
7  minutes 

lumphrey  Bogart.  Zero  Mostel,  Ted  De 
orsia,  Everett  Sloane,  Roy  Robert**, 
JMvrence  Tolan,  King:  Donovan,  Robert 
Steele,  Pat  Joiner,  Don  Bedloe,  Tito  Vu- 
lo,  John  Kellogg,  Jack  Lambert,  Ade- 
aide  Klein,  Susan  Cabot,  Mario  Siletti. 
lireeted  by  Bretaigne  Windust. 


"The  Enforcer"  is  a  sordid,  rather  grue- 
ome  melodrama  featuring  Humphrey 
'Jogart  in  a  hard  bitten,  two-fisted  district 
ittorney  role.  Reminiscent  of  the  in- 
amous  Murder,  Inc.  gang  rounded  up 
ijome  years  ago  in  Brooklyn,  this  Warner 
brothers  release  spins  a  violent  yarn  of 
murder  for  profit  and  the  relentless  ef- 
forts of  a  fighting  law  enforcer  to  track 
jiown  the  killers.  In  his  direction.  Bre- 
aigne  Windust  stirs  up  considerable  sus- 
jense  and  excitement,  but  som2  of  the 
•alculated  effect  is  lost  through  the  use 


LE  OF  MURDER  FOR  PROFIT 

lily  situations 

of  flashbacks  telescoped  within  each 
other.  In  addition,  the  gory  details  of 
the  crime  ring's  activities  lose  some  of 
their  effectiveness  from  overexposure, 
leaving  the  viewer  with  a  feeling  of  in- 
credibility. "The  Enforcer,"  a  U.  S.  Pic- 
tures offering  produced  by  Milton  Sper- 
ling, will  please  the  Bogart  following, 
netting  highest  boxoffice  receipts  in  action 
situations.  It  will  not  fare  so  well  in 
family  houses. 

Bogart  is  properly  tough  and  rugged 
on  the  .right  si»'e  of  the  law.  As  the 
flabby,  weak-willed  member  of  the  mur- 
der ring,  Zero  Mostel  is  unimpressive, 
while  Ted  De  Corsia  is  merely  adequate 
as  the  second-in-command  of  the  killer 
mob.  Eva-ett  Sloare  makes  a  belated 
appearance  as  the  crime  leader  and  fails 
utterly  to  impress  as  anything  other  than 
a  nice  little  guy. 


STORY:  Left  without  a  case  against 
murder  -  for  -  profit  rineleader  Everett 
Sloane  when  the  latter's  ex-hcnchman, 
Ted  De  Corsia,  gets  himself  killed  rather 
than  testify  for  the  State,  assistant  dis- 
trict attorney  Humphrey  Bogart  franti- 
cally searches  for  another  witness  who 
will  put  the  finger  on  Sloane.  After  re- 
viewing the  entire  case,  via  flashback, 
Bogart  realizes  that  an  eye-witness  to  a 
killing  by  Sloane,  supposedly  murdered 
by  one  of  the  gang's  killers,  is  still  alive. 
At  the  same  time,  Sloane,  who  is  in  jail 
awaiting  trial,  learns  that  this  witness,  a 
girl,  hasn't  been  killed  and,  through  his 
lawyer,  sends  a  couple  of  killers  after  her. 
Bogart  and  the  two  thugs  simultaneously 
locate  the  girl  in  a  crowded  street,  Bogart 
thwarts  their  attempts  to  shoot  her,  and 
brings  in  the  witness  who  will  send 
Sloane  to  the  chair.  YORK. 


ROYAL  WEDDING'  LAVISH  AND  LIVELY  MU3[CAL  COMEDY  IN  TECHNICOLOR 


lates  •  •  •  where  musicals  click 
>IGM 

93  minutes 

■Fred  Astaire,  Jane  Powell,  Peter  Law- 
ford,  Sarah   Churchill,    Keenan  Wynn, 
Albert  Sharpe,  Viola  Roache,  Henri  Le- 
londal,  James  Finlayson. 
Directed  by  Stanley  Donen 


"Royal  Wedding"  is  a  gay  and  lavish 
tunefilm  moulded  in  the  pattern  of  Met- 
ro's successful  technicolor  musicals.  Bus- 
iness will  be  good  wherever  musicals  are 
accepted  and  favorable  word-of-mouth 
wall  bring  added  response  to  subsequent 
Jruns.  The  songs  and  dances  are  novel, 
catchy,  and  plentiful,  performed  with  zest 
by  Fred  Astaire  and  his  new,  accomplish- 
ed dancing  and  singing  partner,  Jane 
Powell.     Astaire,    inimitable,    turns  in 


some  of  his  smartest  dance  routines,  one 
that  takes  him  up  the  walls  and  across 
the  ceiling  being  sure  to  draw  gasps  for 
the  spectators.  Jane  Powell  keeps  up 
with  Astaire  every  step  of  the  way  and  is 
quite  charming  as  Peter  Lawford's  love 
interest.  Keenan  Wynn  has  several  amus- 
ing sequences  in  the  dual  role  of  twin 
brothers,  one  very  American,  the  other 
very  British,  both  theatrical  agents.  There 
are  two  pleasant  romances,  between  Jane 
Powell  and  Peter  Lawford  and  between 
Astaire  and  Sarah  Churchill,  who  makes 
her  American  film  debut.  The  story  by 
Alan  Jay  Lerner  is  of  little  consequence, 
but  director  Stanley  Donen  keeps  it  mov- 
ing along  at  a  fast  pace  without  allowing 
it  to  intrude  too  much  on  the  musical 
numbers.  One  of  the  film's  highlights  is 
a  "Frankie  and  Johnny"  type  of  song  and 


dance  bearing  the  mouthful  title,  "How 
Could  You  Believe  Me  When  I  Said  I 
Loved  You  When  You  Know  I've  Been  A 
Liar  All  My  Life". 

STORY:  The  brother-sister  dancing  and 
singing  team  of  Jane  Powell  and  Fred 
Astaire  are  a  huge  success.  They  accept 
an  offer  by  their  agent,  Keenan  Wynn, 
to  perform  the  show  during  the  period  of 
the  royal  wedding  in  England.  Enroute 
by  boat,  Jane  becomes  acquainted  wirh 
Peter  Lawford,  while  Astaire  meets  Sarah 
Churchill  in  England.  Jane  and  Astaire 
both  realize  they're  in  love,  but  decide  to> 
do  nothing  about  it  to  keep  their  team  to- 
gether. During  the  procession  of  the 
royal  wedding  and  among  the  London 
crowds,  Jane  and  Astaire  seek  out  their 
mates  and  are  married  that  afternoon  in 
a  double  wedding.  GRAN. 


CRY  DANGER*  CRIME  MELU 

Rates  •  •  •  for  action  houses;  slightly 
RKO 

79  minutes 

Dick  Powell,  Rhonda  Fleming,  Richard 
Erdman,  William  Conrad,  Regis  Toomey, 
Jean  Porter,  Jay  Adler,  Joan  Banks, 
Gloria  Saunders,  Hy  Averbach,  Renny 
McEvoy,  Lou  Lubin,  Benny  Burt. 
Directed  by  Robert  Parrish. 


This  suspenseful  crime  melodrama 
iscores  a  bullseye  as  entertainment  and 
boxoffice.  Featuring  Dick  Powell  in  the 
familiar  role  of  a  lady-killer  tough  guy, 
"Cry  Danger"  is  loaded  with  every  ele- 
ment that  goes  into  making  this  type  of 
movie  a  hit.  Tense,  exciting  situations, 
i  mystery  and  violence  are  mixed  with 
'.sparkling  dialogue,  moving  the  footage 
along  at  an  interesting  and  rapid  clip. 
;  Add  to  this  several  good  acting  stints, 
a  credible  plot  and  a  realistic  background, 
and  you  have  a  movie  which  audiences 
in  all  situations  should  find  to  their  lik- 
ing. This  RKO  release  will  get  its  best 
reception  in  action  houses,  but  it  should 
do  well  above  average  generally.  Favor- 


■R  HAS  SUSPENSE,  ACTION 

less  elsewhere 

able  word-of-mouth  and  proper  exploita- 
tion should  make  it  a  strong  attraction 
in  subsequent  runs. 

As  the  pardoned  ex-convict  who  sets 
out  to  bring  to  justice  the  man  respon- 
sible for  sending  him  to  prison,  Powell 
leaves  little  to  be  desired.  Rhonda  Flem- 
ing turns  in  an  adequate  performance  as 
the  double-dealing  wife  of  his  buddy.  The 
supporting  cast  is  excellent  all  the  way 
down  the  line,  with  special  notice  due 
Richard  Erdman  for  his  portrayal  of  the 
heavy  drinking,  one^essed  ex-Marine. 
Robert  Parrish's  direction  :'s  appropriate- 
ly taut  and  fast-paced,  with  enual  praise 
going  to  production  by  Sam  Wiesenthal 
and  W.  R.  Frank  and  Joseph  F.  Biroc's 
clever  photograDhv.  And.  finally,  to 
screen  writer  William  Bowels  and  dialo- 
gue director  Rodnev  Amateau  go  credit 
for  some  sharp  dialogue ;  sample:  "Occa- 
sionally I  always  drink  too  much." 

STORY:  Dick  Powell,  pardoned  after 
having  served  five  years  of  a  Hfe  sentence 
for  a  $100,000  stickup  killing,  returns  to 
Los  Angeles  to  try  to  uncover  the  gan? 
leader  who  had  framed  him.  Powell 
teams  up  with  Richard  Erdman,  a  hard- 
drinking  one-legged  ex-Marine,  whose  be- 


lated testimony  won  Powell  his  pardo.c 
Erdman  admits  he  lied  to  the  police,  figur- 
ing Powell  would  reward  him  with  part 
of  the  swag  which  was  never  recovered. 
The  two  men  rent  a  trailer  in  a  trailer 
camp,  and  Powell  contacts  William  Con- 
rad, who  was  instrumental  in  sending 
Powell  to  prison.  When  Powell  demands 
$50,000,  Conrad  gives  him  $500,  telling 
him  to  bet  it  on  a  horse,  a  long  shot 
that  wins  and  pays  8  to  L  However, 
Conrad  arranges  for  Powell  to  be  paid 
off  in  marked  bills.  Powell  is  picked  up 
by  police  detective  Regis  Toomey,  tells 
him  his  story,  but  all  traces  have  been 
covered  by  Conrad's  men.  Toomey  re- 
leases Powell,  and  a  couple  of  gunmen, 
on  Conrad's  orders,  attempt  to  kill  Powell 
and  Rhonda  Fleming,  wife  of  his  friend 
who  is  still  in  prison.  They  mistake  Erd- 
man and  his  p-irl  friend,  Jean  Porter, 
for  their  real  quarry,  kill  the  girl  and 
wound  Erdman.  Powell  forces  a  confes- 
sion from  Conrad  at  gunpoint  and  learns 
to  his  disgust  that  Rhonda  and  her  hus- 
band were  in  with  Conrad  all  along.  He 
turns  Rhonda  over  to  the  police  when 
she  asks  him  to  go  away  with  her  and 
her  half  of  the  money.  JACKSON. 


FEBRUARY   26,  1951 


(More  Reviews  on  Page  23) 


11 


REACTION  TO  'ADULTS  ONLY!' 


{Continued  from  Page  9) 
connotation  of  the  "For  Adults  Only"  tag, 
or  even  "Unsuitable  for  Children,"  would 
prove  a  greater  handicap  than  you  sug- 
gest. And  would  the  use  of  this  labeling 
system  really  take  the  heat  off  the  movies 
for  allegedly  contributing  to  juvenile  de- 
linquency, etc.  ?  Unless  kids  have  changed 
a  lot  since  I  was  a  boy,  the  "unsuitable" 
tag  would  be  a  magnet  for  children  — 
and  how  long  is  the  average  exhibitor  go- 
ing to  keep  turning  them  away  from  the 
box  office?  Still  another  problem  is  posed 
by  the  fact  that  many  of  the  movies  pre- 
ferred by  children  (according  to  Mrs. 
Dawson's  findings)  are  among  the  very 
ones  thought  by  parents  and  psycholo- 
gists to  be  unsuitable  for  them.  It's  my 
impression  that  those  who  howl  about  the 
bad  influence  of  movies  on  kids  are  point- 
ing not  so  much  to  sex  as  to  violence  and 
gunplay.  This  would  seem  to  make  it 
impossible  to  reach  a  compromise  (satis- 
fying parents,  children  and  exhibitors)  as 
to  what  children  like  most  and  what  is 
suitable  for  them. 

The  article  strikes  me  as  over  optimistic 
in  some  other  respects,  but  I've  carped 
enough.  On  the  positive  side,  I  think  that 
the  piece  is  on  the  right  track:  the  mak- 
ing and  merchandising  of  movies  should 
be  aimed  more  often  at  specialized  audi- 
ences —  which  can  be  pretty  sizable  — ■ 
instead  of  at  the  whole  potential  public 
all  the  time. 

From  the  Motion  Picture  Editor  of 
d  National  Magazine,  who  asked  that 
his  name  not  be  used. 
«  •  * 

Your  article  "For  Adults  Only"  in  FILM 
BULLETIN  for  February  12th  is  aptly 
titled,  for  I  believe  that  an  idea  to  attract 
and  hold  adult  patronage  is  almost  as 
important,  if  not  more  so,  than  ways  and 
means  of  getting  the  patronage  of  the 
children. 

Don't  take  this  to  mean  that  we  treat 
the  children  lightly.  Quite  to  the  con- 
trary, we  believe  that  most  exhibitors  are 
always  busy  devising  ways  and  means  of 
developing  more  "kid"  business.  We're 
for  that,  1007c.  Obviously,  when  children 
go  to  the  movies  regularly,  there's  a  bet- 
ter chance  that  they'll  continue  to  be 
patrons  when  they  pass  that  birthday  on 
which,  boxofficewise,  they  become  "ad- 
ults." Exhibitors  interested  in  developing 
their  child  patronage  still  further  will 
read  your  article  with  interest  for  it  cer- 
tainly is  thought  povoking. 

Your  citation  of  the  lack  of  code,  or 
non-observance  of  the  rules  of  responsi- 
bility by  other  segments  of  the  entertain- 
ment field  is  not  quite  paralleled  in  our 
industry  since  motion  pictures  have  had 
a  production  code  for  many  years  and 
this  code  recognized  from  the  beginning 
that  children  do  go  to  the  movies.  And, 
after  all  these  years,  any  superficial 
charges  that  the  movies  contribute  to  de- 
linquency have  been  pretty  thoroughly 
exploded  as  being  without  basis  in  fact. 

Now  to  get  to  your  explicit  proposal 
Ot  advertising  pictures  as  "Unsuitable  for 
Children,"  or  "For  Adults  Only."  It  is 
indeed  interesting  to  observe  either  (a) 
that  our  children's  parents  are  confident 
that  our  industry  will,  by  and  large,  pro- 
tect the  youngsters  entrusted  with  the 
price  of  a  movie  ticket,  or  (b)  that  they 
are  so  unconcerned  with  what  their  chil- 
dren see  that  we  must  take  the  initiative 
and  warn  them,  "Don't  Let  The  Kids  See 
This  One!"  I  prefer  to  hold  with  the  first 


conclusion  —  that,  by  and  large,  the  pro- 
ducers in  Hollywood  make  a  great,  pre- 
ponderant balance  of  pictures  which  the 
children  may  safely  see  without  being 
harmed.  Bored  sometimes,  yes,  perhaps, 
but  it  would  be  pretty  difficult  to  try  to 
tell  either  children  or  adults  beforehand, 
"This  will  bore  you."   Who  knows? 

Parents,  generally,  do  trust  local  exhi- 
bitors to  provide  decent  shows  on  the 
days  when  their  children  go  to  the 
movies.  To  do  so  is  only  good  business 
on  his  part;  the  kids  just  won't  go  for 
sin,  sex  and  sensation  on  Saturday  after- 
noons! To  the  credit  of  the  exhibitors 
of  America,  they  do  a  good  job  of  pro- 
viding good  clean  shows  for  the  young- 
sters. 

There  may  be — doubtlessly  there  are — 
exhibitors  who  know  their  public  well 
enough  to  insert  a  line  in  an  ad,  "Not 
suitable  for  children,"  or  "For  Adults 
Only,"  but  accompanied  by  a  little  addi- 
tional personal  recommendation  and  in- 
formation as  to  "why."  The  use  of  scare- 
head  type  at  the  top  of  an  ad,  shouting 
"For  Adults  Only!"  probably  creates  ex- 
actly the  impression  of  words  imply,  and 
that  is  not  the  impression  that  the  show 
is  basically  good  "Entertainment."  On 
the  other  hand,  a  "Note  from  the  Man- 
agement —  We  don't  believe  that  chil- 
dren will  enjoy  the  adult  theme  that 
makes  this  picture  such  a  dramatic  en- 
tertainment treat  for  adult  audiences," 
will  serve  the  same  purpose  while  selling 
the  entertainment  even  more! 


The  best  course,  as  always,  is  the  posi- 
tive one  of  arranging  programs  that  ail 
suitable  for  children.  It  is  commendabll 
also  of  you  to  have  included  in  your  ar- 
ticle, considerable  information  about  the 
Children's  Film  Library  Committee  of  till 
Motion  Pictures  Association.  Every  ex- 
hibitor might  take  a  long  look  at  thisi] 
program.  Several  examples  of  the  praei 
tical  carrying  out  of  the  program  werl 
outlined  at  various  exhibitor  conventions 
I  attended  during  the  past  year.  Exhibi- 
tors always  evinced  great  interest  in  it  T 

Just  as  the  cultivation  of  child  patron! 
age  needs  a  positive  approach,  so  does 
the  attraction  of  adult  business.  Your 
"For  Adults  Only"  is  a  positive  approach, 
in  the  sense  that  it  "does  something,"  n© 
doubt  about  that.  How  to  carry  it  outi 
without  mis-representing,  or  creating  pos-( 
sible  censure  of  your  theatre  for  showing 
questionable  attractions  (this  censurl 
based  solely  on  your  "sensational"  adver- 
tising appeal)  is  the  problem. 

If,  as  you  believe,  the  adoption  of  this 
line  of  advertising  can  be  done  in  such 
way  as  to  impress  the  public  with  i 

sincerity,  that's  good. 

As  to  a  system  of  classifying  pictures 
we  have  that  now.    The  Motion  Pictura 
Association's  "Green  Sheet,"  a  summa 
of  opinions  of  all  the  reviewing  grou 
in  the  country,  provides  the  answer  as 
suitability  of  pictures  for  the  children. 
Each  picture  is  definitely  rated  as  to  its 
appeal. 

I  hope  these  thoughts  are  helpful  and 
I'm  sure  you  will  agree  that  I  really 
studied  your  excellent  article. 

H.  M.  RICHEY 
Loew's,  Inc. 


INTERSTATE'S  CLASSIFICATION  PLAN 

Memo  to  COMPO  meeting,  August  30-31,  1949 
By  JOHN  ADAMS,  Interstate  Circuit 


It  was  almost  three  years  ago  that 
we  began  to  feel  considerable  con- 
cern down  Interstate  way  in  Texas 
over  rumblings  from  parents,  courts, 
and  authorities  on  juvenile  delinquen- 
cy directed  towards  certain  types  of 
pictures  which  were  allegedly  unsuit- 
ed  for  children.  Some  of  these  folks 
said  that  the  movies  were  corrupting 
the  youth  and  giving  them  distorted 
slants  on  the  moral  code. 

The  Parents  Magazine,  then  carried 
and  still  does,  motion  picture  ratings. 
We  subscribed  to  the  Parents  Maga- 
zine for  every  one  of  our  managers 
and  then  took  ads  in  the  papers  noti- 
fying our  patrons  that  by  simply  dial- 
ing the  theatre  of  their  choice,  they 
could  make  inquiry  regarding  the 
suitability  of  any  current  or  forth- 
coming picture,  our  notion  being  that 
the  parents  could,  if  they  had  any 
sense  of  responsibility  at  all,  steer 
their  children  away  from  inappropri- 
ate movie  fare.  Our  managers  scis- 
sored out  of  Parents  Magazine  the 
monthly  classifications  and  tabulated 
them  for  ready  reference.  These  were 
posted  near  the  telephone  so  that 
when  an  inquiring  parent  called,  he 
could  tell  her  in  a  moment  if  a  pic- 
ture was  suitable  for  the  family,  or 
adults,  or  children,  or  what  not.  This 
worked  along  well  enough  for  a 
while,  but  memories  are  short  and 
dialing  a  phone  takes  some  effort. 
Eventually  the  telephone  calls 
dwindled. 

We  finally  hit  upon  the  real  solu- 
tion by  accident.  One  of  our  small 
town  managers,  without  asking  any- 


one, started  his  own  personal  classi- 
fication system  and  right  in  his  daily 
newspaper  ads  started  inserting  oppo- 
site the  title  of  each  picture  the  sym- 
bols, "A"  which  stood  for  ADULT  — 
"AYP"  which  stood  for  ADULT  AND 
YOUNG  PEOPLE,  and  "F",  for 
FAMILY. 

It  wasn't  until  some  days  later  that 
it  finally  dawned  on  some  of  us  that 
this  man  had  found  the  answer.  Of 
course,  he  was  unwise  to  attempt  to 
classify  the  pictures  himself,  but  he 
did  have  the  basic  solution. 

Our  classifications  are  established 
by  a  committee  of  women  in  Dallas 
known  as  the  Dallas  Motion  Picture 
Reviewing  Board.  We  will  use  their 
designations  state-wide.  We  look  at 
it  this  way.  Hollywood  can't  make 
all  pictures  suitable  for  children.  In 
fact,  Hollywood  has  been  criticized 
for  not  being  realistic  enough.  There 
will  always  be  pictures  produced  for 
adult  and  mature  consumption.  As 
long  as  these  pictures  are  well  made, 
are  entertaining,  and  meet  certain 
standards  of  decency,  Hollywood  has 
no  responsibility  whatever  thereafter. 
It  is  entirely  the  responsibility  of  the 
parents  to  screen  their  children  from 
pictures  which  they  not  only  should 
not  see,  but  often  cannot  understand 
and  do  not  enjoy.  We  think  it  is  our 
job  as  Exhibitors  to  extend  ourselves 
to  the  utmost  to  inform  parents  what 
kind  of  pictures  we  are  offering.  We 
tell  them  plainly  right  in  our  news- 
paper ads,  if  they  will  only  take  a 
moment  to  inspect  them.  What  more 
can  any  exhibitor  do? 


FILM  BULLETI 


RADIO  CITY  MUSIC  HALL  ATTRACTION! 


P  S*i*i  net  MfoTruzsi- 


He  strayed... 
and  hd  paid  ! 
She  s&v  to  that  I 


JACK  H.  SKI RBALL  on 


LL        BRUCE  MANNING  ^^^^^^^^^^^^^ 


Bette  Davis 

ARRY^ULLIVA 


JANE  COWL ■ BETTY  LYNN • FRANCES  DEE 

Produced  by  JACK  H    SKIRBAU    •     Deeded  by  CURTIS  BERNHARDT    •     Wnllen  by  BRUCE  MANNING  and  CURTIS  BERNHARDT       If  3 

NATIONAL  ADVERTISING  reaching  readers  of  magazines  totaling  30,974,826  CIRCULATION ...  Full  pages  in  Life, 
Look,  Saturday  Evening  Post,  Collier's,  Time,  American  Magazine,  True  Story,  McCall's  and  comprehensive  Fan 


KKUTHEKHOOD  WEEK— Feb.  IS 
Believe  it!   Live  It!   Support  It! 


Short  Subjects 


By  BARN< 


THE  EXHIBITOR'S  traditional  use  of 
the  crying  towel,  even  when  box- 
offices  were  much  happier  than  they  are 
now,  gave  North  Central  Allied's  Benny 
Berger  another  opportunity  to  pull  off 
one  of  his  famous  punch  lines.  The  movie 
business  slump  in  Minnesota,  Barger  told 
the  National  Allied  board  meeting,  has 
reached  such  serious  proportions  that 
"even  the  liars  are  beginning  to  tell  the 
truth!" 

ll^-G-Ms  heart-warming  "Stars  In  My 
Crown"  became  the  first  feature  film 
to  win  the  Freedoms  Foundation  film 
award  for  "outstanding  achievement  in 
bringing  about  a  better  understanding  of 
the  American  Way  of  Life."  Runners-up 
to  the  Metro  picture  were  20th  Century- 
Fox's  "Cheaper  By  The  Dozen"  and 
"Broken  Arrow;"  Warner's  "Break- 
through" and  RKO-Goldwyn's  "Our  Very 
Own,"  all  of  which  shared  second  place 
in  the  Foundations  voting.  Five  features 
and  shorts  shared  third  place:  M-G-M's 
"The  Next  Voice  You  Hear"  (erroneous- 
ly listed  as  a  Warner  release) ;  Para- 
mount's  "Young  Doctor  Sam",  Metro's 
"Albert  in  Blunderland",  the  Girl  Scouts' 
"Women  of  Tomorrow",  and  Mode  Art's 
"The  Fifth  Freedom."  Three  more  20th- 
Fox  films  took  fourth  spot:  "Three  Came 
Home  ',  "Mid-Century  Man  of  Tomorrow" 
and  "The  Big  Lift."  This  is  the  first  year 
in  which  feature  length  films  were  eli- 
gible for  the  awards  "in  recognition  of 
the  fact  that  many  of  the  entertainment 
features  that  come  from  Hollywood  do 
much  to  underscore  the  basic  conception 
of  our  American  way  of  life."  The  awards 
were  personally  presented  by  General 
Omar  N.  Bradley,  chairman  of  the  Joint 
Chiefs  of  Staff,  during  Washington's 
Birthday  ceremonies  at  Valley  Forge. 

TNDISCRIMINATE  LABELING  of  pic- 
A  tures  and  players  as  Academy  Award 
winners  has  led  the  Academy  of  Motion 
Picture  Arts  and  Sciences  to  tighten  its 
regulations  on  use  of  the  phrase  and  the 
familiar  symbols  for  advertising  and  pub- 
licity purposes.  The  symbols  (statuette 
or  plaque)  cannot  be  used  without  spe- 
cial written  permission  unless  they  ad- 
vertise the  specific  achievement  for  which 
the  Award  was  given,  it  is  pointed  out; 
advertising  must  include  the  achieve- 
ment, title  of  picture  and  the  Award  year 
for  which  presentation  was  made;  pic- 
tures nominated  for  specific  Awards  may 
be  so  advertised  if  no  symbol  is  used,  if 
the  word  "nomination"  is  used  in  the 
same  size,  style,  and  color  of  type  as  the 
words  "Academy  Award"  and  if  the 
achievement  is  named;  former  Award 
winners  may  not  be  exploited  to  imply 
that  another  picture  in  which  they  appear 
has  won  or  been  nominated  for  an  Award. 
"Honorary  Awards"  are  conferred  only 
by  vote  of  the  Academy  Board  of  Gover- 
nors and  must  be  so  defined  in  all  adver- 
tising;. The  term  "Special  Awards"  has 
besrt  discontinued. 

r\NE  COUNTER-ATTACK  to  television's 
institutional  campaign  to  keep  the 
public  at  home  for  its  entertainment  is 
the  suggestion  by  Arthur  L.  Mayer,  exe- 
cutive vice  president  of  COMPO,  that  ex- 
hibitors unite  with  other  business  men 
in  cooperative  newspaper  advertising  de- 
signed to  persuade  people  to  go  out.  The 
campaign  can  get  o»  to  a  "modest  start," 
says  Mayer,  "Hotels,  restaurants,  bowling 
alleys,  clothing  shppfj,  transportation  com- 
panies, should  be  as  desirous  of  getting 
people  out  of  theif-  homes  at  night  as 


exhibitors  are.  The  local  newspapers 
should  prove  allies  in  such  a  venture,  not 
only  because  they  would  profit  from  this 
particular  advertising,  but  because  tele- 
vision, by  capturing  a  large  slice  of  na- 
tional advertising,  has  made  serious  in- 
roads on  their  income."  COMPO  has  no 
illusions  that  the  plan  is  a  cure-all  for  the 
TV  problem,  Mayer  notes,  but  "it  does 
have  the  virtue  of  seeking  to  alert  other 
businesses  to  a  situation  which  is  surely 
as  vital  to  them  as  it  is  to  us." 

A  NEW  VERSION  of  "The  M-G-M 
Story",  the  60-minute  product  an- 
nouncement on  film  of  Leo's  forthcoming 
line-up,  becomes  available  to  exhibitors 
for  theatre  showings  early  next  month. 
The  revised  edition  has  been  changed 
from  the  earlier  film  which  was  designed 
for  exhibitor  conventions  and  projection 
room  screenings.  The  gratis  six-reeler 
(four  reels  in  color)  has  excerpts  of  high- 
lights from  25  forthcoming  M-G-M  pic- 
tures, presents  some  58  of  the  company's 
stars  and  featured  players,  in  their  var- 
ious roles,  and  features  studio  chief  Dare 
Schary,  on  and  off  scene,  as  narrator.  The 
revised  edition  was  made  because  of  a 
flood  of  requests  from  exhibitors  follow- 
ing the  special  screening  at  the  TOA  con- 
vention in  Houston  and  other  key  city 
screenings,  to  sales  head  William  F. 
Rodgers  and  regional  toppers.  Handled 
like  a  regular  release,  the  glorified  trailer 
will  be  bulwarked  by  a  special  press  book, 
two  one-sheets,  and  a  black  and  white 
trailer,  all  to  be  had  for  the  asking  by 
exhibitors  who  book  the  picture. 

A  TLANTA  HAD  its  biggest  movie  ex- 
citement  since  "GWTW"  when  20th- 
Fox's  "I'd  Climb  the  Highest  Mountain" 
opened  to  a  huge  $21,000  take  on  opening 
night,  proceeds  to  charity,  and  has  con- 
tinued to  play  to  capacity  crowds  since. 
The  boxoffice  pace  during  the  first  week 
set  a  new  all-time  high  for  the  Para 
mount  Theatre  there,  with  the  house 
forced  to  close  its  boxoffice  several  times 
over  the  weekend  due  to  the  unprecedent- 
ed crowds  overflowing  the  lobby  and 
blocking  the  sidewalk.  The  high-powered 
promotion  for  the  premiere,  which  in- 
cluded star  Susan  Hayward  and  director 
Henry  King  on  hand  for  a  steady  round 
of  festivities,  climaxed  by  Miss  Hayward's 
appearance  before  a  joint  meeting  of  the 
state  senate  and  congress,  was,  of  course, 
the  key  to  the  superb  showing.  But,  the 


momentum  could  not  have  carried  the. 
film  to  its  subsequent  popularity  if  it 
didn't  offer  the  type  of  entertainment 
moviegoers  in  general,  and  the  hinteri 
landers  in  particular,  go  out  of  their  way 
to  see  and  talk  about.  Other  engagements 
like  the  one  in  Knoxville  s  Tennessee 
Theatre  where  ICTHM  topped  any  other 
20th-Fox  picture  ever  to  play  the  house 
have  corroborated  the  promise  that  the 
company  has  a  fine  movie  and,  even  bet 
ter,  a  natural  boxoffice  attraction. 

CINCE  A  FREE  screen  is  "imperative  to 
^  a  healthy  democracy,"  the  motion  pic 
ture  industry  should  be  .rid  of  "politic 
censorship."  These  thoughts  were  voiced 
by  Universal's  Maurice  A.  Bergman  in  an 
address  before  the  Publicity  Club  of  Chi- , 
cago.  The  self  regulation  practiced  by  the 
movie  industry  obviates  the  need  of  any! 
other  type  of  censorship,  Bergman  told 
the  puoLciteers,  pointing  out  that  "cen-j 
sorship,  if  carried  to  extremes,  leads  to, 
the  very  things  we  oppose  in  the  totali-; 
tarian  countries.  Certainly  our  newspap- 
ers and  radio  have  a  keen  sense  of  what 
should  be  transmitted  to  the  public.  Long 
ago  these  media  realized  that  good,  and 
not  bad  taste,  pays  off.  Nevertheless, 
these  media  without  the  constraint  oi 
censorship,  rightly  publish  and  broadcast' 
news  which  reflects  the  true  American 
scene,  good  and  bad."  Yet  let  a  movie 
sometimes  present  a  "sordid  picture  oi 
our  society  .  .  .  there  are  some  areas  oi 
our  democracy  which  arbitrarily  say,  'You 
cannot  show  this  type  of  picture  here'.*', 
How  can  we  be  adult  in  our  movies, 
Bergman  says,  "when  immaturity  is  re- 
flected in  certain  types  of  censorship?"  J 

r\F  MEN  AND  THINGS:  New  York's 
^  famed  Metropolitan  Opera  House  will 
house  the  premiere,  April  1,  of  "Tales  ol 
Hoffman",  the  Powell-Pressburger  Tech 
nicolor  production  being  released  here  b> 
Lopert  Films.  Proceeds  of  the  benefit  de 
but  go  to  the  Red  Cross  .  .  .  Morris  Fink- 
el,  past  president  of  Wester  Pa.  Allied 
was  elected  board  chairman  and  national 
director  of  the  unit  .  .  .  David  Gould  sue 
ceeds  Henry  Ronge  as  United  Artists 
manager  in  Panama  .  .  .  Universal,  dis 
trict  manager  Joseph  E.  Garrison  died  in 
St.  Louis,  Feb.  9,  following  a  cerebral! 
hemorrhage  .  .  .  Eagle  Lion  Classics  Los 
Angeles  branch  manager  Sam  Milner,  40 
died  after  a  three-month  illness  . 


I  Jiirt-sleeved  Max  Youngstein  addressing  the  Baltimore  Variety  Club.  From  left,  on  th 
dais,  Leon  Back,  William  Allen,  Hal  Marshall,  Aaron  Seidler,  Bill  Myers,  Lauritz  Garmai 
and  Al  Benson. 


14 


FILM  BULLETIN) 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
CxcluMOe  ^BULLETIN  Jeatun 


COLUMBIA 

COLUMBIA  FUTURE  LEANS 
ON  PENDING  INDE  UNIT  DEALS 

T  TNQUESTIONABLY,  the  salvation  of 
^  Columbia  for  the  future  depends  upon 
consummation  of  several  deals  now  pend- 
ing with  independent  production  units. 
First  and  foremost,  of  course,  is  the  long- 
j  j  h  a  n  g  i  n  g  negotiations  with  Stanley 
Kramer-Sam  Katz  for  release  of  future 
Kramer  productions.  "Final"  papers  were 
reported  being  drafted  as  this  issue  of 
FILM  BULLETIN  went  to  press. 

j  With  Kramer's  unit  in  his  pocket, 
Columbia  bossman  Harry  Cohn  will 
probably  content  himself  with  turning  out 

j  one  or  two  high-budget  features  under 
the  Columbia  banner  each  year,  while 

1  the  great  bulk  of  the  product  will  be  in 
the  '"quickie"  category. 
Another  inde  deal  calls  for  release  of 

I  the  Briskin-Smith  feature,  "The  Magic 
Face"  (Luther  Adler),  filmed  in  Germany. 

'.  Harry  Popkin,  incidentally,  is  a  partner 

j  in  the  Briskin-Smith  organization,  which 
mighc  have  some  significance  in  regard  to 

1  future  Popkin  product. 

Latest  Columbia  feature  to  roll  is  a 
minor  action  programmer,  "The  Big  Gush- 
er" (Wayne  Morris-Preston  Foster).  Slat- 
ed to  follow,  on  March  12th,  is  the  second 
in  the  "Gasoline  Alley"   series,  which 

1  seems  destined  for  a  seven  to  ten  days 
shooting  schedule  on  a  very  low  budget. 

Columbia  has  the  inside  track  on  film 
rights  to  "Gentlemen   Prefer  Blondes," 

;  the  Broadway  musical  click,  although  it 
might  yet  lose  this  property  to  Para- 

!  mount. 


EAGLE  -  LION  -  CLASSICS 

MACMILLEN  SEEKS  30% 
HIKE  IK  ELC  DISTRIBUTION 

TTIE  inertia  that  has  gripped  ELC  for 
the  past  several  weeks  seems  to  have 
finally  been  shaken  off,  and  following  the 
arrival  of  William  C.  MacMillen  Jr.  on 
the  coast,  no  less  than  a  half  dozen  dif- 
ferent deals  started  perking  all  at  once. 
First  on  the  ELC  prexy's  agenda,  of 
course,  was  the  working  out  of  final  de- 
tails on  a  releasing  deal  with  Fidelity 
Pictures  which  has  been  in  the  formative 
stages  since  late  fall. 

MacMillen  swung  into  action  with  real 
gusto,  and  made  no  secret  from  the  out- 
set that  he  was  out  to  get  new  production 
deals  and  didn't  intend  to  allow  anything 
to  stand  in  his  way.  He  has  always  com- 
manded great  respect  in  Hollywood,  and 
the  brisk  manner  he's  going  about  the 
business  of  lining  up  these  new  deals  has 
only  served  to  enhance  that  feeling. . 

Bearing  out  the  belief  that  ELC  will 
try  to  forge  ahead  of  its  hottest  com- 
petitor, United  Artists,  during  that  com- 
pany's trying  experiences  of  recent 
months,   MacMillen   notified  Hollywood 


that  he  hopes  to  land  enough  new  deah 
to  boost  distribution  for  his  company  by 
a  good  30  percent  over  the  next  two  years. 

Among  the  deals  under  consideration  is 
one  with  David  Rose,  calling  for  release 
rights  on  the  quartet  of  Dictures  he  plans 
to  make  abroad  this  year.  Another  was 
with  the  Hal  Stanley  production  company, 
which  is  reported  to  have  closed  a  deal 
with  Capitol  records  for  the  use  of  their 
stars  in  a  big  Cinecolor  musical. 


LIPPERT 

HIGHER  STANDARDS  DEN01E 
CLASSIER  LIPPERT  PRODUCT 

TN  A  well  planned  program  of  produc- 
A  tion,  Robert  L.  Lippert  is  raising  the 
stanoa.rd  of  his  product  with  each  suc- 
cessive picture.  Not  only  are  budgets  on 
the  uptrend,  but  considerably  more  atten- 
tion is  being  paid  to  the  mountings  ac- 
corded the  productions.  And  although 
Lippert  makes  no  boast  of  competing  with 
the  more  important  major  studios  on 
their  high-budgeters,  he  has  nevertheless 
invaded  the  field  of  exploitable  program- 
mers which  still  constitutes  a  large  ma- 
jority of  the  total  Hollywood  product  and, 
in  several  instances,  outclassed  his  com- 
petition. Notable  examples  of  this,  of 
course,  are  "The  Steel  Helmet"  and 
"Rocketship  XM." 

Of  the  two  Lippert  productions  current- 
ly before  the  cameras,  at  least  one,  "Little 
Big  Horn,"  appears  to  stack  up  with  the 
best  the  company  has  turned  out  to  date. 
Boasting  a  good  cast,  headed  bv  John 
Ireland  and  Lloyd  Bridges,  and  directed 
by  Charles  Marquis  Warren,  the  produc- 
tion is  a  class  western  in  every  respect. 
The  other  picture  filming  at  the  present 
time,  "Kentucky  Jubilee,"  is  a  Ron  Or- 
mond  musical  production  starring  Jerry 
Colonna  and  Jean  Porter.  The  latter  is 
an  indication  that  Lippert  is  headed  in 
the  right  direction  insofar  as  turning  out 
low  budget  musicomedies  is  concerned. 


METRO-GOLDWYN-MAYER 

METRO  '51-'52  VOLUME 
TO  MATCH  CURRENT  OUTPUT 

pOLLOWING  his  return  from  a  Florida 
r  vacation  this  month,  production  chief 
Dore  Schary  gave  his  first  hint  as  to  his 
company's  1951-52  slate.  Insofar  as  vol- 
ume is  concerned,  Schary  indicated  there 
will  be  no  appreciable  increase  over  the 
"40-odd"  set  for  the  current  frame.  By 
the  same  token,  there  will  be  the  same 
wide  spread  in  budgets,  although  nothing 
is  contemplated  for  the  new  slate  that 
will  approach  the  $5,000,000  invested  in 
"Quo  Vadis."  Under  the  streamlined  for- 
mat which  Schary  has  worked  out,  there 
will  be  continued  effort  to  produce  short- 
budgeted  features  of  high  entertainment 
value,  a  la  "The  Next  Voice  You  Hear," 


HOLLYWOOD  EDITORIAL 

Ri>d  Hunt 


Judging  fr«:in  recent  headlines,  it  would 

appear  that  the  publicity  hounds  in  Wash 
ington  arr  getting  ready  to  have  them- 
selves another  Held  da\  on  the  Trout  paff<  s 

of  the  world's  press  at  the  expense  of  the 

motion  picture  industry.  From  past  ex- 
perience, these  lew  headline  happy  law- 
makers have  learned  that  branding  Hol- 
lywood a  hotbed  of  Communism  is  one 

ot  the  cheapest  and  surest  methods  yet 
devised  tor  keeping  their  names  in  the 
public  eye. 

It  set  ins  to  matter  little  to  them  that 
their  charges  are,  by  and  large,  without 
substantiation.  Neither  do  they  seem  to 
be  concerned  with  the  damage  that  is  thus 
being  Inflicted  on  a  major  American  in- 
dustry, and  the  hundreds  of  thousands  ot 
loyal  citizens  employed  in  it. 

To  the  contrary,  as  long  as  they  can 
hide  behind  their  guarantees  of  Congres- 
sional immunity,  these  political  misfits 
will  continue  to  blaspheme  Hollywood  anj 
Hollywood  people  whenever  and  however 
it  fits  their  selfish  purposes. 

If  there  are  communists  in  the  motion 
picture  industry  —  and  undoubtedly  there 
are  a  few,  just  as  there  are  in  any  other 
big  industry  —  they  should  most  certain- 
ly be  ferreted  out  and  publicly  disavowed, 
hut  the  mere  fact  that  a  few  of  them 
have  been  able  to  worm  their  way  in,  is 
no  cause  for  issuing  blanket  accusations 
against  the  entire  movie  business. 

Isn't  it  about  time,  then,  that  the  in- 
dustry should  muster  its  forces  ami  star! 
fighting  back?  However,  it  must  be  a 
concerted  campaign  on  the  part  of  all 
branches  of  the  industry  —  and  of  all  of 
the  loyal  members  of  those  branches. 
We've  learned  from  experience  in  the  past 
that  the  efforts  of  an  aroused  few  can 
omy  serve  to  rain  down  persecution  on 
their  own  heads. 

Exhibitors  can  help  substantially  by 
taking  the  matter  up  with  the  editors  of 
their  local  newspapsrs,  and  by  contacting 
their  own  congressmen  in  Washington. 
The  MP  A  and  the  Association  of  Inde- 
pendent Motion  Picture  Producers  should 
work  together  in  mapping  a  tremendous 
campaign  emanating  from  Hollywood,  to 
counteract  the  fallacious  impression 
which  the  Washington  publicity-mongers 
are  creating. 

Surely  the  greatest  team  of  showmen 
in  the  world  can  cope  with  the  sensation- 
alized ravings  of  a  mere  handful  of  politi- 
cal crackpots.    JAY  ALLEN. 


employing  shooting  schedules  of  approxi- 
mately two  weeks.  One  such  picture, 
"The  Bradley  Mason  Story,"  was  recently 
completed  there  by  Richard  Thorpe  and 
Robert  Thomsen  on  a  15-day  schedule. 

One  important  factor  in  holding  down 
budgets  and  yet  holding  up  the  quality 
of  product  is  Schary's  policy  of  training 
new  producers  and  directors.  The  fresh 
touches  which  this  new  blood  is  giving 
to  the  Metro  product  is  of  inestimable 
value.  For  example,  Director  Chuck  Wal- 
ters, who  has  come  up  through  musicals 
to  straight  dramatic  and  comedy  produc- 
tions, proved  himself  one  of  the  most  tal- 
ented meggers  in  the  business  with  his 
adroit  handling  of  "Three  Guys  Named 
Mike."  Walters  established  a  bright,  zip- 
py pace  in  "Mike,"  that  should  push  it 
into  the  front  ranks  of  boxoffice  hits  in 
the  season  coming  up. 

(Continued  on  Next  Page) 


FEBRUARY   26,   1  951 


15 


STUDIO  SIZ6-UPS 

(Continued  from  Preceding  Page) 

MONOGRAM  -  AA 

PROSPECTS  BRIGHTEN  FOR 
MONO-AA  IN  NEXT  6  MONTHS 

ENOUGH  productions  are  now  in  the 
final  stages  of  preparation  at  Mono- 
gram to  insure  one  of  the  busiest  pro- 
duction periods  in  recent  years,  during 
the  late  winter  and  Spring  months.  More- 
over, the  properties  being  readied  for  the 
cameras  appear  to  be  of  considerably 
mare  merit  than  most  of  the  product  this 
company  has  turned  out  in  recent  months. 

Producer  Ben  Schwalb  will  get  his  Cine- 
color  circus  story,  "The  Big  Top,"  off  to 
a  Spring  start;  Paul  Short  is  going  ahead 
with  plans  to  fiim  a  story  of  underwater 
demolition  crews  of  the  U.  S.  Navy  —  an 
Allied  Artists  production;  Hal  Chester  is 
currently  filming  "The  Highwayman,"  an- 
other top-budget  AA  feature;  and  on  Ap- 
ril 3,  Producer  William  F.  Broidy  will  tee 
off  on  "The  Sea  Tiger,"  an  important 
story  purchase  made  by  the  company  late 
last  year.  Coming  up  on  Lindsley  Par- 
sons slate  are:  "Casa  Manana,"  to  roll 
March  5;  "Yukon  Manhunt,"  April  15; 
"Submarine  School"  (Wayne  Morris), 
May  21,  and  "Northwest  Patrol,"  July  14. 

Releases  scheduled  during  the  next  few 
weeks  should  also  prove  a  further  boon 
to  Monogram  and  AA  —  bolstered  by  the 
success  of  "National  Monogram  Week," 
which  more  than  doubled  the  average 
weekly  billings.  Topping  the  upcoming 
releases  will  be  "I  Was  An  American 
Spy,"  which  will  draw  a  plush  Washing- 
ton premiere.  Others  set  for  more  im- 
mediate release  are:  "Navy  Bound"  (Tom 
Neal-Wendy  Waldron),  on  March  4;  "Man 
From  Sonora"  (Johnny  Mack  Brown), 
March  11;  "Gypsy  Fury"  (Viveca  Lind- 
fors),  March  18,  and  "Lion  Hunters," 
(Johnny  Sheffield),  March  25. 


PARAMOUNT 

PAR.  BOOSTS  OUTPUT; 
CUTS  PRODUCTION  COSTS 

TT  WILL  come  as  no  surprise  to  Holly- 
A  wood  if  Paramount  winds  up  with  the 
largest  releasing  slate  in  town,  on  the 
basis  of  the  current  drive  to  expand  pro- 
duction both  on  its  own,  and  via  the  var- 
ious independent  producer  alignments. 
Certainly  this  has  been  one  of  the  busiest 
companies  in  recent  weeks,  and  even 
greater  acceleration  in  tempo  is  the  order 
for  the  next  four  months.  A  directive 
went  out  from  the  front  office  earlier  this 
month  instructing  all  producers  affiliated 
with  the  company  to  prepare  to  increase 
their  activities  by  at  least  one  additional 
picture  per  year.  The  order,  naturally, 
is  aimed  at  cutting  down  producer 
charges  per  production,  as  well  as  upping 
the  total  slate.  Insiders  at  Paramount 
say  this  policy  of  spreading  producers 
salaries  over  a  greater  number  of  pictures 
Bhould  account  for  an  annual  saving  run- 
ning into  many  thousands  of  dollars. 

In  line  with  the  stopped  up  production, 
William  Perlberg  and  George  Seaton.  who 
are  currently  filming  "Rhubarb,"  have  set 
1hree  other  pictures  to  go  before  the  end 
of  the  year.  "Aaron  Slick  From  Pumpkin 
Crick"  (Dinah  Shore-Alan  Young-Robert 
Merrill),  rolls  in  April,  "Anything  Can 


Happen"  (Jose  Ferrer-Nancy  Olson)  goes 
in  July,  and  the  story  of  Blossom  Seeley, 
"Somebody  Loves  Me"  (Betty  Hutton), 
will  get  a  September  start.  Hal  Wallis 
has  also  launched  a  production  spree  with 
the  tee-off  of  "The  Stooge"  (Martin  and 
Lewis.)  This  is  to  be  followed  this  week 
by  "Peking  Express'  (Joseph  Cotten-Cor- 
inne  Calvet),  and  later  in  the  spring  by 
"The  Scalpel"  (Burt  Lancaster)  and  "Son 
and  Stranger." 

REPUBLIC 

REPUBLIC  ROSTER  OF  22 
PLAYERS  TO  BE  KEPT  BUSY 

QN  THE  heels  of  Republic's  announce- 
ment that  the  company  had  shown  a 
60  per  cent  increase  in  profits  for  the 
fiscal  year  ending  October  18,  1950,  over 
the  preceding  year,  boss  Herbert  J.  Yates 
announced  that  this  studio  now  has  the 
largest  roster  of  contract  talent  in  its  en- 
tire history,  numbering  22  actors  and  ac- 
tresses, in  all.  He  further  indicated  that 
enough  properties  are  now  in  the  works 
to  keep  the  entire  roster  busy  during 
much  of  the  coming  year. 

Included  on  the  roster  are:  John 
Wayne,  Vera  Ralston,  Roy  Rogers,  Rod 
Cameron,  Mary  Ellen  Kay;  the  new  21- 
year-old  operatic  star,  Muriel  Lawrence; 
moppets  Michael  Chapin  and  Eilene  Jan- 
ssen;  Forrest  Tucker;  Adele  Mara;  Judy 
Canova;  William  Ching;  Rex  Allen;  Es- 
telita  Rodriguez;  Penny  Edwards;  Grant 
Withers;  Roy  Bancroft;  Valentine  Per- 
kins; Foy  Willing  and  The  Sons  of  the 
Pioneers. 

Among  the  top-budget  productions 
which  Yates  will  greenlight  for  this  talent 
array  are:  "Wings  Across  the  Pacific," 
"Hoodlum  Empire, '  John  Ford's  "The 
Quiet  Man,"  "The  Story  of  Nellie  Bly," 
"The  Alamo"  (Wayne)  and  "A  Lady 
Possessed"  (James  Mason).  The  Mason 
starrer,  incidentally,  is  set  to  roll  on 
March  6,  as  a  Portland  Production,  whicft 
the  British  actor  himself,  is  heading  up. 

Yates  has  also  made  two  new  assign- 
ments in  his  executive  staff.  Gordon  Kay, 
an  associate  producer  with  12  years  of 
service  with  the  company,  has  been 
prompted  to  assistant  secretary-treasurer, 
and  Howard  McDonnell,  present  business 
manager,  was  assigned  the  additional  du- 
ties of  Yates  representative  on  the  AMPP 
board  of  directors. 

RKO 

HUGHES  PROMISES  PLENTY 
'A'S',  BUT  MANY  MAY  BE  'B'S' 

pROM  the  standpoint  of  product  volume, 
RKO  appears  to  be  headed  for  its 
most  formidable  position  in  a  great  many 
years.  This  conclusion  is  based  on  How- 
ard Hughes'  projected  program  of  39  pic- 
tures set  for  production  and  distribution 
during  the  1951-52  season.    This  slate, 


coupled  with  the  heavy  backlog  of  pic- 
tures already  completed,  gives  the  com- 
pany plenty  of  film  to  peddle. 

Quality  is  another  question  entirely, 
however.  The  oilman-producer  is  holding; 
budgets  to  the  lowest  level  possible,  des- 
pite the  fact  that  there  is  plenty  of  pub- 
licity about  so-called  "A"  pictures  on  the 
schedule.  We  are  told  that  Hughes  is 
planning  24  "A"  pictures,  as  against  12  to 
15  of  the  programmer  type,  but  the  gen- 
eral impression  is  that  many  of  the  ''A's" 
will  turn  out  as  "B's". 

Edmund  Grainger,  whose  most  recent 
production  chore  was  the  Technicolor  fea- 
ture, "Flying  Leathernecks,''  has  just 
signed  contracts  with  Technicolor  for  two 
additional  pictures  on  his  1951  RKO  slate. 
Next  to  use  the  tint  will  be  "African  In- 
trigue," to  be  filmed  entirely  in  British 
East  Africa.  He  plans  to  fi  m  his  other 
Technicolor  production,  "Blackbeard  the 
Pirate,"  at  about  the  same  time,  in  Eng- 
land. Both  of  his  other  RKO  chores, 
"The  Racket,"  and  "The  Day  They  Gave 
Babies  Away,"  soon  to  get  away  on  the 
home  lot,  will  be  in  black  and  white. 

The  backlog  of  completed  pictures  now 
awaiting  release  represents  a  production 
nut  of  $32,000,000,  and  numbers  33  com- 
pleted films,  in  all.  Many  of  the  films 
have  been  completed  for  many  months, 
including  "It's  Only  Money,"  "Montana 
Belle"  and  "Sons  of  the  Musketeers." 


20th  CENTURY-FOX 

STUDIO  SUSTAINS  PACE 
AS  ZANUCK  OKAYS  6  FILMS 

WflTH  three  to  four  pictures  shooting 
simultaneously  during  most  of  Feb- 
ruary, 20th  Century-Fox  continues  as  one 
of  the  busiest  lots  in  town.  And  just  be- 
fore Darryl  F.  Zanuck  took  off  for  Eu- 
rope around  mid-month,  he  greenlighted 
a  half-dozen  more  top-budget  productions 
to  roll  during  the  next  three  to  four 
weeks. 

Still  further  indications  that  Zanuck  in- 
tends to  keep  the  production  company 
operating  at  full  tilt  during  the  remaind- 
er of  the  year  are  to  be  found  in  the 
number  of  new  contracts  signed  just 
prior  to  his  European  departure.  Sol  C. 
Siegel  tops  the  list  with  a  new  straight 
seven-year  producer  ticket.  Other  new 
pactees  are:  Dick  Breen,  who  signed  a 
long-term  writer  contract;  George  Jessel, 
inked  to  a  new  two-year  straight  producer 
deal;  and  scripter  Leonard  Hoffman. 
Zanuck  also  teamed  writer-producer  Cas- 
ey Robinson  and  writer-director  Delmer 
Daves  on  the  top-budget  production,  "The 
South  Seas  Story."  Charles  Brackett  was 
also  handed  his  second  production  assign- 
ment at  Fox,  an  original  by  Kay  and 
Michael  Kanin  titled,  "How  High  Is  Up?" 

Whereas  most  studios  are  swinging 
heavily  toward  comedies  on  their  upcom- 
(Continued  on  Page  18) 


If, 


FILM  BULLETIN 


TIMED  TO  HIT  WITH  THE  POWER 
OF  TODAY'S  JET-HOT  HEADLINES! 


When  a  man  lives  at 
600  MPH  you  can't 
expect  him  to  slow  down 
for  a  woman 


fm 


pit 

WO*** 


/oman!"    fi\        fi  1 


^Be/d,  thE  WEST  poiNT  of  TH6 


Stephen  McNALLY  -  Gail  RUSSELL  - Alex  NfCOL   :  .  '  ::  «/ 

Richard  LONG  ■  Peggie  CM  -  Charles  DRAKE  •  Rock  HUM 

Screenplay  by  ROBERT  L  RICHARDS  •  Directed  by  JOSEPH  PEVNEY  •  Produced  by  AARON  ROSENBERG 
A  UNIVERSAL-INTERNATIONAL  PICTURE 


BROTHERHOOD  WEEK  FEB.  18-25 
To  Promote  Brotherhood  All  Year! 


STUDIO  SIZ6-UPS 

(Continued  from  Page  16) 

ing  slates,  Fox  will  continue  to  give  con- 
siderable attention  to  dramatic  produc- 
tions with  unusual  twists.  Naturally, 
this  does  not  mean  that  comedies  will  be 
by-passed,  but  merely  that  no  greater  em- 
phasis is  being  placed  on  that  type  of 
the  script  than  in  the  past.  Among  the 
important  dramatic  properties  in  the  final 
stages  of  preparation  are:  "Skid  Row,"  a 
Joseph  Bernhard-Anson  Bond  production; 
"Anne  of  the  Indies,"  to  be  produced  by 
George  Jessel  and  "The  Marriage  Broker 
Story,"  a  Charles  Brackett  assignment. 

UNITED  ARTISTS 

IF  KRAVETZ  OPTION  IS 
CLEARED,  NEW  UA  CAN  ROLL 

^/HILE  the  muddled  affairs  of  United 
Artists  appear  to  be  straightened 
out,  with  a  new  triumvirate  of  Arthur 
B.  Krim,  Robert  Benjamin  and  Matthew 
Fox  at  the  controls,  there  is  still  one 
"little  detail"  to  be  settled  before  tneir 
title  is  clear.  A  monkey  wrench  was 
thrown  in  the  works  by  Max  Kravetz, 
who  argues,  apparently  with  sound  cause, 
that  he  holds  an  option  on  the  Pickford- 
Chaplin  stock,  and  which  he  will  not  re- 
linquish. 

Most  sources  in  Hollywood  are  of  the 
opinion  that  the  Krim-Benjamin  deal  will 
be  consummated,  but  Mr.  Kravetz  will 
have  to  be  satisfied  in  some  way.  The 
contract  of  the  new  operators  with  Chap- 
lin and  Pickford  has  been  placed  in  es- 
crow, and  last  Monday  (Feb.  19)  they 
took  over  at  the  New  York  office. 

Despite  a  lot  of  conjecture,  no  definite 
statement  has  been  made  as  to  the  exact 


amount  of  money  that  would  be  poured 
into  the  UA  treasury  by  the  Krim-Benja- 
man  combine.  However,  rumor  has  set 
the  figure  between  3  and  4  million  dollars. 

Insofar  as  most  of  the  producers  who 
release  through  UA  are  concerned,  the 
new  ownership  will  still  have  to  prove 
itself  before  they  are  willing  to  make 
any  definite  promises.  However,  most  of 
them  are  willing  to  release  the  pictures 
they  have  been  holding  back  and  will  do 
so  just  as  soon  as  a  practical  operation 
of  the  company  appears  to  be  forthcom- 
ing. 

Certainly,  most  of  the  producers  have 
full  confidence  in  the  projected  executive 
framework,  which  would  find  Krim  func- 
tioning as  president  of  the  company,  with 
Max  Youngstein,  who  just  resigned  from 
Paramount,  moving  over  to  assume  su- 
pervision of  sales  and  advertising. 

UNIVERSAL-INTERNAT'L 

U-l  LULL  CONTINUES; 
EXPECT  PICKUP  BY  APRIL 

'pHE  lull  in  production  reported  last  is- 
sue continues  here,  with  only  one  pic- 
ture shooting  at  the  present  time.  Up- 
wards of  50  production  workers  were  re- 
quested to  take  thei.r  paid  vacations  dur- 
ing the  lull,  and  some  of  the  hourly  work- 
ers were  laid  off  temporarily  until  the 
story  department  is  able  to  catch  up  with 
production. 

Company  toppers  point  out  that  the 
slow-down  in  no  way  indicates  a  retrench- 
ment in  production  for  the  year.  As  a 
matter  of  fact,  they  expect  all  the  sound 
stages  busy  again  by  April. 

An  important  piece  of  casting  was  an- 
nounced here  the  other  day,  when  Ethel 
Barrymore  agreed  to  play  the  starring 
role  in   "Oh,  Baby,"  an  original  script 


about  a  baby  who  finds  a  small  fortunl 
in  stolen  money.  The  script  is  one  of  thi 
best  U-I  has  come  up  with  in  some  timo 
and  worthy  of  the  talents  of  an  actres 
of  Miss  Barrymore's  stature. 

WARNER  BROS. 

WARNER  'LOADED'  CASTS 
TO  BOLSTER  STORY  FAILINGS 

J-^ESPITE  an  effort  on  the  part  of  th. 

Warner  Brothers  to  unload  some  ei 
cess  talent  contracts  in  recent  months 
Jack  Warner  has  instituted  a  policy  o 
using  a  maximum  of  "name"  players  ii 
the  casts  of  all  upcoming  productions 
While  this  plan  will  help,  it  will  not  serv< 
to  overcome  the  weaknesses  of  the  stor 
department  evident  in  recent  Warne 
product. 

It  is  unfortunate  that  some  of  thesi 
weak  story  properties  produced  last  yea] 
a,re  just  now  coming  up  for  release.  How 
ever,  once  these  are  disposed  of,  it  look' 
like  the  product  will  definitely  be  on  tha 
upgrade. 

Furthermore,  the  company  is  mounting 
its  current  productions  more  effectivel; 
than  it  did  during  much  of  last  year  whei 
too. many  corners  were  being  cut  in  ai; 
effort  to  effect  economies.  Of  the  fou 
pictures  currently  shooting,  none  i 
scheduled  to  wind  in  under  50  days,  al. 
are  budgeted  above  the  $750,000  mark; 
and  the  casts  list  a  total  of  18  names  o 
boxoffice  value. 

Topping  the  quartet  currently  befon 
the  cameras  is  "Moonlight  Bay"  (Dori; 
Day-Gordon  MacRae-Jack  Smith).  Basaj 
on  the  daily  rushes,  there  is  every  reasoi' 
to  believe  that  Warner  Brothers  is  one. 
again  on  the  verge  of  taking  its  place  a 
one  of  the  top  studios  for  producim 
musicals. 


Check  FILM  BULLETIN  Reviews 
with  your  boxoffice  grosses  and 
you  will  find  an  amazing  degree  of 

ACCURACY 


If! 


FILM  BULLETI 


ARTHUR  B.  KRIM 

"The  uncertainty  .  .  ." 


(RIM-BENJAMIN  TAKE  OVER 
JA  HELM;;  SEARS  QUITS  POST 

*  /  The  new  United  Artists  regime,  under 
he  leadership  of  Arthur  B.  Krim,  Robert 
5.  Benjamin  and  Matthew  Fox,  lost  no 
ime  in  taking  over  the  reins.  On  Friday, 
^eb.  16,  the  contract  for  the  transfer  of 
nanagement  control  of  the  company  was 
lelivered  out  of  escrow,  simultaneously 
■vith  the  resignations  of  Paul  V.  McNutt 
ind  Frank  L.  McNamee  as  board  chair- 
nan  and  president,  respectively.  On  the 
following  Monday,  Krim,  Benjamin  and 
Fox  called  the  various  department  heads 
jtogether,  revealed  that  Gradwell  L.  Sears 
pad  been  relieved  of  the  general  sales 
manager  post  —  at  his  own  request  — 
and  would  remain  with  the  company  in 
an  "executive  capacity"  until  his  contract 
expires  at  the  end  of  the  year. 
I  The  new  distribution  head,  Krim  said, 
Iwas  expected  to  be  named  within  two 
weeks.  It  was  expected  that  William  J. 
Heineman,  distribution  vice-president  of 
Eagle  Lion-Classics,  whose  pact  with  ELC 
ihas  just  expired,  will  be  solicited  for  the 
UA  post. 

j  Krim,  who  is  expected  to  take  over  as 
president,  sent  telegrams  to  all  the  field 
sales  managers.  "You  have  all  been 
through  a  trying  period  of  uncertainty," 
the  wires  read.  "Happily  for  all  of  us 
this  uncertainty  is  over.  However,  a  very 
formidable  task  remains.  We  will  start 
immediately  to  create  a  strong,  steady 
flow  of  important  new  product  which  is 
the  lifeblood  of  our  company.  It  is  our 
objective  to  merit,  once  again,  by  caieful 
planning  and  selectivity,  the  confidence 
of  exhibitors  that  each  of  our  pictures 
will  represent  the  best  that  the  finest 
creative  talents  in  the  world  have  to  offer. 
This  cannot  be  done  overnight." 

The  next  six  months,  he  told  the  sales 
personnel,  are  "crucial."  During  that  per- 
iod, "the  company  must  be  protected  for 
the  benefit  of  those  in  the  industry  to 
whom  it  is  so  essential  .  .  .  Now  is  the 
time  for  you  and  our  exhibitor  friends  to 
rally  to  a  common  cause,  no  longer  in  an 
atmosphere  of  uncertainty,  but  with  the 
sure  knowledge  that  we  are  rebuilding 
for  the  future." 

The  only  hitch  in  the  new  deal  appears 
to  be  the  opposition  of  Max  Kravetz,  who 


BULLETIN 

Volume  19,  Number  5 
February  26,  1951 


News 


and 
Opinion 


still  holds  an  option  on  8,000  shares  of 
the  Pickford-Chaplin  stock.  With  Kravetz. 
who  had  engineered  the  previous  deal 
which  brought  McNutt  and  McNamee  in- 
to the  company,  indicating  that  he  will 
not  relinquish  his  option,  it  was  still 
problematical  just  how  his  claim  will  be 
circumvented.  A  possible  avenue  would 
be  through  a  settlement  with  Pickforri 
and  Chaplin,  with  an  alternative  of  facing 
litigation  that  might  hamstring  the  new 
management. 

Insofar  as  product  is  concerned,  Krim 
said,  the  company  expects  to  announce  a 
program  of  10  or  12  features  within  the 
next  week  or  so.  About  half  are  expected 
to  come  from  current  UA  producers;  the 
balance,  from  new  production  sources. 

Financing  will  be  provided  by  Walter  E. 
Heller  &  Co.  of  Chicago,  with  Milton 
Gordon,  vice-president  of  the  Heller  Co., 
acting  as  financial  adviser  to  the  new 
management. 

It  was  expected  that  Max  E.  Youn?- 
stein,  who  recently  resigned  his  post  as 
vice-president  in  charge  of  advertising- 
publicity  -  exploitation  at  Paramount, 
would  join  United  Artists  as  a  vice-presi- 
dent, supervising  the  a-p-e  functions  buc 
not  actually  handling  the  ad-publicity  job. 
One  of  the  most  sought-after  executives 
in  the  industry,  Youngstein  is  understood 
to  have  left  Paramount  with  an  eye  to 
accepting  the  UA  vice-presidency,  al- 
though terms  of  such  a  deal  had  not  been 
set.  Reports  also  were  current,  however, 
that  Youngstein  might  decide  to  enter  the 
independent  production  field. 

THEATRE  BUSINESS  RISING 
IN  NEXT  FEW  YEARS-MYERS 

A.  F.  Myers'  annual  report  to  the  mid- 
Winter  board  meeting  of  Allied  States 
Association  made  the  future  appear  much 
brighter  for  the  nation's  independent  ex- 
hibitors. The  National  Allied  board  chair- 
man and  general  counsel  put  his  finger 
on  many  much-discussed  sore  spots.  Some 
of  them  still  hurt,  but  others  were  sur- 
prisingly painless  when  tested  by  "Mr. 
Allied's"  logic  and  experienced  analysis. 

Such  factors  as  better  pictures;  a 
greater  influx  of  entertainment  spending, 
now  that  durable  goods  instalment  buying 
has  slacked  off  or  been  curbed;  a  waning 
interest  in  television  by  the  public;  the 
most  marked  revival  of  showmanship  in 
20  years — all  of  these  point  to  the  resurg- 
ence of  theatre  business,  Myers  said.  The 
improvement  in  product,  it  was  asserted, 
is  due  largely  to  divorcement  the  reces- 
sion which  have  "put  producers  on  their 
toes." 

The  spectre  of  Television  and  some  of 


ROBERT  S.  BENJAMIN 


its  offshoots,  Phonevision  and  Skiatron, 
was  admittedly  nothing  to  be  dismissed 
as  a  "temporary  minor  disturbance,"  My- 
ers said,  but  it  has  received  "far  too  mucn 
credit  for  the  movies'  present  distress 
and  that  false  emphasis  has  tended  to  tear 
down  the  movies  and  build  up  television." 
The  subscription  TV  systems,  still  faced 
many  problems,  including  the  FCC's  stand 
that  public  facilities  remain  free  of 
charge,  as  demonstrated  in  an  earlier 
radio  subscription  plea  turned  down  by 
the  Commission.  He  also  revealed  that 
Allied  would  ask  the  government  for  com- 
parable taxes  on  Phonevision  and  Skia- 
tron  if  they  are  to  command  the  vast 
audiences  proclaimed  by  their  sponsors. 

While  defense  controls  will  affect  the 
movies,  the  same  factor  will  also  be  felt 
by  competing  media,  the  Allied  topper 
said.  In  addition,  the  National  Production 
Authority's  freeze  on  new  theatre  con- 
struction will  remedy  the  over-expansion 
in  exhibition  in  the  past  few  years. 

Myers  again  took  to  task  the  "super- 
cilious" newspaper  critics  whose  "fla- 
grantly unfair  reviews  and  a  condescend- 
ing attitude  toward  motion  pictures"  ha.s 
hurt  the  industry. 

He  stressed  the  need  for  effective  or- 
ganization work,  pointing  out  that 
COMPO  will  function  with  respect  to  mat- 
ters in  which  all  industry  elements  have 
a  common  interest  and  will  operate  "in  a 
sphere  where  the  existing  industry  or- 
ganizations in  all  branches,  acting  sep- 
arately, have  not  done  and  could  not  do 
a  job." 

He  promised  that  Allied  will  battle  any 
moves  to  allocate  theatre  television  chan- 
nels to  a  few  big  city  theatres.  If  it  should 
be  necessary  to  rearrange  the  entire  chan- 
nel system  in  order  to  assure  the  oppor- 
tunity of  theatre  TV  to  all  theatres,  Allied 
"is  prepared  to  insist  that  that  be  done." 

A  surprising  board  action — surprising 
in  the  light  of  the  organization's  past  re- 
jection of  arbitration  procedures — was  the 
board's  directive  to  Myers  to  explore  the 
possibilities  of  an  arbitration  system  in 
discussions  with  distributors.  Myers  made 
it  clear  that  "Allied  will  not,  as  presently 
advised,  enter  into  any  general  conference 
on  that  subject." 

(TOA  executive  director  Gael  Sullivan 
praised  the  Allied  board  action  as  "a 
healthy  sign"  and  a  "statesmanlike  ges- 


(Continued  on  Next  Page) 


FEBRUARY    2  6,    1  9  5  1 


19 


JVetvs  and  Opinion 


A.  F.  MYERS 


"Mr.  Allied" 


(Continued  from  Preceding  Page) 
ture".  TOA  has  been  spearheading  the  ar- 
bitration drive,  including  a  ''general  con- 
ference" by  all  industry  members  involved 
to  work  out  a  satisfactory  arbitration  sys- 
tem.) 

A  new  film  rental  committee  was  nam- 
ed to  take  up  the  increased  rentals  prob- 
lem with  the  film  companies  on  indi- 
vidual pictures,  and  with  20th  Century- 
Fox  particularly  on  "general  complaints." 

All  officers  were  re-elected,  including 
Trueman  T.  Rembusch,  president;  Char- 
les Niles,  treasurer;  Irving  Dollinger,  sec- 
retary and  Stanley  D.  Kane,  recording 
secretary.  Col.  H.  A.  Cole  was  renamed 
chairman  of  the  Caravan  Committee. 

The  eight  men  named  to  represent 
Allied  on  COMPO's  executive  committee 
are  Benjamin  Berger,  Abe  Berenson,  Ray 
Branch,  Jack  Kirsch,  Wilbur  Snaper,  Na- 
than Yamins,  Rembusch  and  Cole. 

New  York  City  was  selected  as  the  site 
for  Allied's  1951  convention  next  October. 
Allied  Theatres  of  New  Jersey  will  spon- 
sor the  national  confab. 

WARNER  QUARTERLY  NET 
DIPS  AFTER  BIG  GROSS  DROP 

A  drop  of  almost  five  million  dollars  in 
gross  during  the  quarter  ended  Nov.  25, 
1950,  sent  the  Warner  consolidated  net 
profit  down  to  $1,813,000  after  Federal 
taxes  and  all  charges,  compared  with  $3,- 
189,000  for  the  corresponding  quarter  the 
year  before.  Gross  income  from  film 
rentals,  theatre  admissions,  etc.,  during 
the  most  recent  quarter  came  to  $27,926,- 
000  as  compared  with  $32,712,000  for  the 
first  quarter  last  year. 

The  report  was  a  combined  financial 
statement  for  both  production-distribution 
and  exhibition  subsidiaries,  with  no  break- 
down indicating  whether  the  film  division 
or  the  theatre  chain  had  suffered  most  in 
the  gross  and  net  dip. 

The  net  for  the  quarter  ended  Nov.  25, 
1950  is  equivalent  to  26  cents  per  share 
on  the  6,821,600  shares  of  common  stock 
outstanding  as  of  that  date.  Net  for  the 
corresponding  period  last  year  was  equiv. 
alent  to  43  cents  per  share  on  the  7,295,000 
shares  of  outstanding  common. 

Provision  of  $2,000,000  for  federal  in- 


come taxes  and  $200,000  for  contingent 
liabilities  was  estimated  for  the  last  quar- 
ter, compared  with  $2,200,000  for  taxes 
and  $250,000  for  contingent  liabilities  in 
the  corresponding  period  last  year. 

It  was  also  reported  that  between  June 
22,  1950  and  the  close  of  the  last  fiscal 
year,  August  31,  1950,  the  company  ac 
quired  a  total  of  297,700  shares  of  com- 
mon stock  at  a  cost  of  $3,739,000.  Dur- 
ing the  quarter  ended  Nov.  25  last,  the 
company  purchased  175,700  shares  at  $2,- 
309.000,  and  an  additional  49,600  shares 
at  $618,000  between  Nov.  25  and  Jan.  11, 
1951. 

PICKMAN  NAMED  ACTING 
HEAD  OF  PARA  AD-PUBLICITY 

Less  than  two  years  ago,  Jerome  Pick- 
man  joined  Paramount  as  Director  of  Ex- 
hibitor Relations.  On  February  13th,  the 
34-year-old  Pickman  assumed  charge  of 
ail  Paramount  advertising,  publicity  and 
exploitation. 

Pickman's  appointment  as  acting  na- 
tional director  of  the  company  s  ad-pub- 
licity department  came  immediately  after 
the  .resignation  of  Max  E.  Youngstein, 
vice-president  in  charge  of  ad-publicity- 
exploitation.  Although  it  was  known  that 
Youngstein  had  been  approached  by  the 
new  United  Artists  setup  for  a  vice-presi- 
dency, the  executive's  decision  to  resign 
the  Paramount  post  came  suddenly,  after 
a  frank  discussion  with  president  Barney 
Balaban,  despite  the  fact  that  final  terms 
in  the  proposed  UA  pact  had  not  been  set. 
The  youngest  major  film  company  ad-puO- 
licity  director,  Pickman  moves  up  from 
the  post  of  assistant  national  ad-publicity- 
exploitation  director,  a  position  he  assum- 
ed in  August,  1949,  after  Youngstein  fol- 
lowed Pickman  from  Eagle  Lion  to  Para- 
mount to  head  the  department.  The  new 
Paramount  ad-publicity  topper  entered  the 
industry  in  1944  as  executive  administra- 
tor to  Hal  Home  at  20th  Century-Fox. 
He  has  since  held  executive  promotion 
posts  with  the  David  O.  Selznick  organi- 
zation and  with  Eagle  Lion. 

A  native  New  Yorker,  and  a  law  school 
graduate,  Pickman's  show  business  ex- 
perience includes  representation  for  some 
of  the  top  names  in  the  entertainment 
field,  including  Ted  Lewis,  Eddie  Cantor, 
Larry  Clinton  and  Tommy  Dorsey. 

Sid  Blumenstock,  Paramount  advertis- 
ing manager,  was  expected  to  take  over 
additional  duties  in  the  new  alignment. 


TRUEMAN  T.  REMBUSCH 

Second-Termer 


GOLDEN  TO  CALL  IN  EXHIBS 
IF  FILM  CUT  SLICES  PRINTS 

Dupont's  action  in  rescinding  the  25% 
cutback  in  production  of  raw  film  stock 
sent  a  ray  of  hope  into  the  looming  print 
shortage  clouds  to  dispel  them.  Dupont's 
shortage  c.ouds  but  failed  to  dispel  them. 
Dupont's  action  followed  a  huddle  be- 
tween Joyce  O'Hara,  MPAA  acting  presi- 
dent; Nathan  D.  Golden,  chief  of  the  Na- 
tional Production  Authority's  film  equip- 
ment division,  and  Dupont  film  executive 
R.  P.  Molen. 

The  NPA  film  head  gave  assurance  to 
exhibitors  in  Washington  last  week  that 
they  will  be  consulted  before  the  Author- 
ity takes  any  action  on  the  raw  stock 
situation  that  might  affect  them.  Thej 
statement  was  made  in  reply  to  com-, 
plaints  registered  during  the  National. 
Allied  board  of  directors'  meeting  that  alii 
NPA  conferences  to  that  point  involved 
only  distributors,  producers  and  film 
manufacturers. 

"There  have  been  no  exhibitors  at  ar.y' 
of  the  conferences  so  far  because  there 
has  been  no  need  for  them,"  Golden  de-| 
(Continued  on  Page  27) 


MESSRS.  O'SHEA,  SCHWALBERG,  PICKMAN,  ZUKOR,  RAIBOURN 

A  Handsliake  For  The  Neio  Ad-Publicity  Director 


20 


FILM  BULLETIN 


...  TECHNICOLOR  has  served 
the  motion  picture  industry 
faithfully  and  well." 

In  a  letter  to  Dr.  HERBERT  T.  KALMUS  from  Harry  C.  Arthur,  Jr.,  president  Fanchon  &  Marco,  Inc. 


TECHNICOLOR  acknowledges 
with  pride  the  Special  "Box-Office 
Winner"  Award  presented  by  Fan- 
chon &  Marco's  St.  Louis  Theatres. 

Our  entire  organization  is  grate- 
ful to  Harry  C.  Arthur,  Jr.  and  his 
theatre  chain  for  this  noteworthy 
honor.  We  shall  continue  unflag- 
ging effort  to  assure  that  the  phrase 
"COLOR  BY  TECHNICOLOR 
will  remain  indicative  of  the  great- 
est technical  perfection  a  company 
can  render  to  an  industry. 


TECHNICOLOR 

IS   THE    TRADE    MARK  OF 

TECHNICOLOR  MOTION  PICTURE  CORPORATION 

HERBERT  T.  KALMUS,  PRESIDENT  AND  GENERAL  MANAGER 


6XHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


'SECURITY'  PACTS 

ATO  of  Indiana 
Several  of  the  major  film  companies 
are  selling  or  plan  to  sell  pictures  in 
groups  to  some  of  the  smaher  situations, 
it  has  appeared  to  us  that  this  method  is 
very  practical  for  many  theatres  but  be- 
lore  you  accept  it  as  all  to  the  good  with 
no  disadvantages  we  call  your  attention 
to  an  exhibitor  complaint  voiced  by  a 
member  of  Mid-Central  Allied.  "In  these 
days  of  print  shortages,  it  is  surprising 
how  prints  can  be  located  when  the  pur- 
chase of  the  picture  depends  upon  a  date, 
and  it  is  alarming  how  prints  disappear 
when  the  group  is  all  sold,  and  your  name 
is  on  the  dotted  line  for  a  mess  of  pro- 
duct. Objection  No.  2  is  even  stronger. 
The  old  time  worn,  dog  eared  "stop-pic- 
ture" gag  has  been  dusted  off  and  brougnt 
into  play.  For  example,  I  quote  from 
letter  written  by  Paramount's  booker, 
which  reads  as  follows:  "I  will  not  be  able 
to  book  "Let's  Dance"  on  March  10-12, 
as  this  would  be  skipping  "Sunset  Boule- 
vard," "Dark  City'"  and  "Tripoli."  In 
the  future,  I  am  going  to  exercise  my 
right  to  buy  one  picture  at  a  time  and 
have  it  dated  when  purchased. 

»         »  * 

BUSINESS  ETHICS 

Notwithstanding  the  fact  that  boxoffice 
receipts  are  still  declining,  the  seven  ma- 
jor companies  are,  in  many  instances, 
still  demanding  extortionate  rentals,  and 
we  sometimes  wonder  if  the  time  is  not 
opportune  far  the  Messrs.  Schenck,  War- 
ner, Balaban,  Skouras,  Cohn,  Blumberg 
and  Depinet  to  call  in  their  top  sales  man- 
agers and  explain  to  them  that  the  time 
has  now  arrived  when  they  should  get 
away  from  the  long  standing  policy  of 
getting  as  much  as  the  tariff  will  bear, 
which,  in  most  cases,  is  a  little  more  than 
the  other  fellow. 

Certainly,  it's  beyond  the  realm  of  good 
and  decent  business  ethics  for  one  divi- 
sion of  an  industry  to  increase  its  profils 
while  the  most  important  division  contin- 
ues to  suffer  in  both  gross  and  net. 

What  do  you  say,  Messrs.  Schenck, 
Warner,  Balaban,  Skouras,  Cohn,  Blum- 
berg and  Depinet? 

For  each  and  every  response  we  receive 
from  these  gentlemen,  the  undersigned 
will  personally  donate  $10  to  the  Heart 
Foundation.  We  can  afford  to  make  this 
offer  because  the  only  one  to  respond  will 
be  Mr.  Skouras. 

—P.  J.  Wood. 
Secretary,  ITO  of  Ohio 

RE  ROY  ROGERS 

Allied  Theatres  of  Michigan 
This  office  recommends  that  the  new 
Roy  Rogers  picture  "Trail  of  Robinhood" 
be  given  consideration.  We  feel  that  this 
is  just  the  best  Roy  Rogers  ever  and 
those  houses  that  play  it  have  a  real  thrill 
in  store  far  them.  It  is  a  nice  picture  all 
the  way  through  but  the  thrilling  and 
dramatic  finish  is  a  knock-out.  In  addi- 
tion to  Roy,  the  cast  includes  Jack  Holt, 
Rex  Allen,  Rockv  Lane  and  many  other 
western  stars.  It  is  a  picture  of  action 
and  the  kids  will  love  it.  It  offers  great 
selling  opportunities,  that  is  the  reason 
for  our  calling  your  attention  to  it.  Don't 
let  it  be  just  another  Roy  Rogers  picture. 
It  has  the  potential  —  it  is  up  to  you. 

Allied  Caravan 
We  think  that  color  is  an  important  in- 
gredient in   determining   the  box  office 
value  of  a  picture  and  that  many  exhibi- 


tors paid  Republic  extra  rentals  for  Roy 
Rogers  pictures  because  of  color. 

We  note  that  the  Salesman's  Work 
Sheet  for  Republic's  1950-1951  program 
lists  the  six  Trucolor  but  that  apparently 
the  two  first  Rogers  pictures  on  the  1950- 
1951  deal  are  in  black  and  white.  Exni- 
bitors  should  be  on  guard  for  this  when 
maKmg  their  aeal.  Exhibitors  who  have 
made  deals  based  on  the  Work  Sheet 
specifying  Trucolor  should  have  the 
privilege  of  renegotiating  terms  on  pic- 
tures delivered  in  black  and  white. 

KID  SHOW  HINTS 

Allied  Theatre  Owners  of  Indiana 
We  are  quoting  below  from  a  letter 
received  from  an  ATOI  member  who  has 
had  unusually  good  luck  with  Saturday 
Kid  Matinees. 

'T  have  heat-d  many  exhibitors  say  that 
their  children  s  shows  are  poorly  attended 
and  that  they  do  not  get  support  from 
the  parents.  Maybe  my  success  with 
these  shows  has  just  'happened'  but  I 
would  like  to  pass  on  a  couple  of  prac- 
tices I  have  because  I  have  received  spe 
cific  favorable  comment  on  them.  First, 
I  always  arrange  the  program  to  begin 
at  1:30  and  end  at  exactly  4:30.  The 
mothers  think  that  3  hours  is  all  that 
their  children  should  be  in  the  show  and 
by  letting  out  promptly  we  never  keep 
parents  standing  around  and  waiting  for 
children  who  are  held  in  the  show  15 
minutes  or  a  half  hour  longer  than  ex- 
pected. We  also  always  turn  up  the 
lights  at  the  end  of  the  show  because 
otherwise  the  children  stay  on  and  their 
folks  get  angry  and  discipline  them  by 
not  allowing  them  to  come  back  again 
for  a  while.  (It  also  clears  our  seats  for 
the  adults  who  come  later.)  We  also 
turn  up  the  lights  about  in  the  middle  of 
the  program.  The  parents  like  this  be- 
cause it  gives  a  good  chance  for  super- 
vision and  control.  During  this  intermis- 
sion we  speak  from  the  stage  to  the 
youngsters  and  tell  them  about  the  fine 
program  we  will  have  on  next  Saturday. 
This  sells  better  than  trailers  could.  It 
also  gives  the  children  a  chance  to  go  to 
the  rest  rooms.  (Usually  they  stop  at 
the  concession  stand  on  the  way  back  to 
their  seats)." 

PROFITS  &  RENTALS 

Allied  of  E.  Pa. 
While  the  boxoffice  is  going  down  and 
down  and  down,  the  bloated  distributors 
are  exerting  extreme  pressure  by  every 
conceivable  method  to  push  film  rentals 
up.  This  campaign  is  relentless  and  takes 
every  form  —  increased  flat  rentals,  high- 
er percentages,  wrong  allocations,  forced 
preferred  playing  time,  lower  split  fig- 
ures, and  many  other  gimmicks.  Only 
the  informed  exhibitor,  armed  with  infor- 
mation furnished  by  Allied,  is  in  a  posi- 
tion to  resist  these  increasing  film  rental 
demands. 

All  authorities  appear  to  agree  that 
there  must  be  increased  boxoffice  receipts 
resulting  from  the  general  economic  con- 
ditions. One  straw  in  the  wind  is  the 
report  of  the  Public  Assistance  Depart- 
ment of  Pennsylvania  that  there  has  been 
a  33%  reduction  in  payments  to  unem- 
ployed, and  to  those  requiring  state  aid. 

However,  this  and  other  information  of 
a  similar  character  should  not  lull  inde- 
pendent exhibitors  with  the  idea  that  cur- 
rent  film  rentals  can  be  paid.  Practically 
everything  that  the  exhibitor  buys  plus 
the  payroll  is  going  up.  Now  is  the  time 
to  re-examine  your  overhead,  make  cer- 


tain that  all  items  of  expense  are  includ^ 
ed,  and  buy  film  so  that  you  can  make  a 
profit. 

ALLIED  BLESSINGS 

Iowa-Nebraska  Allied 
Charlie  Niles,  National  Allied  Treasur- 
er writing  in  Caravan  Letter: 

What  you  have  in  Allied:  I  could  not 
help  but  think  what  a  wonderful  organi- 
zation  the  Allied  members  have  in  that 
we  can  pick  up  the  phone  and  get  thei 
opinion  of  Abram  F.  Myers,  like  we  did! 
on  the  National  Screen  matter  spoken 
of  in  this  letter.  You  members  get  this 
information  pronto  and  from  a  man  who 
can  speak  with  authority  in  this  business, 
he  has  been  right  on  every  count.  Years' 
ago  my  father  taught  me  to  ignore  a  com- 
petitor, but  we  can't  help  but  laugh  at 
the  mouthings  of  a  certain  so-called  ex- 
hibitor group  in  recent  trade  papers  — 
divorcing  was  all  wrong,  the  good  old: 
days  of  monopoly  were  the  only  thing.' 
Well,  go  back  a  few  years  ago,  you  were 
not  using  Metro  along  comes  "King  Solo- 
mon's Mines"  that  you  wanted  to  play,  I 
you  would  be  forced  to  buy  every  pic-, 
ture  Metro  had  released  since  talking 
pictures  came  in  to  get  "King  Solomon's 
Mines."  Take  another  company,  Fox,i 
can  you  imagine  how  you  would  be  tak- 
en over  the  coals  in  attempting  to  buy: 
"Cheaper  By  The  Dozen."  Look  at  all, 
the  good  pictures  today  being  made  on, 
a  free  market  that  must  stand  on  their' 
individual  feet  to  be  sold,  all  this  a  re- 
sult of  the  Decision  in  the  Paramount 
Case.  Of  course,  if  I  had  a  large  circuit, 
could  force  anyone  to  sell  out  to  me  by1 
the  threat  of  building  a  theatre,  had' 
clearance  of  ninety  days  over  all  my 
competitors,  owned  a  picture  company 
and  could  steal  my  pictures  and  gouge 
my  competitors,  perhaps  we  could  go 
along  with  this  false  doctrine  but  beingi 
an  independent  and  wishing  to  remain  an, 
independent  and  wishing  to  buy  selective-, 
ly,  and  not  wanting  clearance  over  any- 
one nor  wanting  anyone  to  have  clear- 
ance over  us  just  because  they  own  110 
popcorn  machines  to  our  one,  all  we  can, 
say  is  God  Bless  Allied. 

*  *  * 

DELINQUENT  DISTRIBUTORS 

ATO  of  New  Jersey 
We  just  don't  understand  why  distri- 
butors continually  force  percentage  pic-! 
tures  upon  exhibitors  when  our  business 
doesn't  warrant  them.  Through  thesel 
percentage  arrangements,  they  control, 
not  only  our  boxoffice  but  our  playing 
time  and  they  force  us  to  date  the  picture; 
not  to  the  best  interest  of  the  theatre. 

Another  serious  problem  is  the  failure 
of  the  branches  in  the  metropolitan  area 
to  obtain  a  sensible  allocation  of  all  pic- 
tures prior  to  availabilities.  The  exhibi- 
tor is  forced  to  play  these  pictures  late 
because  there  is  either  no  allocation  or, 
the  original  home  office  designation  is 
ridiculous.  What  sense  is  there  in  screen-' 
ing  a  picture  when  allocations  are  made: 
of  pictures  weeks  after  availability.  Ev- 
ery company  is  guilty  of  this  almost 
without  exception. 

If  a  picture  is  to  be  sold  in  the  third 
bracket  finallv,  what  purpose  is  there  to 
start  out  asking  top  terms.  The  delin-l 
quency  in  buying  these  pictures  is  not| 
the  fault  of  the  exhibitor  but  can  be  laid, 
directly  on  the  doorstep  of  the  distributor 
whose  judgment  is  one  that  puts  alii 
pictures  on  top,  preventing  the  conclu-l 
sion  of  a  deal  in  time.  For  heaven's  sake, 
stop  this  nonsense,  take  a  look  at  a  pic«J 
ture  and  decide  what  the  picture  is  worth. 


22 


FILM  BULLETI 


'OPERATION  X'  THE  KNIFE  SLIPPED! 


jlates  *  +  generally  as  dualler 


Columbia 
minutes 

i£dward  G.  Robinson,  Nora  Swinburne, 
tfeff&y  Cummins,  Richard  Greene,  Greg- 
ory Ratoff.  Finlay  Currie,  Ronald  Adam, 
Walter  Rilla,  James  Robertson  Justice, 
David  Hutcheson,  Dod  Nehan.  Peter 
Ulingr,  Ronald  Ward,  Roberto  Villa. 
'Directed  by  Gregory  Ratoff 


There  can  be  little  doubt  that  the  re- 
itrent  profusion  of  "Operation"  titles  will 
now  be  halted.  "Operation  X",  Columbia's 
contribution,  is  the  one  in  which  the  knife 
'slipped,  killing  the  value  of  all  future  mo- 
hie  "operations".  This  incredibly  phony 
account  of  a  man's  fabulous,  insane  de- 
[sire  to  own  the  whole  world  fails  miser- 
ably as  entertainment.  Depending  almost 
itentirely  upon  stilted,  childiih  dialogue  to 
idevelop  its  farfetched  tale.  "Oneration  X" 
wastes  the  talents  of  a  capable  cast  and 
makes  them  look  silly.  The  gigantic, 
learth-shaking  events  hinted  at  in  every 
iturn  of  the  film's  tortuous  labyrinth  of 


plot  are  never  made  quite  clear,  leaving 
the  audience  wondering  what  all  the  fuss 
and  bother  was  about.  Director  Gregory 
Ratoff  should  hide  his  head  in  shame  Rox- 
office  prospects  are  fair,  at  best,  and  that 
solely  on  the  strength  of  the  following 
enjoyed  by  Edward  G.  Robinson.  It 
should  be  dualled  with  a  comedy  or  musi- 
cal. 

Robinson  does  as  well  as  can  be  expect- 
ed in  the  unsympathetic  role  of  a  power- 
ful international  financier  with  a  dream 
of  world  conquest,  who  goes  crazy  when 
he  learns  he  is  not  the  father  of  his  spoil- 
ed-darling  daughter.  The  change  of  char- 
acter affected  by  daughter  Peggy  Cum- 
mins halfway  through  the  picture  is  just 
as  fantastic  as  the  screenplay  by  Robert 
Thoeren  and  William  Rose.  Also  unim- 
pressive are  Richard  Greene,  as  Peggy's 
fiance,  and  Nora  Swinburne,  as  her  long- 
suffering  mother.  The  only  appreciable 
effort  is  the  humorous  performance 
turned  in  by  Gregory  Ratoff  as  Robin- 
son's closest  friend. 


STORY:  There  are  only  two  things  in 
the  world  that  are  important  to  interna- 
tional financier  reward  G.  Robinson— his 
lovely,  spoiled  daughter,  whom  he  adores; 
and  his  desire  to  own  the  world.  He  plots 
to  corner  the  market  on  the  brains  of  the 
world,  hoping  to  put  over  his  Operation 
X,  a  hazy  scheme  to  mine  some  sort  of 
mineral  that  will  make  him  all-powerful. 
His  daughter,  Peggy  Cummins,  becomes 
engaged  to  Richard  Greene,  a  journalist, 
who  exposes  Robinson  and  his  scheme  in 
a"  magazine  article.  Peggy,  thinking 
Greene  used  her  to  get  the  story,  sends 
him  away.  Later  she  realizes  she  loves 
Greene  and  goes  after  him.  planning  to 
marry  him  immediately.  Robinson  decides 
to  take  her  on  a  cruise,  but  his  wife, 
Nora  Swinburne,  opposes  this  plan.  When 
she  tells  Robinson  that  someone  else  is 
the  father  of  Peggy,  he  goes  insane,  leav- 
ing his  Operation  X  to  collapse  and  spend- 
ing the  rest  of  his  days  in  a  padded  study, 
still  dreaming  of  someday  owning  the 
world.  JACKSON. 


TWO  LOST  WORLDS'  HAS  BALLYHOO  ANGLES 

,Rates  •  •  +  as  a  dualler  where  ballyhooed 

ly  through  the  machinations  of  her  nine 


Eagle  Lion  Classics  release 
61  minutes 

Laura  Elliott,  Jim  Arness,  Bill  Kennedy, 
Gloria  Petroff,  Tom  Hubbard,  Jane  Har- 
lan, Pierre  Watldn,  Bon  Carson,  Guy 
BellLs,  James  Guilfoyle,  Fred  Kohler,  Jr., 
.Tom  Monroe,  Tim  Grahame,  Richard  Bar- 
,tell,  Charleen  Hawks,  Joey  Ray,  Herman 
Canton. 

Directed  by  Norman  Dawn. 

I  Though  this  adventure  programmer, 
:made  by  Sterling  Productions,  is  a  minor 
i league  effort  and  has  little  marquee 
j  value,  it  is  compounded  of  some  fairly 
'exciting  elements  that  will  satisfy  only 
the  least  discriminating  adults,  but  should 
I  send  the  youngsters  into  roars  of  delight. 
Boris  Petroff's  imaginative  production 
makes  full  use  of  the  ingredients,  which 
I  include  a  volcanic  eruption,  prehistoric 
!  monsters  battling  to  the  death,  pirates, 
hand-to-hand  combat,  a  fire  disaster  at 
sea  which  sinks  two  ships,  peril  on  a 
i  desert  island,  romance  and  jealous  hatred, 
I  kangaroos  and  cuddly  lambs.  It's  corn, 
but  exploitable,  and  action  and  ballyhoo 
I  houses  should  find  it  a  good  dualler. 
I  Only  the  kiddies  will  fail  to  notice  the 
1  flaws  in  Norman  Dawn's  production:  the 
I  cliche-ridden  dialogue,  the  stagey  poses 
and  mawkish  mugging.  Laura  Elliott 
tries  hard  to  give  the  picture  a  little 
glamour  and  Jim  Arness,  as  the  hero, 
looks  a  fine  figure  of  a  man. 

STORY:  Jim  Arness'  clipper  ship, 
sailing  from  Salem  to  the  East  Indies  in 
the  1830's,  is  attacked  by  pirates.  Wound- 
ed, he  is  set  ashore  in  a  small  Australian 
coastal  township.  The  settlers  fear  the 
pirates  may  land  and  raid  their  homes, 
so  Arness  organizes  a  militia  at  the  re- 
quest of  the  magistrate,  Pierre  Watkins. 
The  magistrate's  daughter,  Laura  Elliott, 
is  engaged  to  a  sheep-farmer,  Bill  Ken- 
nedy, but  falls  in  love  with  Arness,  large- 


year-old  sister,  Gloria  Petroff.  Pirates  at- 
tack and  Laura  is  carried  off  to  sea  with 
a  girlfriend.  In  an  unarmed  sloop,  the 
Australians  and  the  Yankee  give  chase, 
board  the  pirate  ship,  and  rescue  the 
girls  and  Kennedy,  who  has  been  shot. 
As  they  row  away  in  a  small  boat  both 
vessels  catch  fire  and  sink.  The  small 
party  of  survivors  lands  on  a  volcanic 


island,  and  is  beset  by  dragon  lizards. 
After  many  hardships  they  build  a  raft, 
but  just  as  they  are  about  to  make  a  bid 
for  freedom  the  volcano  erupts.  In  the 
nick  of  time  Arness*  clipper  ship,  which 
has  been  searching  for  them  on  its  re- 
turn voyage  from  the  Indies,  hoves  into 
view  and  rescues  the  party  except  Ken- 
nedy, who  conveniently  dies  of  his  in- 
juries. YORK. 


"As  a  Scientist,  I  say  we  must 
destroy  it  or  it  will  destroy  us!" 

THE  THING 

from  Another  World! 

HOWARD  HAWKS'  *Pcrft'nQ  MOVIE! 


Ads  like  this  are  appearing  in  58  National  Magazines  and  93  Sunday  Newspaper  Supplements  totaling  185,761,000  circulation. 


FEBRUARY    26,  1951 


23 


EXPLOITATION  PICTURE 


NO  FMTASY,  JUST  FUN  IIV  'BONZO' 

'Francis',  'Harvey'  Tie-lRS  Add  Draw 


Three  films  in 
the  past  year  or  so 
have  come  from 
Universal  -  Interna- 
t  i  o  n  a  1  featuring; 
rather  unique  ani- 
mals. The  first  two, 
''Francis''  and 
"Harvey,"  have  al- 
ready gladdened 
boxoffices  on  a  par 
with  any  of  U-Ts 
top  product  and 
seemed  to  hit  the 
public's  entertain- 
ment demand  bulls- 
eye.  Now  the  third, 
"Bedtime  for  Bon- 
zo," about  to  be 
released,  bids  fair 
to  smack  the  same 
target. 

"Bonzo"  has  two 
distinct   advantages  over 
duo.  First, 


BONZO  &  'MAMA' 

Funny  Monkey  Business 


the  previous 
there  the  others  had  to 
overcome  the  traditional  onus  of  "fan- 
tasy," i.e.,  a  talking  mule  and  an  in- 
visible six-foot  rabbit,  the  present 
offering  features  a  perfectly  normal, 
albeit  highly  intelligent,  representative 
of  the  animal  kingdom,  a  chimpanzee. 
As  a  matter  of  fact,  it  is  the  human 
element  in  the  film  that  tends  toward 
the  "strange"'  side  —  a  professor  who 
attempts  to  raise  the  chimp  like  he 
would  a  child  in  order  to  prove  the 
dominance  of  environment  over  he- 
redity. The  ensuing  hi-jinks  are  preg- 
nant with  risibility  potentials. 

The  second  advantage  accruing  "Bon- 
zo" is  the  opportunity  to  tie  in  the 
success  of  the  others.    The  advertising 


features  such  lines 
as  "The  funniest 
new  idea  on  film 
since  'Francis'," 
and  points  up  one 
of  the  basic  tenets 
of  advertising  psy- 
chology, the  value 
of  association  with 
something  a  d  m  i  t- 
edly  desirable. 

The  unusual  sit- 
uation inherent  in 
the  monkey's  tale 
(no  pun  intended) 
offers  a  real  bonan- 
za of  exploitation 
)ossibilities.  Mere- 
ly stating  the  prem- 
ise— "They  adopted 
a  baby  chimp  .  .  . 
and  tried  to  prove 
he  could  be  raised 
just  like  'Junior"  —  but  they  made  him 
the  Juvenile  Delinquent  of  the  Year" — 
offers  tempting  bait  to  the  moviegoer. 
Clever  displays  in  the  ads,  posters  and 
accessories  make  the  most  of  the  situa- 
tion, are  ideally  suited  to  blowups  for 
eye-arresting,  seat-selling  displays. 

And  then,  of  course,  the  intrinsic 
humor  in  the  monkey  genus  itself  is  a 
potent  selling  angle.  We  defy  any  but 
the  most  curdled  sourpuss  to  view,  un- 
smilingly,  shots  of  Bonzo  in  the  various 
apparel  and  poses  he  adopts  in  the  film. 
Bonzo  in  a  Hopalong  Cassidy  outfit, 
in  rompers,  in  sleepers,  riding  a  bike, 
"ooting  a  horn,  etc.,  are  certain  chuckle 
instigators  that  alone  could  sell  the 
film  to  many. 


MONKEY  STUNTS 

Few  films  have  offered  the  large  variety  of 
stunt  opportunities  with  which  "Bedtime  for 
Bonzo"  is  loaded.  One  in  particular,  while  re- 
quiring some  rather  elaborate  planning,  is  one 
of  the  surest  space  grabbers  a  theatreman  can 
hope  to  have — a  special  screening  for  one  or 
several  monkeys.  Chimps  are  best  for  this 
stunt,  since  their  reactions  are  more  pronounced 
and  interesting.  With  assurance  that  the 
monkey  will  react  to  a  movie,  progressive  pho- 
tos of  the  simians'  reactions  should  be  taken. 
The  stunt  has  been  successful  with  both  infra- 
red bulbs  (in  an  entirely  dark  room)  or  regular 
flash  bulbs  in  a  partially  lighted  room. 

A  variation  on  this  stunt  shows  (1)  the 
chimp  reading  an  invitation  to  see  "Bonzo",  (2) 
on  his  way  to  the  screening  room,  (3)  eating 
popcorn  before  the  picture  starts,  (4)  his  var- 
ious reactions  as  he  views  the  film,  and  (5)  on 
his  way  home  "happy  and  confident  that  'Bon- 
zo' will  get  the  Academy  Award." 

Another  variation  ties  in  the  screening  with 
the  local  college  and  child  psychology  groups. 
Since  most  of  the  story's  action  takes  place  on 
a  college  campus,  the  monkey  screening  can 
be  held  at  the  university  under  the  surveillance 
of  psychology  professors. 

Other  monkey  stunts  and  displays  include 
simply  a  live  monkey  on  the  streets;  a  "barrel 
of  monkeys",  using  false  bottom  and  stuffed 
toys,  as  a  lobby  or  front  display;  snipes  around 
or  inside  the  zoo  and  pet  shops,  etc. 


NEWSPAPER  ADS 

Below,  some  of  the  larger  display  ads  and 
the  three  styles  of  teasers  (far  left)  available. 


EXPLOITATION 
PICTURE 

of  the  issue 


BEDTIME  for  BONZO 


Universal-International  has  proved  that  ''animals 
make  the  funniest  people."  With  the  mule.  "Francis." 
and  the  rabbit,  '"Harvey."  the  company  has  racked  up 
some  of  the  top  grosses  in  its  history.  Now.  with  "Bed- 
time for  Bonzo,"  TJ-I  has  featured  the  animal  that  is 
practically  synonoinous  with  laughter,  the  monkey,  and 
has  employed  a  unique  story  to  garner  additional  humor. 
Bonzo,  a  highly  talented  five-year-old  chimpanzee,  be- 
comes the  subject  of  an  experiment  by  a  professor,  played 
by  Ronald  Reagan,  to  determine  the  age-old  argument  of 
heredity  vs.  environment.  In  the  Val  Burton-Lou  Breslow 
screenplay,  Reagan,  to  convince  his  fiancee's  recalcitrant 
father  that  his  own  parent's  criminal  tendencies  cannot 
be  inherited,  brings  Bonzo  into  his  home  to  raise  the 


chimp  just  like  a  child,  and  hires  Diana  Lynn  as  his 
housekeeper  during  the  experiment.  After  successfully 
mastering  the  difficulties  of  child  training,  Bonzo  throws 
a  you-know-what-kind  of  wrench  into  Reagan's  plan-  l>\ 
"lifting"  a  necklace  in  a  jewelry  store  and  depositing  it 
with  his  "  father."  who  U  caughl  with  the  loot.  Bonzo. 
however,  ultimately  absolves  Reagan  and  the  environment 
theory  in  some  pretty  funny  monkey  business,  earning 
himself  a  permanent  home  with  the  professor  and  his 
housekeeper,  who  replaces  the  skeptical  fiancee  in  Reag- 
an- affections.  Walter  Slczak.  Lucille  Barkley  and  Jesse 
('"Harvey"  l  White  have  featured  spots  in  the  supporting 
cast.  Frederick  de  Cordova  directed  for  producer  Michel 
Kraike. 


BETTE  DAVIS  DRAWS  KUDOS  ??Q(JOT€S" 


AS  CRITICS  OKAY  'PAYMEMT' 

A  better-than-average  reception  was  af- 
forded RKO's  story  of  a  divorce,  "Pay- 
ment on  Demand,"  by  the  New  York 
newspaper  critics,  although  their  reviews 
differed  when  evaluating  the  entertain- 
ment aspects  of  the  picture  as  a  whole. 
The  scribes  were  united  in  the  opinion 
that  it  was  a  definite  Bette  Davis  thespic 
triumph,  and  they  were  also  in  agreement 
in  commending  the  good  taste  with  which 
the  touchy!  theme  was  handled  in  the 
script  and  in  Curtis  Bernhardt's  direction. 
Their  chief  lament  concerned  the  return 
of  Miss  Davis  to  the  familiar  role  of  the 
hateful  vixen  she  has  so  often  character- 
ized in  the  past. 

Bosley  Crowther,  of  the  Times,  refer- 
ring to  Miss  Davis'  return  to  "those 
woman-you-love-to-hate  roles,"  states  that 
the  movie  "is  entirely  a  vehicle  for  Miss 
Davis  to  pull  with  a  firm  theatrical  grip 
across  the  screen." 

Crediting  it  for  getting*  "better  effects 
than  most  screen  treatments  of  domes- 
tic agony,"  the  Herald  Tribune's  Otis  L. 
Guernsey  qualifies  the  film  as  "superior 
footage  for  those  who  are  partial  to  this 
type  of  entertainment." 

In  the  Compass,  Seymour  Peck  finds 
it  "often  surprisingly  frank  and  adult  and 
even  sardonic  about  marriage  and  di- 
vorce" handled  in  a  manner  that  "will 
surely  be  admired  by  moviegoers  who  do 
not  like  their  films  too  stark." 

The  World  Telegram's  Alton  Cook  is 
one  who  criticizes  the  star's  return  to 
"her  old  routine  of  suffering,  suffering, 
suffering."  It  goes  right  back,  he  con- 
cludes, "to  the  standard  Bettc  Davis  pat- 
tern that  has  made  her  the  darling  of  the 
handkerchief  brigade." 

The  return  to  the  "out-and-out  drama- 
tic type  role  she  favored  before  her  satiri- 
cal comedy  success  in  'All  About  Eve'" 
is  emphasized  by  Rose  Pelswick  in  the 
Journal  American.  The  result,  she  says, 
is  an  "effective  domestic  drama,"  due  to 
"an  engrossing  and  credible  perform- 
ance" by  Miss  Davis. 

Archer  Winsten,  of  the  Post,  offers 
"credit  for  avoiding  sensationalism,"  the 
whole  complex  of  male-female  strife  be- 
ing "touched  in  adult  fashion." 

'THE  MAGNIFICENT  YANKEE' 

"Mixture  of  sentiment,  patriotism  and 
character  study  which  overcomes  a  static 
playlike  structure  .  .  .  Calhern's  acting 
in  the  title  role  superimposes  dignity 
and  zest  on  a  series  of  vignettes  of  the 
past."  —  GUERNSEY,  N.  Y.  HERALD 
TRIBUNE. 

"Gentle  screen  drama  .  .  .  (that)  Cal- 
hern  endows  with  humor,  inspiration  and 
heart."  —  CROWTHER.  N.  Y.  TIMES. 

"Not  a  highly  dramatic  nor  exciting 
screenplay  .  .  .  Placid  and  glossy  and 
genial  movie  .  .  .  There  is  zip  and  punch 
only  in  Louis  Calhern's  grand  nortrait 
of  Mr.  Justice  Holmes."  —  PECK,  N.  Y. 
COMPASS. 

"Crowning  disappointment,  though,  is 
Calhern's  performance."  —  WINSTEN, 
N.  Y.  POST.  . 

"Has  a  rosy  glow  of  romance  .  .  .  Big 
speeches  .  .  .  give  the  movie  an  air  of 
showy,  theatrical  flourish  .  .  .  Photo- 
graphic reproduction  of  a  stage  play." 
—  COOK,  N.  Y.  WORLD  TELEGRAM. 

"Notable  screen  entertainment  .  .  . 
Warm  and  affectionate  recital."  —  PELS- 
WICK, N.  Y.  JOURNAL  AMERICAN. 


What  the  Newspaper  Critics  Sag  About  New  Film 


BORN  YESTERDAY' 

COLUMBIA 

"Trenchant  screen  version  of  the  stage 
play  .  .  .  Beautifully  integrated  compound 
of  character  study  and  farce  .  .  .  Miss 
Holliday  brings  to  the  screen  a  talent  for 
characterization  that  is  as  sweetly  re- 
freshing as  it  is  rare."  —  CROWTHER, 
N.  Y.  TIMES. 

"Swift,  slangy  comedy  .  .  .  Staged  effi- 
ciently, with  fidelity  to  Kanin's  original 
.  .  .  Occasion  clearly  belongs  to  Miss  Hol- 
liday." —  PECK,  N.  Y.  COMPASS. 

"Screen  has  distorted  'Born  Yesterday' 
in  the  direction  of  Judy  Holliday.  Fortu- 
nately, she  is  equal  to  the  job  of  carrying 
on  alone,  in  a  performance  that  is  a  joy 
to  behold."  —  GUERNSEY,  N.  Y.  HER- 
ALD TRIBUNE. 

"Probably  never  before  has  a  movie 
with  so  many  small  flaws  offered  such 
good  entertainment."  —  COOK,  N.  Y. 
WORLD  TELEGRAM. 

"Worthwhile  messages  .  .  .  merely  pro- 
vide a  substantial  background  against 
which  the  buoyant  caricature  and  satire 
of  the  two  lead  characters  can  froth  and 
bubble."  —  WINSTEN,  N.  Y.  POST. 

'THE  SECOND  WOMAN' 

UNITED  ARTISTS 

"Confused  film  .  .  .  Instead  of  building 
up  suspense  .  .  .  telegraphs  the  result 
long  before  the  end  .  .  .  Badly  edited  .  .  . 
Really  a  mystery  film."  —  PIHODNA, 
N.  Y.  HERALD  TRIBUNE. 

"Does  not  possess  anywhere  near  the 
novelty  it  —  and  we  —  might  hope  for 
.  .  .  Second-rate  mystery  .  .  .  Got  to  be  a 
little  foolish  and  preposterous."  —  PECK, 
N.  Y.  COMPASS. 

"Suspense  melodrama  .  .  .  Although 
...  a  nicely  appointed  production,  the 
melodrama  is  static,  being  weighted  with 
dialogue  and  action  which  does  very  little 
to  carry  the  story  forward."  —  T.  M.  P., 
N.  Y.  TIMES. 

'OF  MEN  AND  MUSIC 

20TH  CENTURY-FOX 

"Patch-up  picture  lacks  dramatic  con- 
tinuity and  visual  power  .  .  .  Successfully 
fills  the  one  purpose  of  providing  a  clear 
and  distinguished  musical  program  on  the 
screen."  —  CROWTHER,  N.  Y.  TIMES. 

"A  very  respectable  achievement  .  .  . 
Straightforward  movie  about  .  .  .  men 
and  music  .  .  .  Has  only  now  and  then 
won  out  over  the  problem  of  how  to  mak? 
music  interesting  VISUALLY;  a  great 
deal  of  'Of  Men  and  Music'  is  static."  — 
PECK,  N.  Y.  COMPASS. 

"A  dignified  and  worthy  film."  —  PI- 
HODNA, N.  Y.  HERALD  TRIBUNE. 

"Not  a  story,  not  a  fictional  amusement, 
not  a  picture  in  the  sense  we  are  accus- 
tomed to,  not  an  entertainment  that  can 
be  justly  evaluated  by  the  motion  picture 
reviewer  ...  A  great  concert."  —  WIN- 
STEN, N.  Y.  POST. 

THE  MAN  WHO  CHEATED  HIMSELF 

20TH  CENTURY-FOX 

"Since  it  is  perfectly  lucid  ...  is  rob- 
bed of  suspense  .  .  .  Interesting  but  not 
exciting  fare."  —  A.  W.,  N.  Y.  TIMES. 

"Not  the  most  original  movie  in  the 
world  .  .  .  Minor  melodrama  .  .  .  Neat, 
modest  job,  however."  —  PECK,  N.  Y. 
COMPASS. 

"Straightforward  cat-and-mouse  thriller 
.  .  .  Routine  but  efficient  police  story."  — 
GUERNSEY,  N.  Y.  HERALD  TRIBUNE. 

"Middling  little  killer-thriller  .  .  .  Tick- 
eted for  the  bottom  of  double  bills  .  .  . 


There's  nothing  here  for  him  (Cobb)  t 
sink  his  teeth  into."  —  WINSTEN,  N.  "5 
POST. 

FRENCHIE' 

UNIVERSAL-INTERNATIONAL 

"Crammed  with  fighting,  chasing  an 
shooting  ...  In  spite  of  all  the  actio 
.  .  .  manages  to  be  listless  and  unexci 
ing."  —  COOK,  N.  Y.  WORLD  TEL! 
GRAM. 

"Lively  Westerner  that  gets  away  fror 
the  standard  sagebrush  formula."  - 
PELSWICK,  N.  Y.  JOURNAL  AMER 
CAN. 

"Shelley  Winters  vying  with  the  Teci 
nicolor  scenery  .  .  .  Has  a  bit  more  wi 
than  the  run-of-the-mill  horse  opera."  - 
PIHODNA,  N.  Y.  HERALD  TRIBUNE. 

"Blueprint  as  familiar  as  'they  wen 
thataway.'  .  .  .  There's  just  too  muc 
'talkin' '  going  on."  —  A.  W.,  N.  } 
TIMES. 

"Pretentious,  unexciting  Western  .  . 
Likely  to  make  the  kiddies  who  worshi 
Westerns  groan  in  disgust  .  .  .  Flat,  ii 
sipid  Western  story  without  any  flair  o 
wit  or  pep."  —  S.  P.,  N.  Y.  COMPASS. 

'SUGARFOOT1 

WARNERS 

"Simple,  elementary  Western  whic 
should  —  if  I  may  venture  to  predict  th 
unpredictable  —  please  the  children  .  . 
Happily,  there  isn't  too  much  of  that  lov 
stuff."  —  S.  P.,  N.  Y.  COMPASS. 

"Kind  of  Western  that  holds  no  sui 
prises.  In  fact,  it  holds  no  entertair 
merit."  —  T.  M.  P.,  N.  Y.  TIMES. 

"Several  notches  higher  than  the  avei 
age  horse  opera  .  .  .  Familiar  drink  fror 
a  well  known  recipe,  but  the  appetizers 
the  service  and  the  setting  give  it  a  fres.' 
taste."  —  BARSTOW,  N.  Y.  HERALIj 
TRIBUNE. 

"Can  be  exciting  to  the  kids  and  res'j 
fully  familiar  to  sleepy  adults.  Don't  tr- 
to  enjoy  it  when  you're  wideawake.  -, 
WINSTEN,  N.  Y.  POST. 

"Back  to  formula  .  .  .  Regulation  hors 
opera."  —  PELSWICK,  N.  Y.  JOURNA1, 
AMERICAN. 

"In  spite  of  all  the  action  .  .  .  marj 
ages  to  be  listless  and  unexciting."  - 
COOK,  N.  Y.  WORLD  TELEGRAM. 

•CALIFORNIA  PASSAGE' 

REPUBLIC 

"Overlengthy  but  action-packed  wes 
ern  .  Never  stops  moving,  usually  a 
full  gallop."— E.  C,  N.  Y.  WORLD  TELIj 
GRAM. 

"Gun  fighting  was  pretty  good  .  . 
•  but)  Heaven  protect  us  from  such  fane 
talk  in  a  Western."— T.  M.  P.,  N.  \ 
TIMES. 

"Polished  Western  in  the  standard  tn 
dition,  calculated  to  set  Saturday  aftei 
noon  audiences  afire  .  .  .  Escapist  wit! 
out  refusing  to  listen  to  reason,  a  gallop 
ing  show  whose  driver  always  has  cor 
trol  of  the  reins."— GUERNSEY,  N.  "5 
HERALD  TRIBUNE. 

"Rootin',  tootin',  shootin'  prescriptioi 
as-before  of  the  standard  Western."  - 
WINSTEN,  N.  Y.  POST. 

"Slam-bang  Westerner  .  .  .  You've  see^ 
it  before  and  you'll  see  it  again  and,  a 
always,  the  ridin',  fightin'  and  shootin'  a 
well  as  the  chases  make  for  lively  a«! 
tion."  —  PELSWICK,  N.  Y.  JOURNA| 
AMERICAN. 


FILM  BULLETI1 


Netvs  and  Opinion 


Continued  from  Page-  20) 

•lared.  "We  haven't  done  anything  af- 
ecting  them.  If  we  should  plan  anything 
hat  affects  them,  they  will  be  consulted 
it  the  proper  time." 

While  1951  film  production  will  main- 
ain  the  same  pace  as  last  year,  two 
actors  will  mean  that  the  movie  indus- 
ry's  share  will  drop  from  1950;  (1)  There 
a\U  be  increased  demands  from  Govern- 
ment and  defense  agencies,  and  (2)  Film 
supplies  in  1950  included  a  sizeable  stock- 
pile from  the  preceding  year;  this  year, 
it  will  start  from  scratch. 

Golden  had  earlier  told  a  joint  meeting 
of  the  various  producers'  associations  in 
Hollywood  that  the  industry  can  offset 
,the  shrinking  shortage  peril  by  practic- 
ing careful  control,  economies  and  elim- 
inating waste. 

Movie  film  requirements,  he  said,  will 
total  about  half  of  the  total  film  output 
by  manufacturers  during  1951.  How  much 
of  this  will  be  sliced  off  by  Government 
requirements  is  still  indeterminable,  he 
added. 


PIH  SALESMEN  LAUNCH 


COMPO  B.O.  DRIVE  READIED 


REPUBLIC  1950  NET  GOES 
UP  AGAIN,  HITS  3-4  MILLION 

Republic's  net  for  1950  took  a  sizeable 
increase  over  1949,  with  $760,000  register- 
ed after  all  charges  and  taxes,  compared 
with  $486,000  for  the  preceding  52  weeks. 
In  contrast  to  the  usual  trend  for  film 
company  profit  reports,  Republic's  gross 
revenue  also  increased  to  $30,310,000, 
more  than  two  million  dollars  better  than 
the  '49  gross,  $28,086,000. 
.  The  profit  statement  listed  $9,090,000 
m  amortization  of  film  production  costs 
and  $10,261  in  laboratory,  molded  pro- 
ducts and  accessory  costs,  largely  from 
the  Consolidated  Molded  Products  Corp. 
subsidiary.  Taxes,  other  than  Federal  in- 
come levies,  were  reported  at  $434,000, 
^Jjh  Federal  income  taxes  estimated  at 
J>540,000,  and  deferred  foreign  income  sub- 
ject to  withdrawal  restrictions  and  Fed- 
eral taxes  thereon  listed  at  $285,000. 

In  his  report  to  stockholders,  president 
Herbert  J.  Yates  noted  that  the  corpora- 
tion s  bank  indebtedness  as  of  the  end  of 
he  fiscal  year,  Oct.  28,  1950  was  $3,086,- 
WO  and  has  since  been  reduced  by  $1,077,- 

UUU. 


DRIVE  TO  HYPO  THEATRES      AT  EXHIB-DISTRIB  MEETING 


Rank  and  file  film  salesmen,  whose  im- 
portance in  the  industry  has  been  increas- 
ing steadily,  added  another  important 
chore  —  voluntarily  —  to  their  daily  ac- 
tivities. This  was  revealed  last  week 
when  Robert  H.  Ruskin,  president  of  the 
Fittsburgh  Loge  of  Colosseum  of  Motion 
Picture  Salesmen,  announced  adoption  of 
a  plan  by  the  group  aimed  at  increasing 
theatre  grosses. 

Two  principal  features  are  involved  in 
the  plan: 

(1)  A  grass  roots  campaign  by  the 
salesmen  to  resell  moviegoing  to  the  pub- 
lic. The  film  peddlers  —  on  their  own 
time  —  will  appear  before  various  civic 
organizations  and  school  groups  to  plug 
the  new  movies  and  the  motion  picture 
industry  generally. 

(2)  Formation  of  a  "clinic"  in  which 
exhibitors  will  be  advised  as  to  possible 
changes  of  policy  in  order  to  increase  his 
grosses  "while  maintaining  film  rentals." 

The  plan  was  evolved,  Ruskin  said,  be- 
cause "each  and  every  salesman  is  aware 
of  the  fact  that  the  continued  survival  of 
the  small  theatre  is  as  important  to  him 
as  an  individual  as  to  the  company  he 
represents." 

Assurance  of  exhibitor  backing  for  the 
plan  in  the  Pittsburgh  area  was  given  by 
Weldon  Waters,  of  Co-Operative  Theatre 
Service,  who  announced  that  the  plan  will 
have  the  whole-hearted  support  of  his 
organization. 

NSS  CHARGES  'BOOTLEGGING' 
OF  POSTERS  BY  INDE  RENTER 

Charges  of  "bootleg  trafficking  of  copy- 
righted material"  were  hurled  by  Nation- 
al Screen  Service  counsel  Louis  Nizer  at 
an  independent  poster  company  plaintiff 
in  the  anti-trust  suit  against  NSS  and  the 
major  film  companies.  Counter  charges 
by  Francis  T.  Anderson,  counsel  for  Law- 
lor  &  Pantzer,  included  an  allegation  that 
it  was  only  "fear  of  the  law"  that  per- 
suaded National  Screen  to  permit  the  ex- 
istence of  independent  poster  renters. 

The  statements  were  made  at  the  U.  S. 
District  Court  hearing  on  a  motion  for 
summary  judgment  by  plaintiff,  in  which 
the  latter's  counsel  described  the  action 
against  NSS  as  "the  perfect  case"  for  in- 
junctive relief  on  the  grounds  that  its 
contracts  for  exclusive  rights  to  distribute 
poster  material  and  trailers  are  illegal 
per  se. 

Film  company  counsel  Earl  G.  Harri- 
son contended  that  it  was  only  the  indi- 
vidual distributors'  desire  to  relieve  them- 
selves of  the  costly  burden  of  operating 
their  own  poster  departments  that  led 
to  the  contracts  by  which  NSS  now  han- 
dles accessories.  The  decision  was  purely 
on  the  basis  that  NSS  could  do  a  better 
job  in  that  field,  he  declared. 

Plaintiff's  counsel,  in  reply  to  a  ques- 
tion from  the  court,  said  that  the  Gov- 
ernment was  now  investigating  the  alleg- 
ed monopolistic  practices  of  NSS. 

Republic,  Monogram  and  Eagle  Lion 
Classics  have  been  dismissed  from  the 
suit  in  an  earlier  action  brought  by 
Monogram  counsel  Jack  M.  Cohen.  Writ- 
ten rebuttals  will  be  filed  with  the  court 
by  all  parties  to  the  suit. 


COMPO's  projected  nationwide  box- 
office  drive  was  scheduled  to  take  form 
last  Friday  (23rd)  when  some  50  distri- 
bution and  exhibition  lenders  sat  down  at 
a  luncheon  hosted  by  COMPO  president 
Ned  E.  Depinet  and  20th  Century-Fox 
president  Spyros  Skouras. 

The  invitations  to  the  sales  and  adver- 
tising executives  of  the  film  companies 
and  to  the  heads  of  leading  theatre  cir- 
cuits and  exhibitor  organizations  were 
sent  in  anticipation  of  action  by  com- 
pany presidents  at  a  meeting  in  the  Mo- 
tion Picture  Association  offices,  where 
Skouras  and  Depinet  called  for  aggres- 
sive support  of  the  COMPO  plan. 

The  project,  approved  last  November 
by  the  COMPO  executive  board,  was  held 
up  by  the  recently  resolved  organization- 
al difficulties  stemming  from  the  TOA 
demand  for  additional  representation  on 
the  COMPO  board. 


SHYROS  P.  SKOuk/ 
Compo  Host 


STOCKHOLDERS  APPROVE 
WARNER  DIVORCEMENT  PLAN 

Warner  Bros,  became  the  third  theatre 
holding  major  company  to  win  stock- 
holders' approval  of  a  Plan  of  Reorgani- 
zation providing  for  divorcement  in  ac- 
cord with  a  consent  agreement.  The  com- 
pany will  have  until  April  4,  1953  to  ef- 
fect complete  divorcement  and  divesti- 
ture of  specific  theatres.  Until  this  is  ac- 
complished, the  company  will  continue 
to  operate  as  at  present. 

Voting  in  favor  of  the  plan  was  a  total 
of  5,079,833  shares,  with  41.579  against. 
Stockholders  will  receive  a  half  share  of 
the  new  companies'  stock  in  exchange 
lor  each  share  of  the  present  WB  com- 
mon stock.  Stockholders  also  authorized 
cancellation  of  the  523,000  shares  of  com- 
mon stock  currently  held  in  its  treasury. 

It  was  estimated  at  the  stockholders 
meeting  that  under  the  present  Federal 
excess  profits  tax  law,  should  Warner 
Bros.  Pictures,  Inc.,  and  its  subsidiaries 
file  a  consolidated  income  tax  return,  thev 
will  not  be  required  to  p^y  an  excess 
profits  tax  until  the  consolidated  earnings 
subject  to  such  tax  exceed  $24,000,000. 


FEBRUARY   2  6  ,    1  9  5  1 


17 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1":51  Features  Completed  (42)      In  Production  (0) 

Serials  Completed  (2)     In  Production  (0) 

Westerns  Completed  (10)      In  Production  (0) 

NEW  PRODUCTIONS 

SECRET,  THE 

Drama — Started  January  16 

Cast:    John  Derek,  Lee  J.  Cobb,  Jody  Lawrance 

Director:  Henry  Levin  Producer:  Robert  Lord 

Storj  :    Young  man  in  trouble  is  saved  by  father. 

CHINA  CORSAIR 

Drama- Started  February  6 

Cast:    Jon  Hall,  Lisa  Ferraday,  Ron  Randall 

Dir-ctor:  Ray  Nazarro  Producer:  Rudolph  Flothow 

Story:    Sea  adventure. 

RELEASE  CHART 

  1950-51   

COMPLETED 

Title— Running   Time  Gait 

Al  Jsnnings  of  Oklahoma  (T)   Duryea-Storm 

Beware  of  Btondie  (66)   Singleton-Lake   .  . 

Bcr:i    Ye  terday   CrawfoiU-Holliday 

Brave   Bulls,    Ths   Ferrer-Ouin   

Chain    Gang   ....Kennedy-Lawrence 


Details  Del. 

 5-8. . .2-51. 

 8-29. . .8-50. 

 7-3. .12-50. 

 3-27  

 6-5.  11-50. 


.327  

.207  

.344. . .12-4 


313 


China  Cxsiir   Hall-Ferraday   2-26  

Coago    B:il   MeGlJre-Moore   5-10   

Counterspy    Meets   Scotland   Yard   Blake-St.   John   6-19 .  .  .  2-51 ....  307  

Convct  d    (91)   Ford-Crawford   1-2 ..  .  8-10  324 ..  .  8-28 

Criminal    Lawyer   O'Bricn-Wyatt   12-18  

Dick  Turpin's    Ride   rfiyivard-Mcd  na   11-6  

Eme-gen:y  Widia    (78)   Parks-Hale   4-10.. 11-50  332  1-1 

Flrefighle-s.   Tie   Williams-Reynolds   2-27  

Filing    Hi  s  Is.     hs   Ford-Liners   7-31.  .  . 1-51  335  

Fort   Sava;e   Fa  dcrs   Starrett-Burnctte   9-25... 3-51  

Fury  of  the  Co  co   Weismullcr-Talbot   7-3.  .  .4-51  

Gasoline    Alley   Beckett-Lydon   10-9 ...  1-51 ....  301  

Gene  Autry  and  the  Mounties   Autty-Buttram   4-19.  .  .  1-51  351  

Ha.'lem    Glotetro  tcrs.    The   Gomez-Dandridge   11-6  

Harriet  Craig   (9!)   Crawford-Corey   11-50  323.. 12-18 

Her   Wonderful    Lie   Xlepora-Eggerth  ....11-10   

Details  unler  life:  Ths  Eternal  Melody 

H»'s  a   C:c  eyed   Wonder    (77)   Rooney-Moore   12-50. ..  .340.  .11-20 

Hoe    Down   Arnold-O'Mahoney   7-4... 6-50  

Hurricane    Island   Hall-Windsor   10-23  

Killer  That  Stalked  New  York  (79)   Keyts-Korvin   12-5  . 12-50  388.. 12-18 

Last  of  the   Buccaneers    (C)   Henreid-3ooth   3-27  .  .  10-50 ....  341  

Li«htninu  Guns   Starrett-Burnette   6-5.  .12-50  361.....!. 

Lorna   Doone    (C)   Hals-Greene   6-5... 3-51  

Magic  Cariet   Ball-Afar   12-18  

Mask  of  the  Avenger   Ocr'-k-Lawrence   10-23  

My    True  Story   Parker-Walker   12-18  

lo  l!elp  Froi  Heavsn   Clark-0'Donn(||   12-18  

No  Sal  Son's  For  Me  (89)   Sullivan-Corey   10-24... 3-r0  

of  Black  Mesa   (54)   Starrett-Burnett   11-7. 

-    (T)   Courttafd-Tyler    8-1. 

Man-"   Weissmuller-Savage  ...1-19. 

Petty   Gin.   Tin   (T)    (87)   Cummincs-CaulfHd  ...9-26. 

loi-r'.ip   Starrett-Burnette   7-31. 


Palom 


Prai- 


..4-50. 
.  3-50. 
.11-50. 
. .9-50. 
. .1-51. 
. 10-50 . 
. .3-51. 
.  2-51. 


Raiders  of  Tomahawk  Creek   Starrett-Burnette   6-19 

Beienu-  fg  nt   Kennedy-Willes   7-31. 

fiid'n'   the  Outlaw  Trail   Starrett-Burnette   8-28 

«"•-<  "f  th"  WM'f'Inq  Pines   Autry-Whlte   7-5  

Details  inder  title:  Wings  Westward 

Semantic   Aae.    The   O'Bren-Martln   8-28  

ftookir  It  Korea   McAllister   11-6  

c-.»  r,  i'i   Seott-Carter   7-3  

Satrdays    Hero   Derek-DaRt   6-19...  5-51  

Secret,   Tha   Derek-Cobb   2-26  

S  rocei   Bogart-Toren   11-20  

Smng-ler's  G-ld   Mltehell-Blake   11-20... 5-51  

i-av   Ri-e-  nes-erar-os   Starret'-Bi  rnette   11-6... 5-51  

Sonny  Side  cf  the   Street   Lane-Daniels   1-29  

711   Ocean    D-lve    (102)   O'Brien-Drn   7-50  319 

Teaans  Me    Cry   Autry-Davis   7-31... 3-51  352 

Toagher  The-  Come.  The   Foster-Morris   7-31. 12-50  305 

Two  of  a  K  nd   Stott-Moore   10-23  

Val  ntlno   Parker-Dexter   6-19 ...  4-51  

When  lh(  pe-!  k'ns  Rodi   Hall-Castle   8-28  

When  You're   Smiling    (75)   Courtland-Albright   10-50  304 

Whrlwind   Aatry-Bnrnette   12-18  

  1949-50   

»e-o«t  KM  Tadlands   Starrett-Burnette   4-10. 

Blaring  Sun   Aatry-Gwynne   5-8. 

Cap'lve  Girl   Welsmuller-Crakbe  ...10-24. 

Oavld  Hard.ni.  Counter  Spy   (71)   Parker-Long   1-30. 

-tiler  B-«sh  CM    The   Ball-Albert   2-27. 

ii  a  La  el*  Plate   Bogart-Grahame   11-7. 

'-d-n   "erntnry   Aulry-Bultram   4-10. 

Rogues  of  Sherwood  Forest   (C)    (80)   Dorlck-Lynn   9-12 


9-50. 
11-50. 
.7-50 
.7-50. 
10-50. 

8-  50. 

9-  50. 
7-50. 


.262. 
.246. 
.240. 
.220. 
239. 
.242. 
249. 
.243. 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  tm 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  ap 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  thi 
Release  Number.  "Rev."  is  the  issue  in  which  the  Review 
appeared.  There  may  be  variations  in  the  running  time  i 
States  where  there  is  censorship.  All  new  productions  at 
on  1950-51  programs  unless  otherwise  noted.  (T)  immed 
ately  following  title  and  running  time  denotes  Technicolo 
(C)  Cinecolor,   (TR)  Trucolor.  (A)  Anscolor. 


EAGLE-LION-CLASSICS 


1950-51 


Completed  (    )     In  Production  (1) 


RELEASE  CHART 


IN  PRODUCTION 
Title — Running  Time 
Cloudburst   


1949-50-51 


COMPLETED 
Alice  In  Wonderland  (A) 

Blackjack   

Border  Outlaws  (58)  .  .  . 
Cattle  Queen   


Circle  of  Danger   

Destination  Mo..  (T) 

Eye   Witness  (104)   

Golden  Salamander  (96)  . 

Good  Time  Girl   

High    Lonesome   (T)  (81) 

I    Killed  Geronimo   

I'll  Be  Seeing  Y<-i>   

Kangaroo   Kid  (73)   

Korea  Patrol   

Lovable  Cheat,  The  (77)  . 

Mr.  Universe   

My  Brother,  the  Outlaw  . 
Narcotic 


. .  Marsh- Murrav   Foreign ....  Feb  

.  .Marshall-Sanders    . .  .  Foreign.  .  .9-50  

.  Cooley-Hart   11-2  

.Hart-fmith   10-23  

.Mil'and-Roc   3-8  

.Anserson-Arctier   11-21... 8-50  

.Montgomery-Banks   9-50  

.  Anouk-Howard   Foreign .  .  .  12-1  

.  .Kent-Robson   5-50  

.Barrymorc  Jr.-Butler    . 11-16. . .9-50  044. 

.Ellison-Herr.ck   6-19...  8-50  

.  Rogers-cotten   Reissue  

.0  Mano::cy-6org   10-22  

.  Emory-Fong   10-9 . . .  1-15  

.  luggles-Garner   1-31 . . .  4-15  

.Carson-Paige   1-10  

.  Rooncy-Hendrix   2-27  

Henry-Blake   3-27. 


Foreign.  .  .1-18. 
.  Foreign .  .  .  10-1. 
.Foreign.  .  .9-22. 

.  Foreign. 


Oliver  Twist   (115)   Newtcn-Guinness  .. 

One  Minute  to  Twelve   (76)   Hanson-Brest  om 

Paper  GjIIows   '80)   Anfle  son-Bentley  .. 

Passport  to  Pimlico   Rutherford-Holloway 

Prehistoric  Women   Luiz-NKon   5-8... 11-1. 

Project  "X"    (60)   Colton-Andes   10-7. 

Retecca    (SRO)   Fontaine-Olivier   Reissue.  .  .July. 

Rogue   River   Calhoun-Lidell   8-14.. 11-15. 

Sarumba    (6C)  Dowling-Whalen   Jan. 

Seareh  for  Danger  (63)   Calvert-Dell   1-3  4-8. 

Second  Face,  The   Bennett-Johnson   5-8... 1-51. 

So  Long  at  the  Fair   (90)   Simmons-Bogarde   ....  Foreign ...  3-29 . 

Stronnhotd   Lake-«cott   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27... 1-22. 

Taming  of  Dorothy  (75)   Kent-Beatty   Foreign.  .  .9-29. 

They  Were  Not  Divided   Underdown-Clanton    .  .  Foreign ...  .2-1 . 

Time  Running  Out   Clark-Signoret   Foreign    10-31 . 

Tinderbox    (C)   Cartoon   Feature   12-1*. 

Two  Lost  Worlds   tiliott-Arness   10-29. 

Vicious  Years   Coek-Mcrritt   

Wicked    City   Montez-Aumont   1-2. 

When    I   Grow  Up   Preston-Scott   12-18 ...  3-22 .  , 

Wind  Is  My  Lover,  The   Lindfors-Kent   


1950-51 


LIPPERT 


Completed  (    )     In  Production  (2) 


NEW  PRODUCTIONS 

KENTUCKY  JUBILEE 
Musical — Started  February  14 

Cast:    Jerry  Colonna,  Jean  Porter,  James  Ellison 

Director:  Ron  Ormond  Producer:  Ron  Ormoi 

Story:    Not  available. 

LITTLE  BIG  HORN 
Western- -Started  February  14 

Cast:    John  Ireland,  Lloyd  Bridges,  Jim  Davis,  Hugh  O'Bri;' 

Director:  Charles  Marquis  Warren  Producer:  Cal  Hittlem; 

Story:    Range  life  in  the  Little  Big  Horn  country. 


COMPLETED 

Title— Running  Time 

Bandit  Queen   

Border  Ranger   

Colorado  Ranger   

Fast  on  the  Draw   

Ginlre   


RFLEASE  CHART 

  1949-50-51   


Cast 

Britten-Parker 
.  Barry-Lowery 
.  Elllson-Hayden 


1-2 


 *;arry-Lowery   

 Davis-Jones   5-8. 

Holiday   Rhythm   Hughes-Street   6-5. 

I  Shot  Billy  the  Kid  (58)   Barry-Lowery   5-8. 

Mask  of  the  Dragon   Travis-Ryan   12-18. 

Motor  Patrol   (67)   Castle-Nigh   3-13. 

Return  of  Jesse  James  (75)   Ireland-Dvorak   6-5. 

Roaring  City   Beaumont-Travis   1-15. 

Steel    Helmet,    The   Edwards-Brody   11-6. 

3  Desperate  Men   Foster-Davis   10-23. 

Details  under  title:  The  Dalton's  Last  Raid 

Train  to   Tombstone   Barry-Lowery   5-8. 

West  of  Brazos   Elllson-Hayden    .....  12-19. 


.12-15  

. .10-6. . .4933. 

.4-21... 4925. 
. .5-19. . .4929. 
. .8-11. . .4932. 
. .7-14. . .4920. 

10-13... 4911. 

.9-8... 4931. 

.  5-12  .' .  .  4923.' 
.9-8... 4907. 

. .2-2  

.  2-2... 5006. 
..1-5  


28 


FILM  BULLETI 


METRO-COLDWYN-MAYER 


11930-51  Features 


Completed  (87)     In  Production  (3) 


NEW  PRODUCTIONS 

£XAS  CARNIVAL  IT) 

ausical  Comedy— Started  February  6 

est:    Esther  Williams,  Red  Skelton,  Howard  Keel,  Ann  Miller, 

Keenan  Wynn,  Paula  Raymond 
lirector:  Charles  Walters  Producer:  Jack  Cummings 

[try:    Local  girl  makes  good  as  star  of  aquacade. 

RELEASE  CHART 

I  EN  PRODUCTION 

TIH.  n  n I n|    Tim.  Cut 

V  and   Lady   Loverly,   The   Garson-Wildini 

•  etly   Dishonorable   Pinia-Leioli 

  1950-51   

•3MPLETED 

oss  the  Wide  Missoiri  (T)    (95)   Torner-Pinza   8-14  Apr  

uicin   m  Paris  (T)   <elly-Caron   8-14  

Idlcy   Mason  Story,   The   Pidseoi-Hardini   1-29  

111*1  lalldof    Drummond   Pldgeon-Leighton   8-28  

La  far  Alarm   (75)   Yount— Sullivan   Feb  118... 2-12 

Ill's  Doorway   (84)   Taylor-Rayaiond   8-29... Seat  102  6-5 

II  1119    (75)   inompson-neld   3-27  ...  Nov ....  107 .  . 10-23 

 5*  I  Jon-Forrest   11-6  

 Tracy-Taylor   10-23  

 lobnson-Anderson   10-9  


Details 

.  .2-12. 
. .  1-29 


me  My  Dast  (T)   

her  s  Little  Dividend  (82)   

I  For  Broke   

I  at  Caress,   The    (T)   Lanza-Blyth   9-25. 


i-Gayson 


All  Star   

Flynn-Stoekwell 
Barrymore-Evans 
Ktrr-branger 


.  . .6-5 
.9-25. 
. .4-24. 
. 12-19 
. . 12-4 . 


lends  For  Marriage   (91)   Jol.nsi 

Hdo  Straight   (90)   Brian 

.  A  Big  Country   

fa   (T)  (112)   

Id  Lady   

ig  Solomon's  Mines   (T)  (102) 

i  ef  Her  Own.  A  (108)   Tirner-Corey   2-13. 

■e  Is  Better  Than  E»er   Taylor-Parks   12-18. 

■niflcent  Yankee    (89)   Calne.n-Harding   7-17. 

siver  Story,  The  (104)   Garson-Pidgeon   10-10  . 

imperiom    (T)   Gable-Hodiak   8-14  . 

tt  Voice  You  Hear,  The  (82 1   Whitmore-Davis   3-13 

Qiestions  Asked   Sull  ivan-Dahl   1-1. 

lan   Love  Song  (T)    (77)   Williams-Keel   4-24  . 

nted  Hills,  The  (T)   Lassie-Kelly   6-19  . 

■pie  In   Love   Milland-Hcdiak   12-18. 

. . 6-5 . 
.9-11. 
.12-4. 
.4-1U  . 
.7-17. 
.12-4. 
. 11-6 . 
.1-29. 
.1-29. 


.114  12-18 


i  Vadis   (T)   Taylor-Kerr  .... 

I  Badge  of  Courage   (81)   Morphy-Mauldin 

h.  Young  and  Pretty  (T)   Powell-Uarnone  . 

bt  Cross    (90)   Powe;i-Monta;ban 

tral  Wedding   (T)    (92)   Astaire-Powell 

*  Boat  (T)   Gardner-Keel  ... 

dler's  Three    (T)   Granger-Fidgeon  . 

PP.  The   Rooney-Forrest    .  . 

I   Target.   The   Powell-Raymond 

.Details  under  title:  Man  on  the  Train 

(ree  Guy,  Named  Mike  (90)   Wyman-Johnson  . 

Please  A   Lady    (92)   Gable-Stanwyck 

ut  of  New  Orleans,  The  (T)   (97)    . . .  Grayson-Lanza 

k  Weeks  with  Love  (T)    (92)   Pcwell-Montalban 

iigeance  Valley  (T)    (83)   Lancaster-Walker 

teh   the  Birdie   (70)   Skelton-Britlon 


.  Apr. 
May 


.8-14 

.4-24 

.1-16. 

.4-10 

.6-19  . 

.5-22 


  1949  .  50   

nil  Get  Yoir  Gun   (T)    (107)   Hutton-Keel   10-24  . 

ill  (96)   Grant-Ferrer   1-16. 

chess  of  Idaho  (T)   (98)   Williams-Johnson   11-7. 

,'har  of  the  Bride.  The   (93)   Bennett-Tracy   1-30 


pay  Years.   The   <T)    (110;   Stockwell-Beckett 

Withoat  Passport  (72)   Lamarr-Hodiak  . 

r  Surprises  His  Wife,  The  (85)    ...Walker-Leslie  .. 

In  My  Crown   MeCrea-Drew 

er  Stock   (T)    (109)   Garland-Kelly  .. 

■H  Little  Words  (T)    (102)   Astalro-Skelton 


.  . 9-26 . 
. .1-16. 
.11-21  . 
. .6-20. 
. .12-5. 
.12-19. 


Feb. . 

.  .119. 

.2-12 

.  .Oct. . 

. .105. 

.Sept. . 

. .103. 

.8-28 

Nov 

10-23 

.Feb. . 

. . 117 . 

.2-12 

.Jan.  . 

. .113. 

.12-4 

.Aog.. 

...39. 

. .4-24 

Ju  )  . 

41. 

.7-17 

.Acg.. 

. . .33. 

. .6-19 

.Jane. . 

...30. 

. . .6-5 

-July.  ■ 

32. 

.  .  6-5 

AM.. 

...37. 

.7-31 

June  . 

...31. 

.5-22 

. . .40. 

'.am.'.' 

. . .38. 

'  .'8-14 

.All.. 

. . .36. 

.7-17 

MONOGRAM 


1950-51  Features 
Westerns 


Completed  ( 
Completed  ( 


In  Production  (0) 
In  Production  (1) 


NEW  PRODUCTIONS 

EVADA  BADMAN 
/estern— Started  February  6 

ast:  Whip  Wilson,  Fuzzy  Knight,  Jim  Bannon,  Phyllis  Coates 
•irector:  Lews  Collins  Producer:  Vincent  Fennelly 

ory:    Range  gunman  terrorizes  the  countryside. 

RELEASE  CHART 

  1950-51   

OJIPLETED 

Title—  Penning   Time  Cast  n*t*H<        M.        »•  to*. 

cording  to   Mrs.   Hoyle   Byington-Chandler  .11-20 

"ba  and  the  Hidden  City   Sheffield-England   6-5 

wiry   Battalion   Gorcey-Hall   8-14 

•airy   Scoot   (C)   Cameron-Long   10-9 

M,wt«it   DiFoe-KIng   7-3 

■nty  Fair  (C)   Calhoon-Nigh   4-24. 

.tier's  Wild  Game  (61)   Walburn-€ray   10-9 

ost  Chasers   Gorcey-Hall    .   1-29 

ti  Sllngers   (55)   Wilson-Clyde   2-13 

e  Palooka  In  Humphrey  Takes  a  Chanel  .  .  Kirkwood-Errol  . 

)n  Hmters,  The   Sheffield-Whitfield 

in  From  Sonora  (54)   

"lean  Silver   

idem   Marriage,   A  (66)   


.5-20. . .5122. 
.9-24. . .4906. 
. 1-21 . . . 5111 . 
.5-13. . .5101. 


. .  .  .  Wllson-Clydi 

 Clarke-Field 

. . .  .  Neal-Toomey 

 Frazee-Grant 

 Morris-Hale 


.3-13. 
..1-1. 

11-  20. 
.6-5. 
2-13. 

.11-6. 

12-  18 . 


. .8-1. 
. 12-3 . 
.4-29. 
. .4-9. 
. .6-4. 
.3-25. 
.3-11. 


.4903. 

. 5125 . 
.5112. 
.4941. 
.4912. 
.5109. 
.5141. 


10-15 . .  5199 . 
.2-25. . .5120. 
.2-11. . .5115. 
. .1-7. . .5107. 


Trail    Dist   Albngnt-yyintiri  10-23  12-31 

Vicious  Years,  Thi   (79)   C«*b-Moori    2-18 

Witness,    the   .ornwooO-Gleasen  9-11  

iLUED  ART  I  SIS 

I   Was  An  American  Spy   Dvorak-Evans  1-29  4-15 

Soithside   1-luOO   (73)   DeFon-King   11-12 

Short    Grass   Rao    Cameron  12-24 

  1949-50   

Abilene    Trail    (64)   to  I  on    9-11 

Arizona    Territory   Wllson-C  ydi   6-5. 

Big    Timbir   MacUoweil-Oonnell  6-19 

Bin  Blood   (C)   Willcms-Nigh  '--23 

Bomba  and  the   Lost  Volcano   »en.elo-un  i  .. 

Call   of   the    Klondike   Gra:it-Chinook  10-9 

Cherokee    Uprising    (57)   toil  on-Clyde  8-28 

Colorado  Ambush   Brown-Hall    10-23 

Gypsy    Fury   Vivera-Lindtors 

Hot   Rod    (61)   Lyaon-wm.cn    .  8-14 

Joe  Palooka  in  the  Sqiarrd  CI  rail   (63)    .  .  Kirkwood-Gleason 

Outlaw  Gold   (51)     Brawn-Adam    ..  7-31 

•iltaws  ol   Te»as   Wilson-Clyde   9-11. 

Side    Show   .  HiHwM 

Silk  Noose    Lindis-Callela    .  Relssie 

Snow   Dog   Grant-Verdigo   5-8 

Trlgle    Trouble   Gorcey-Hall      ..  f-8 

Wild    Horse    Prairie   Wil.on-Kmght  2-12 


2-4 
7-2 
9-10 
1-28 

12-17 
.10-8 

I-  14 
3-18 

10-22 

II-  i 


.  .7-9 
-716 
8-13 
4-8 


.19 
17 
.18 

4946 
4942 
4908 
.4904 

1920 

4944 
.495  5 

5192 
.4918 

5117 


4923 
4<-19 
.4915 


PAR  AMOUNT 


1950-51  Features 


Coniplt'ted  ( 


In  Production  (4) 


NEW  PRODUCTIONS 


William  Bendix,  Cathy 
William  Wyler 


Cast 

Payne-Fleming 

1950-51  — 

.  Dougla -Sterling 
.  Ladd-Calvert 


DETECTIVE  STORY,  THE 
Drama — Started  February  15 
Cast:    Kirk  Douglas,  Eleanor  Parkei 

O'Donnell,  Horace  McMahon 
Director:  William  Wyler  Producer 

Story:    Based  on  the  Broadway  hit. 
STOOGE,  THE 

Comedy — Started  February  15 

Cast:    Dean  Martin,  Jerry  Lewis.  Eddie  Mayehoff 

Director:  Norman  Taurog  Producer:  Hal  Wall's 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 
Title— Banning  Time 

Crosswinds   

COMPLETED  — 

Ace   In    The  Hole   

Appointment  With  Danger   

Details   under   title:   Postal  Inspector 

At  War  with  the  Army   (93)   Mnrtm-Lewis 

Branded    (T)  (103)   

Details  under  title:  Montana  Riues 

Carrie   

Cassino  to  Korea  (59)   

Copper  Canyon    (T)  (85)   

Darling,   How  Could  You!   

Dark  City   

Dear  Brat   

Fancy  Pants  (T)  (92)   

Fort  Savage  (T)   

Great  Missouri  Raid.  The   (85)   Corey-Carey  . 

Here  Comes  the  Groom   Crosuy-Wyman 

Last  Outpost,  The   (T)   Reagan-Flemin 

Lemon    Drop   Kid,   The   Hope-Maxwell 

Let's    Dance    <T)    (112)   Hitton-Astaire 

Mating   Season,   The   Tierney-Lond 

Details  under  title:   A   Relative  Stranger 

Molly   

Mr.    Music  (108)   

Place  in  The  Sin.  A   

QottttrenTs   Raiders  (T)   

Iliboe  (T)   

Redhead  and  the  Cowboy  (82'   

Samson  and  Delilah   iTj  (128)   

September  Affair  (104)   

Something  To   Live  For   


.  Ladd-Frecdman  3-27      1-51  .  5009  . 12-18 

.Olivier-Jones   9-11  

.Documentary   10-50  .  5008  10-9 

.  Milland-Lamarr  4-25  .10-12  .  .5003  .  .8-14 

.  Flltllll  UU   11-20  

Heston-Scott    4-24    10-50  .  3004  

.  Freeman-Arnold  11-6  .6-51  

.  .  .7-4  9-4     .5001.  .  8-14 

Rish   12-4  

.6-5... 2-51. .5013... 1-1 

. .12-4  

10-23  5-51  


.6-5. 


Berg-loeb    8-^8 

Crosby-Hissey   11-7.  12-50 

Clift-Wloters   10-24  

Ladd-Kennedy   11-20 

Barrymore  Jr.-Calvet  .7-3 

Ford-Fleming   

Lan-arr-maton   10-2j> 

Fontalnc-Cotttn   8-29 .  .  .  2-51 

FcztfUne-Mlltand 


4-51. . .5018  

11-23  . .5006  8-28 
.3-51.    5016  1-22' 

.3-51     .5011  . .12-4 


.4-51 
.3-51. 
.3-51 


.5017  

.5015... 1-1 
.5010.  .n-ai 
.5012... 1-15 


Submarine    Command   Holders-Olson  .. 

(Details  under  title:  Submarine  Stody,  The) 

That's   My    Boy   Martin-Lewis    .  . 

Trie    (91)   Slmiuono-Rooole 

Tripoli   <T)    (95)   O'Hara-Pavoe 

filea  Station    (80)   Heldeo-Flbgerald 

Warpath    (T)   O'bnen-Jagger 

When  Worlds  Collide   Derr-Rish   

  194940  

Ea#le  and  the  Hawk,  Thi  (T)   (104)   Paym-Fleulo,  .. 

Fofloi,  The  (109)   Stanwyck-Corey 

Lawless.   The    (83)   Caray-Roisoll  . 

My  Friend  Irma  Goes  Wost  (90)   WIUot-Lnd  ... 

tenet  toilovard   (110)   Holdio-Swaoson 


...6S  

.1-15  

.12-18  

Pweien   U-<c 

3-27. 

11-11. 

.5005. 

10-2S 

. .1-30. 

.9-50. 

.5002. 

.7-31 

9-11. 

.7-51 

.1-1 

. .8-15. 

.6-50. 

.4916. 

.2-13 

12-5. 

.8-50. 

4926. 

.7-1? 

11-7. 

.7-50. 

.4923. 

.4-10 

.  2-13 

.7-50. 

.4922. 

.6-19 

4-25. 

.8-50 

.4927. 

4-M 

RELEASE  CHART 

  1949-56-51   

Title—  Roiling  Time 
All  Quiet  on  the  Western  Front  (103) 

Beyond    the  Sunset   

Bowery  to   Broadway  (94)   

Dead  Mail's  Eyes  (64)   

East  Side  of  Heaven  (88)   

Flesh  aid   Fantasy  (94)   


.  syres-wolheln  ... 
. Ford-O'Brien       .  . 

0  Corrtor-Blytb  •• 
.  Chaney-Partor 

Crosby-Blond*!!  .. 
insen-Stanwyek 


Bel. 

.8-50. 
. .5-8. 


.5-50. 
.1-50. 
.4-50. 


Follow  the  Boys  (109) 


.  Raft-DleWeh 


EBRUARY   26,  1951 


Framed  (60)   Aitertion-Meore  . 

Frisco  Sal   (94)   Foster-Bey   

Guilty  of  Murder   (83)   Sanders-Fitaierald 

Gypsy   Wildcat    (T)    (75)   Montei-Hall 

Here  Come  the  Coeds  (£0)   Abbott-CosteUi>  . 

If   I   Had   My  Way  (93)   Crosby-Jean   

Imitation  ot  Life   (109)   Colbert-Bea»ers 

I  Stole  a  Million   (80)   Baft-Tre»or   

Keep  'Em  Staging   (61)   Dead  End  Kids  . 

Leather    Pushers  (64)   

Magnificent    Otsession  (103) 
Merry  Monaha 


..3-50... 
..2-50... 
..6-50... 
..6-50... 
..6-50... 
..1-50... 
.12-49.  .  . 
..3-50... 
..5-50... 
..4-50... 
..1-50... 


 Arlen-Devine   

 Dmine-Taylor   

 O'Connor-Blythe   6-50 .  .  , 

Nightmare    (82)  Donlevy-Barrymore   5-50.., 

Mr.    Dynamite    (68)   Nolan-Hervey   4-50... 

Paris   Bor.bshell    (96)   Scott-Rathbone   2-50... 

Parole    (67)   Hunter-Preston   3-50... 

Suspect,    The    (85)   Laaghton-Raines   6-50... 

Shadow  of  a  Doubt  (108)   Wrloht-Cotten   12-49... 

Sullivans.   The   Baxter-Mitchell   1-51  

Tough  As  They  Come   (61)   Dead  End   Kids   5-50. . 

Walk   in  the  Son.   A   Andrews-Conie   1-51  

Too  Can't  Get  Away  With  It   (29)   Gangster    Documentary   3-50... 


.041. 
.031. 

032. 

021. 

018. 

017. 
.039. 
.037. 
.028. 
.035. 
.033. 
.038. 
.024. 
.015. 
.042. 

019. 


1950-51  Features 
Serials 
Westerns 


REPUBLIC 


Completed  (  )  In  Production  (0) 
Completed  (  )  In  Production  (0) 
Completed  (5)     In  Production  (0) 


RELEASE  CHART 

  1950-51   


COMPLETED 

Tin. — tanning  Tl 

Belle  Le  Grand   

Boekaroo  Sheriff  of  Te<ns 
Bullfighter  and  the  Lady 
California  Passage 


6-5 
3-27. 
9-25 


 Raiften-Carroll 

 Chapin-Janssen 

 Stack-Page     .  .  . 

 Tucker-Mara 

Cuban    Fireball  Estelita- Vincent 

Ftghting  Coast   Guard   Donlevy-Tueker 

Heart  of  the   Rockies   Rogers-Edwards 

Hit  Parade  of  1951   (85)   MaeDonad-Carroll 

Honeythile   Cancva-Foy.  Jr.  . 

Insurance  Investigator   Dennmg-Long 

Macbeth   Welles-Nolan  .. 

Missing    Women   EdwarJs-hlillican 

Night  Raiders  of  Montana   La"<;   

Oh,   Susanna!    (C)   Cameron-Tucker 

Pride  of  Maryland   Clemens-Stewart  10-9 

Rio  Grande    (105)   Wayne-O'Hara   7-3 

Rough    Riders  of  Durango   Lane-Towers   10-23 

Silver  City  Bonanja   Allen-Ebsen  11-6 

Spoilers  of  the   Plains   Ragtrs-tdwards   8-28 


.  .4-1. 
12-15 . 
.  3-5. 


. 10-23 . 
. .5-22. 

11-6 . 
.12-18. 

.11-20.' 
. .12-4. 
. 6-19 . 


.  Carroll-Mara 


.3-14. 


surrender   

Details  under  title:  Untitled 

  1949-50   

Avengers,    Th;   Carroll-Ralston   3-13. 

Covered  Wagon   Raid   Lane-Walter   3-13. 

Destination  Big  House   Patrick-Rockwell   

Frkeo    Tornado   Lant-Waller   6-5. 

Jungle    Stampede   Native  Cast   

Lonely    Hearts   Bandit   Patrlek-Eldridge   4-24. 

Mlssourians,    The   Hale-Hurst   8-28. 

North  of  the  Great  Divide  (C)   Hoaers-Edwards   5-22. 

Old  Frontier,  The   Ha:e-Horst   4-10. 

Pioneer    Marshal   Hale-Hurst   9-26. 

Powder    Ri.cr  Rustlsrs    (60)   Lane-Walter   9-12. 

Prisoners   In   Petticoats   Perkins-Rockwell   5-8. 

Redwood    Forest   Trail   Allen-Donnell   11-7. 

Rustlers  on   Horseback   Lane-Waller   7-31. 

Showdown,    The   Elliott-Brennan   

sunset   in  the  West    (C)   Rogers-Edwards   3-27. 

Trail  of  Robin  Hood  (C)    (67)  Rogers-Edwards   7-3. 

Trial   Without  Jury   Patrick-Rockwell   2-27. 

Trigger,    Jr.    (Tr.)   Rogers-Evans   12-19. 

Under   Mexican   Stars   Mlsn-Patrick   

Vigilante  Hideout   Lane-Waller   5-8. 

Wells   Fargo  Gunmaster   Lane-Chapin   2-12 


10-15. 

.5002 

.11-20 

!3-23'. 

10-20. 

.5603! 

. 2-23 . 

.5025. 

.2-28. 

.  5059 

3-10. 

.£008 

.1-20. 

.5023 

! !i-29 

11-15. 

.5004. 

.11-20 

.1-30. 

.5058 

.3-1. 

.5051 

. .2-5. 

. . 5041 

.9-15. 

.5001 

.6-26. 
.6-30. 
...6-1. 
..9-6. 
. 7-29 . 
.8-29. 
11-25. 

11-  15. . 
.7-29. 
1P-24 . 

. 11-25 . 
.9-18. 
. .9-18. 

10-  23. 
.8-15. . 

.9-25. 

12-  15. 
...7-8. 
. .6-30. 

11-  20 . 
. . .8-6. 


.4965. 
.  4918 . 
.4967. 
. 4922 . 
.4925. 
. 4974 . 
4944. 
.4973. 
.4971. 
.4961. 
.4929. 
.4953. 


.4943. 
.4946. 
.4921. 
. 4945 . 
. 4954 . 
.4966. 


RKO  RADIO 


1950-51  Features 


Completed  (2)     In  Production  (3) 


NEW  PRODUCTIONS 

ANDROCLES  AND  THE  LION 
Drama— Started  February  15 

Cast:    Jean  Simmons,  Robert  Newton,  George  Sanders 
Director:  Lewis  J.  Rachmil  Producer:  Gabriel  Pascal 

Story:    The  George  Bernard  Shaw  classic. 

RELEASE  CHART 

IN  PRODUCTION 

Title— Rynnm,    Time  Cast  Derails        Del.        Ha.  Rot. 

Two  Tickets  to  Broadway  (T)  Leigh-Martin   11-20  

  1950-51   

GROUP  ONE 

■order   Treason   Holt-Martin   8-50. 

•Vi  To  Be  Bad   (93)   Fontaine-Ryan   7^1... 8-50 

•!•••   Saead    (67)   Storllng-Dlvon   2-27... 9-50. 

••trtvt*   (75)   Andrews-Powers   2-27.  10-50. 

Walk  Softly,  Stranger    (81)   Cotlen-VaHi   11-50. 


105 
101 
104 
103 
102 


9-11 
8-28 

.9-25 
.9-11 


GROUP  TWO 

rhuent    Alcatru      .   .  . 

»   a    Dill  Moment   

Grande  Patrol   


.  Howard-Dixon   11-50. 

.  Ounne-MacMirray   11-50 

Holt-Martin   11-50. 


107 
106 
108 


. .073. 
..109. 


12-S0....112....1  I 
.8-50....  152...  12  |l 


. 1-51 . 


.110 


166 


NOT  DESIGNATED 

•Jle.   la   Wend  tr  I  and   (T)  Disney  CartOM   

Caftan,  The  (81)   Ayres-Wright   8-29... 6-50 

Company  She  Keeps   Greer-O'Keefe   3-13...  1-51 

Details  under  title:  The  Wall  Outside 

Crack  Dawn   Williams-Armstrong  ...6-19  

Cry  Danger   Powell-Fleming   6-19... 2-51 

Double  Deal   (64)   Denninj-Windsor   7-31 

Edge  of  Doom   Andrews-Granger   12-3 

Flying   Leathernecks    (T)   Wayne-Ryan   12-4 

Footlight    Varieties   raar-3uttons   8-14 

Gambling    House    (80)   Bendix-Mature   2-13 

Details  under  title:  Alias  Mike  Fory 

Gaunt  Woman,  The   Andrews-Rains   8-14  

Gun    Notches   Holt-Martin   11-6  

Gin  Thunder   Holt-Martin   10-24  

Hunt  the  Man  Down  (68)   Young-Anderson   5-22  

Details  under  title:   Seven  Witnesses 

Ifs    Only    Money   Slnatra-Ressell   12-6  

Jot   Pilot    (T)   Wayne-Legh   12-19... 

Macao   Russell-Milchum   9-11... 2-51 

Mad  Wednesday  (80)   Lloyd-Walburn   10-1..  10-50 

Mad  With   Much  Heart   Syan-Lupino   5-8  

Man  He  Found,  The   Re:d-Tuttle   6-5  

Mother  of  a  Champion   Trevor-Forrest   7-31  

My  Forbidden  Past   Gardner-Mitchum   10-10... 3-51  

On   The  Loose   Evans-Bari   1-29  

Our    Very   Own    (93)   Grangcr-Blyth   9-12... 8-50  151 

Payment  on  Demand   Davis-Sullivan   2-27... 2-51  

Details   under   title:   Story  of  a  Divorce 

Pistol    Harvest   Holt-Martin   12-4  

Roadblock   MeGiaw-Dixon   10-23  

Rustler's    Range   Holt-Martin   1-29  

Saddle   Legion   Holt-foartin   7-31  

Secret   Fury   (86)   Co!bert-Ryan   11-7.  .. 9-50  075 

Sons  of  the  Musketeers  (T)   Wilde-O'Hara   1-2  

Target   MeGraw-Whiti   6-19  

Tanan's   Peril   Barker-Huston   11-6... 3-51  

Thing,  The   robey-Sherioan   11-6  

Treasure    Island    (T)    (96)   Drisccll-Newton   7-50 

Texas   Triggerman   Holt-Martin   7-3  

Under  Arizona  Skies   Holt-Leslii    9-1.. 

Vendetta   Domergue-Dolem   8-19.. 12-50 

  1949-50   

GROUP  SEVEN 

Rider  from  Tieson  Holt-Martin   7-4.  .  . 6-50. 

Armored  Car  Robbery     MsG.aw-Je.gens   1-30... 6-50. 

Details  under  title:  Code  3 

Destination   Murder  (72)   

Where  Danger  Lives  (82)   

White  Tower,  The   (T)  (98)   

SPECIALS 

Ichaboa  and  Mr.  Toad   (T)   (68)   Disney  Cartoon 

My  Foolish  Heart  (99)   Andrews-Hayward 


MacKenzie-Clcments 
Mitchum-Domergue 
Valli-Ford   


.  6-50 . 
.10-50. 
. .4-50. 


191 


167 


SELZNICK  — S. 


Features 


Completed  (6)     In  Production  (•) 


RELEASE  CHART 


COMPLETE  D 

Title — Running 
Gone  To  Earth  (T) 
Third   Man.  The  (104) 


Cast 
.  jones-Farrar 
Cotten-Valli 


Details 
.  Foreign. 
.Foreign. 


20th  CENTURY-FOX 


1951  Features 


Completed  (26)     In  Production  (J 


RELEASE  CHART 

IN  PRODUCTION 
Title— Running  Time  Cast  Details  Re 

Golden   Goose,  The   WiJmark-indrews   1-1... 

House  On   the  Square   Power-Smith   2-12... 

Kangaroo   (T)   O'Hara-Lawford   11-20. 

Meet  Me  After  The  Show  (T)   Grable-Carey   1-29... 

Secret  of  Convict  Lake   Ford-Tierney   2-12... 


1950-51   

.  Jordan-Paget   8-14 ...  3-51  109 . 

.  Grablc-Dailey   7-17... 2-51  104. 

.  Peck-Hayward   12-4  


COMPLETED 

Bird  of  Paradise  (T)   

Call  Me  Mister   (T)  (95)   

David  and   Bethsheba  (T)   

Decision   Before   Dawn   Merrill-Basehart   9-25  

Details  under  title:  Legion  ot  the  Damned 

Fellow  the  Sun   Ford-Baxter   10-9... 4-51  U 

Fourteen    Hours   Oouglas-Basehart   5-51  1 

Frog   Men,   The   MacMurray-Parker   1-29  I 

Guy  Who  Sank  the  Navy   Douglas-Darnell   12-18.  .  .6-51  

Half  Angel    (T)   Young-Cotton   7-17  ..  .6-51  H 

Halls  of  Monteiuma,  The  (T)    (113)   Widmark-Gardner   6-5  . 1-51  103. .1SJ 

Holy   Year,  1950    (42)   Djeamentary   Aug  H 

Hoist  en   Telegraph  Hill   Co-tesa-Lundigan   9-11... 6-51  

I  Can  Get  It  For  Yoe  Wholesale   Dally-Hayward   10-23... 4-51  

I'd  Climb  the  Highest  Mountain  (T)   (88)  .  Hayward-Lundlgan   6-5... 2-51  105. .  .IP 

Lueky  Nick  Cain   (87)   «aft-€ray   3-51  1 

Man  Who  Cheated   Himself,  The   (81)    ...Cobb-Oall   1-51  102... 1? 

Mtdlark.  The  (99)   Daane-Gelness   6-5..  1-51  lOl.lSi 

No  Highway   Stewart-Dietrich   9-25  !• 

Of  Mm  and  Mgslc  (85)   Concert    Featere   3-51  |> 

Oa  the  llvlera   (T)   Kaye-Tierney     '.  9-25... 5-51  • 


30 


FILM   BULLET  ll 


h  <   Powcr-Hayward   1-30  . 

„i  of  Mont.  ' Cristo. '  Th.  '  '.  '.  Montgomery-C.rd.y     .  9*3. 

,.  Car,  .(   My  LlttU  Girl    (T)   Cr»m-Prter:    11^. 

irtecnth  Letter.  The  <85.  f"""-*?"  ?7f! 
f  8.  S.  Teakettle   Coopef-Alhert   ll-«. . 

  1949-50   

Abo.t  Em  (138)   l.a..s-Baxt.r   4-24 

»k.n  G.erill.  In  Philigolne,  (T)    (105)  Power-Prel  e   4-24 

«,   R*e.    The    (T)    H20)   P^.r-Aoorey   5-23 

Arrow    (T)    (93)   Stewart-Paoet   6-20  . 

3  «>  .93>...         ^rr   9-12 

ml   To   Yesterday   Ooej-tnlar,   

■rtall    Th,   Rooncy-Tyl-r   1-30 

r  Hei.ens  Sake  (92)   Wciib-Henrttt  

nlghtcr.  The  (84)   P«k-?arker   10-10 

I  Get  By  (T)    (82)   fascr-Lcndnan   

IkoSt    Th.   (85)    .   Stewart-He*,,,   7-3. 

„  That  Brat.   (85)   Dougas-Pr trr;   7-4. 

st»  880    (  90)   McPoire-lamaster  ^4-24 

Blue  Hea.en   (T)    (97)   Grable-Oa  l;y   12-19. 

iht  and  th.  City   (95)   Tierney-Widmark  8-29 

Way  O.t  (106)   Oarn.il-Widmark   11-7 

nlc  In  th.  Streets  (93)   Widmark-Bel  Geddes   1-2. 

Ly,   Sh.ridan-Matere   

«  Flags   West   Darnell-Wild.   4-24  . 

Details  under  title:  Trumpet  to  the  Moon 

ten  th.  Sidewalk  Ends   (95)   Andrews-Tierney   1-30. 

II  Y.u  Loee  M.  In  December?   Wooley-Pcters   1-1. 


Ok 

Srpl 

A.g 

Ajg 
Sent 
Oct 

Dec 


■30  10-9 

032  .  12-4 

019. .  9-25 
.014...  7-J 

020  6-19 

.028  

.023  

033. . .12-4 
 5-8 

027  10-23 


031 
016 
.024. 
021 
013 
025 
022 
018 
029 


11-6 
.5-22 
.9-11 

8-23 
.6-19 
.9-11 
.7-17 
.8-14 


UNITED  ARTISTS 


1950-51  Features 


Completed  (    )     In  Production  (0) 


RELEASE  CHART 

  1949-50   


OMPLETED   

Trtle— ti.ala.  Tlr 

■iral  Was  a  Lady.  Th.  (87)   

Dttails   under  title:   The   Iron  Cage 

>  Lights   

ran.  De  Bergen.  (112)   

This  B.  Sin  (72)   

.eaels  Trail.   Th.  (85)   

k  The  (85)   

■  Mexico   

c.  A  Thlet  (88)   

Details  under  title:   Once  Over  Lightly 

awler.   Th.   HeBin-Keyes 

Details  under  title:  Cost  of  Loving 

•en    For   A  Day   

trt.   Th.  (93)   

Details  under  title:    Dungeon,  Th. 

mid  Woman,   The  (91)   Young-Drake  . 

•  nd  of   Firy   (90)   Lovejoy-Ryan 

ree  Husbands   (78)   Williams-Arden 

ree  Steps   North   Bridges-Padavoni 

eerworld  Story   Daryea-Storm 


-E.   O'Brien  ..11-21. 


.  Chaplin— Cherrill      .  .  .   Reissue     .9-50.  .  Chap 

.  Ferrer-Powers   7-17 . .  Roadshow .  Kr 

Loy-Cummlns   9-8  Rat 

Montgomery-Marshall    .  .  .  10-24 ...  616 ...  Sir. 

.Brando-Wright   11-21...  8-25  Kr. 

.  Ryres-Maxwell   A  n. 

Romero-Havoc   1-2  7-7...  Wil.. 


11-20 
.7-U 
.7-17 
.9-25 


.4-24. 


Eag 


Avery-McGavIn  .  .  .  . 
Ireland-McCambridgc 


5-22 
.  .7-3 
.  .7-3. 


.  .  Nov. 
7-21  . 


.  Pop. 
Stmn 
G-C. 


UNIVERSAL-INTERNATIONAL 


1950-51  Features 


Completed  (34)     In  Production  (0) 


RELEASE  CHART 

  1950-51   


Time 


Rel. 


.11-6. 


115 


.112. . .1-23 


103 


ikott  t  Castillo  Meet  th.  Invisible  Man  .  Abbott  &  Costeilo 

1/  Cadet   McNal  y-Rgssell   Mar. 

lack.  Drums   (T)   Grey-McNally   8-28  

e'imt  for  Bonzo   (83)   Re?.cian-Lynnn   9-11.  Feb 

«»««tere   Coltert-Blyth   11-20  

|MM  Driv.   (T)   MeCrea-S'oekwell   12-4  

•erted  (88)   Toren-Chandler   10-10...  Nov. 

•n  Renegade   (T)   Montalhan-Charisse 

Hbl.   Crosstones    (T)   i  O'Connor-Carter   10-10  

at  Man,  The   5ma.  t-Meadows   

fetchi.  (T)   McCrta-Wintdn   5-8      Jan  108  

raneis  Goes  to  the  Races   u  Connor-White   12-4  

olden  Horde,  Tie  (T)   Blytne-Farrar   1-29  

■room  Wore  Spurs   Rogers- Carson   7-31  

Details  under  title:  Illegal  Bride 

lAAHet  (142)   Olisltr-SimmoBs   Nov.... 101  

lemy  (104)   Stewart-Hell   5-8  .     Jan  .     107  10-23 

lellywood  Story,  The   Contc-Adams   12-18  

ron  Man,  The   Keyes-Chandler   1-29  

(»« sis  Raiders   (T)    (80)   Mar;  hy-Chapman   6-5       No/        1C4  11-23 

(ati.   Did   It   Blythe-Stev.ns   6-19  

Jolts  O.t   Dow-Kennedy   8-28  

-ittle  Egypt   (T)   Fltming-Stcvens   12-4  

■a  and  Pa  Kettle  at  the  Fair   Main-Kiliridc   1-15  

Ma  and  Pa  Kettle  Back  on  the  Farm   Main-Kilkrid.   2-27  

■ilkMan,  The    (87)   D'Connor-Oaraote   5-8  . .  .May  102  

■ystery  Submarine   Carey-Toren   7-31  ...  Dee ....  106  

Jeeratien  Disaster   (100)   Mills-Cherry   Foreign  .  .  Jan ....  113  1-23 

Mow  Who  Was  A  Thief,  The  (T)   Certis-Lanrie   9-25  

leal  McCoy,  The   Abbott  &  Costello-Shay  1-29  

bugler's  Island   (T)    Keyes-Chandler   7-17  

■•reel  Unknown   Stevens-Nieol   9-11  .    Jan  111 

iTemahawk   (T)    (82)   HeRin-DeCarlo   6-5  ...  Feb  .     110  1-29 

Undercover  Girl    (83)   Smith-Brady   7-31  ...  Dec  105  .  11-6 

 Tot'.er-Contc   5-22...  Jan. 

 Vayne-Ewell   10-9  


1-1 


COMPLETED   

1919-50   

Abkrtt  S.  Costeilo  In  th.  Foreign  legion  (79 

Ablolt  4  Cost'llo  . 

5-8 

Aug 

0  Cnnnnr-Ardtn 

Imi 

Des.-t   Hawk    The   (T)  (77) 

925 

Jj2?  (V)"'  (77  ) 

Ail 

S26 

Lynn  Corar"' 

Inlv 

Saddle   Tramp   (T)  (76) 

McCrei-Hendrl* 

Sept 

928 

ShakeCown     (80i   I""!*!!*! 

Sierra    (T)  (83) 

McCre-'^Hendrl 

gja 

928 

Sleeping   City    The  (85) 

-ontr-Gray 

11-7 

Spy   Hont  (75)   

Icrtn-DoU   

. . . .2-27 

Jen. 

920.  . 

Details   ander    title:    Panthers  Moon 

Winchester   73  (92)   

Me»:irt-WlBt»n    .  .  . 

. .  2-27 

..Jely. 

.  .9*1.. 

Woman   on   the   Run  (77)   

■)iicrir''n-0'Keefe 

5-22 

Oct 

932 

Wyoming  Mail    (T)  (87)   

5m,.n-«l:hally   

5-22 

Oct 

931 

8-M 
6-13 
7-3 


WARNER  BROTHERS 


l9.")0-.-)i  Feature 


(  ompleted  (28)     in  Production  1 1) 


IN  PRODUCTION 

Tl'le — Reining  Tim- 
Fort   Worth  (T)   

I    Was  A  Communist   

Moonlight    Bay  (T)   

Tosrorrow   Is   Another   Day  ..... 


RELEASE  CHART 


Cast  Details 

Scott-Brian   1-15 

Lov(joy-Hart   1-15 

MacKse-Bay   1-29 

Roman-Co:  hran   1-15. 


(97) 


Aleatrar  Island 
Breaking  Point. 

Breakthroogh  v91)   

C-otain    Horatio  Hornblower 

P'Cas  (T)  (94)   

rnfjrcer.   The  (87)   

Folsom  Story,  The   

Glass  Menagerie,  The  (107) 

Goodbye,   My  Fancy   

Highway  201  (83)   


1950-51   

Ann   Sheridan   R.lss.e  .  .  9-9 . 

.  Garfleld-Neai   4-10     9-30 . 

Bnan-Agar   6-19  12-9 

Peck-Mayo   2-13  

.  Coi-rr-"0Tan   12-30 

.  Bogart-KoUrts  8-14  2-24 

.  Br.an-cochrane   11-6  

.  lawrcnee-Wyman   11-7  10-28 

.  C:awtord-Yoeng   9-25 

.  Cochran-Andre   2-13  .1-13. 


002 

005. . .9-25 
010  11-6 


015 
007 


Jim  Thorpe.  All-America:!   laneasler-Bickford   9-11  

Lightning  Strikes   Twice    (91)   Tood-Roman   2-13  3-10 

Lellaby  of  Broadway   (T)   Day-N(|.on   9-11... 3-24 

North   of  the   Rio   Grande   McCrea-Maye   9-27  

Details   ander   title:   Colorado  Territory 

Only    The    Valiant   Peek-Corey   8-14  

Ope-ation   Pacific    (109)   Waync-Neal   9-11  1-27 

Pretty   Baby    (92)   Scott-Morgan   1-2  9-16 

Raton  Pass   Morgan-Heal 

Rocky    Mountain    (83)     Flynn-Wymer. 


019 


. .7-31. 

6-19 
Reissue 

.  12-5 


11-11 

9-9 
2-10 


San   Oaentin  (70) 
Storm  Warning  (91)    .  . 

Details    ander   title:   Storm  Center 

Strangers  On  A  Train   

Streetcar  Named   Desire,  A   

Sagarfoot   (T)  (80)   

Tea  For  Two   (T)  (98)   

Three  Secrets    (98)   Parker-Neal-Roman   10-14. 

Travelers,  The   Douglas-Mayo   11-6  

West  Point  Story,   The  (107)   Cagney-Mayo   6-19  11-25. 


008  

003  . 
014  1-29 


.  #alker-Roman   11-6  

Brando-Leigh   8-28  

.Scolt-Jngens   3-3. 

Day-MaeRae   4-10  .  9-2. 


016  .  2-12 
001  .  8-28 
006  10-23 


COMPLETED 
Bright   Leaf  (110) 


50  Years  Befort  Your  Eyes  (7i 
Flame  and  the  Arrow  (T)  (81 
Gad   Is  My  Ce-Pilot  (88)    .  . 

r-»at  lewel  Robber  (91)   

Kiss  Tomorrow  Goodbye  (102) 
Retorn  of  the  Frontiersmen  <T 
This  Side  of  the  Law  (74) 


1949-50   

,  Oooper-Nea! 
••arker-Moorhead 
Oocomentary    .  .  . 
Lancas  er-Maya 
Morgan-Clark   .  . 
Brian-Reynolds 
Cagney-Adl-r 
MacRae—Calhean 
Lindfors-Smith  . 


.  12-5  7-1 
...8-1  .6-10. 

 7-15. 

 7-22. 

.  Reissae.  6-3 
. .8-29. . .7-15. 
.  .  .  5-8  . 8-19 
4-25  6-24 
10-25  6-17 


928 

.125. 


6-5 


931  ...1-3 
930  7-3 

.924  

9?9 

932  8-14 

927  .  6-5 
926  ..  6-5 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat')  FUm  Courier* 

250  N.  Juniper  St,  Phila.  7,  Pa.  —  LOcust  74*23 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed   containers   and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES.  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


FEBRUARY   26,  1951 


31 


Current  Observations 


National  Screen  Service  is  currently  running  a  serie? 
of  trade  ads  which  emphasize  a  resumption  or  expan- 
sion of  many  of  the  old  reliable  methods  of  show-selling 
— such  as  more  posting,  greater  use  of  heralds,  window 
cards,  etc. 

Since  this  is  right  in  line  with  what  we  have  been 
hammering  away  at  on  this  page  for  the  last  few  years — 
or  more  specifically,  since  receipts  first  started  to  fall  off 
— we  are  in  complete  accord  with  the  NSS  campaign  and 
the  company  deserves  much  credit  for  this  series  of 
advertisements. 

There  are  many  other  avenues  for  going  after  busi- 
ness than  those  covered  by  these  particular  ads  and  we 
are  hoping  that  the  thousands  of  theatremen  reached 
by  STR  will  start  to  pay  attention  to  vital  importance  of 
more  aggressive  showmanship  through  the  medium  of 
stronger  merchandising  methods  than  has  been  the  casj 
for  some  years. 


Until  someone  can  ; 
ie,  we  can  only  hop* 
and  widely  diver 
racle  of  doing  e 
reary  days  and 


Thi 
portanci 
lion  of 
predict 
terials  wi 

What 
turers  ar< 
be  able  to 
to  supply 
tions  pre 
able  to 
they  all 

We 
in  th 
ness. 
a  brj 
h 


With  hectic  fluctuations  'nJMjEHB^ceTpts,  wide 
and  varied  accordi&fijkMaitfB^PISruories.,  old  han<( 

e/ 

or^fedfpTaufhiai 
can't  even  guess  'er 

In  areas  where  receipts- have 
a  strong  picture  corm 
sometifT^bpdfef  Me  W^/JWKook  w 
the  averaT^pkvWor  rfas  but  one  ar 
tures!  But  even  that  argumeJSWlWdMd|  ff^wrren 
film  that  appears  to  A^<x|OLcn^attraction  pm^i 
a   big   draw   in  th! 
dies  in  the  surburban 
have  been 


;e  has  soundi 
maintaininj 
fctre's  eqi 
restric 
| to  the 
jioc  lib 
as  t\ 
■>usiner 
bchibito 
luring 
that  1 
fnly  start  i 
lighty  fev 
?h  of  the  si 
ly  start  how 
outlook,  and 
nothing  but  f] 
tn  unbalanced  s 
"greater  importanc 
n  to  take  careful 
intain  his  busines 
fere  appears  to  be  en< 
'around. 


many  y< 
nark  recen 
ness  is  alwt 
tJTit  instead  of 
might  rather  ad 
hasize  jhefcood  th 
r  critk 
ion  pe> 
#r  time 
junior  might  be  slot 
video  shows — they  kepi 


\_J  pfttzf  an  or  i 


SERVICE 


of  mf i nous  THY 


BULLETIN 


MARCH 


25c  per  Copy 


Let98  Stop 
Fiddling 
And  Start 
The  COMPO 

Campaign 
Right  Now! 


WAX 


Palm*  Theatre  Sugarland.  Tex. 


Winfield.  Kas 


Paradise  Theatre  Los  Angeles  Martin  Theatre  Bainbridge 


321  New  Theatres  Are  Opened  in  1950 

131  Others  PlacgdJJnder  Constr^dion^Jotal  Cosh  $55,580,600 

And,  as  usva  I,  A/V(rM 
is  ready  with  the  hottest 
line-up  of  hits  in  the  ; 
eniire  indusfry! 


"SHOW  BOAT"  COMPLETED! 

It's  all  you  dreamed!  Technicolor  Musical  Magic! 

"AN  AMERICAN  IN  PARIS" 

Biggest  Musical  since  "Annie"!  Technicolor  Masterpiece!  , 

"ROYAL  WEDDING" 

Technicolor  Musical  World  Premiere  at  the  Music  Hall! 

"FATHER'S  LITTLE  DIVIDEND" 

Funnier  than  "Father  of  the  Bride"  and  that  means  a  WOX 

"GO  FOR  BROKE!" 

"Battleground's"  famed  producer  and  writer  have  done  it  a 

"THE  GREAT  CARUSO" 

One  BIG  M-G-M  Technicolor  Musical  after  another  from  *> 

"TERESA" 

It  will  enchant  the  fans  and  bring  them  a  NEW  star! 

"PANDORA  AND  THE  FLYING  DUTCHMAN" 

The  Technicolor  Gold-Mine!  Romance!  Thrills!  Uniqm 


many,  many  more  l 

FIRST  with  the  M-G-MOST! 


BULLETIN 


I 


Vol.  19,  No.  6  March  12,  1951 

Page  Three 


THINK  IT  OVER 

VULNERABLE 

j  'he  fool  maintains  an  error 
with  the  assurance  of  a 
man  who  can  never  be  mis- 
taken ;  the  sensible  man  de- 
fends a  truth  with  the  circum- 
spection of  a  man  who  may  be 
mistaken." 

-De  Bruix 


REVIEWS  in  This  Issue 


S.  S.  Teakettle   6 

Front   6 

  6 

yment  On  Demand    7 

ly  the  Valiant   7 

cky  Nick  Cain    7 

R  Cadet    8 

ette   .  .  .  .  .  .  .  .  .  8 

jOILERS  OF  THE  PLAINS   8 

issinc  Woman    8 


flLM  BULLETIN— An  Independent  Motion  Picture 
trade  Paper  published  avery  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax,  Editor  and  Pibliiher. 
BUSINESS  OFFICE:  35  West  53rd  St.,  New  York, 
19;  Circle  6-9159.  David  A.  Badtr,  Business 
Manater.  PUBLICATION  -  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa.,  Rltten- 
louse  6-7424;  Barney  Stein.  Managing  Editor:  Jack 
Taylor,  Publication  Manager;  Robert  Heath,  Cirti- 
atlon  Manager.  HOLLYWOOD  OFFICE:  659  Ha»»r- 
or<  Are.,  Pacific  Palisades,  Calif.,  Hlllilda  8183; 
*¥  Allen.  Hollywood  Editor.  Sabstrlation  lata: 
INE  YEAR.  $3.00  In  tho  United  Stataa; 
i4.0O;  Europe.  S5.00.  TW8  YEARS,  $5.00  In 
Inited  Statu;  Canada,  $7.50;  Earait.  $9.00. 


LET'S  STOP  FIDDLIIVG! 

Already  too  much  time  bus  been  wasted.  So  much  of  the  promise  thai 
shone  so  brightly  in  Chicago  in  August,  1949.  when  the  Council  of  Motion 
Picture  Organizations*  was  fashioned,  has  been  dimmed  by  the  delay  in  setting 
into  constructive  motion  this  mighty  power  of  unity. 

It  cannot  be  denied  that  the  sweet  hopes  that  were  crystallized  in  that 
first  meeting  in  Chicago  have  turned  to  sour  cynicism,  at  least  on  the  part  of 
many  exhibitors.  Enough  of  the  readers  of  this  publication  have  written  us 
a  weary.  "So,  what,"  in  response  to  various  editorial  comments  FILM  BUL- 
LETIN has  made  about  COMPO,  to  convince  us  that  this  skeptical  attitude  is. 
fairly  prevalent  throughout  the  exhibitor  body.  Aside  from  the  magnificent 
job  done  in  the  admissions  tax  fight,  one  must  admit  that  nothing  of  note  has- 
been  accomplished.  Yet  that  splendid  effort  was  a  vastly  encouraging  demon- 
stration of  the  potential  power  contained  in  this  coordinated  industry  machine. 

Now  at  last,  COMPO  appears  to  be  ready  to  embark  on  the  course  it  was 
destined  to  follow  —  as  an  agency  to  lift  the  industry  from  the  morass  of 
despondency  into  which  it  has  sunk  and  to  improve  motion  picture  attendance. 
At  a  recent  meeting  in  New  York,  some  of  the  dynamic  leaders  of  this  indus- 
try, including  Spyros  Skouras,  William  F.  Rodgers,  Al  Lichtman,  Leonard 
Goldenson  and  Sol  Schwartz,  took  the  first  firm  step  in  this  direction.  Thev 
assembled  the  incomparable  array  of  advertising-publicity-exploitation  talent 
which  this  industry  boasts  in  all  its  branches  —  distribution,  exhibition,  pro- 
duction —  and  set  up  preliminary  plans  for  a  nationwide  campaign  to  sharpen 
the  public's  appetite  for  movies  and  to  rekindle  the  movie-going  habit. 

The  work  of  COMPO  should  be.  primarily,  the  work  of  these  advertising 
men.  Anything  else  the  all-industry  organization  might  accomplish  is  trivial 
beside  the  fundamental  task  of  reviving  the  public's  interest  in  motion  pic- 
tures and  bringing  them  back  to  the  theatres.  It  is  not  in  deprecation  of  the 
ability  of  the  business  heads  of  this  industry  that  we  suggest  they  turn  this 
work  over  to  the  advertising  brains  of  their  companies,  coordinated  under  the 
COMPO  banner,  and  give  them  carte  blanche  to  carry  it  through.  They  have 
the  know-how;  all  they  need  is  the  authority  to  undertake  the  job  and  the 
wherewithal  to  perform  it.  Given  these  implements,  the  men  of  our  industry 
who  are  trained  in  showmanship  wnll  do  a  first-grade  job.  Of  this  there  is  no 
question,  nor  do  we  harbor  any  doubt  that  they  would  obtain  the  wholehearted 
cooperation,  both  in  dollars  and  effort,  of  the  vast  majority  of  the  theatremen 
in  the  country. 

•We  find  one  fault  with  the  present  program  for  this  campaign.  Enough 
time  has  been  lost.  Why  must  we  wait  until  September  to  reap  benefits  from 
this  projected  drive  to  build  up  the  boxoffice?  Squarely  facing  the  fact  that 
television  is  a  tremendous  competitive  force  against  us,  we  urge  the  men  who 
will  guide  this  nationwide  showmanship  campaign  to  unleash  its  fullest  force 
during  the  Spring  and  Summer  months,  when  television  interest  tapers  off  and 
the  public  is  out  shopping  for  other  entertainment.  Consider  the  merits  of 
the  view  that  with  the  release  of  some  of  the  stronger  product  and  the  effects 
of  the  concerted  ballyhoo,  attendance  will  gain  a  momentum  during  the  warm 
seasons  that  might  well  keep  on  rolling  when  the  big  TV  shows  return  in  the 
Fall.  This  could  be  the  crucial  time  to  win  back  as  regular  moviegoers  the 
multitudes  who  have  gotten  into  the  living-room  habit. 

We  say  let's  stop  fiddling  and  strike  while  the  iron  —  and  the  weather  — 
is  hot! 

MO  WAX 


Paramount 

has  it  for  you  in  April!  Action  and 
romance  to  bring  the  crowds  to 


starring 

John 

anymore 
Jr. 

"is  handsome"  reports  Motion 
Picture  Daily  and  worthy  of 
his  famous  name — as  Mark, 
the  boy  with  a  hero's  courage. 


rinrte 

alvet 


is"outstanding"says 
Variety,  as  La  Fleur, 
the  woman  who  set 
a  century  aflame  . .  . 


Rrtric 


Kiuroies 

rugged  and  romantic,  IB  V*— •  mB 
the  rebel  leader  in  scenes 

of  "large  scale  militar>'  PrL 

action"  says  Film  Daily  " 


Barbara, 


Paramount's  lo\ 
star  of  tomort 
plays  the  girl  » 
loved  a  soldier 


th  John  Hoyt  •  Arnold  Moss  •  and  introducing  NIKKI DUVAL  •  Directed  by  George  Tern  pleton  'Written  and  Produced  by  Alan  LeMay 


cenery„    }/  the 


Paramount's  Big  Shows  In 
Color  By  Technicolor,  Currently  Include: 
Cecil  B.  DeMille's  "Samson  and 
Delilah,"  "Branded"  and  "The 
Great  Missouri  Raid" 


Ike  20tk-Jcx  Sou  (jamltU* 


On  A  Veto  Theatre  JeieVbbH  ^t/ J  tent 

Skouras'  TV  Revolution 


£PYROS   P.    SKOURAS,    President  of 
Twentieth  Century-Fox,  has  an  accent 
ibout  as  pure  as  the  waters  of  the  Dela- 
/are  River.  He  jokes  about  it.  One  of  his 
avorite  stories  tells  how  Gregory  Ratoff, 
uring  a  long  period  of  dictation  to  a 
tenographer,  paused  to  marvel  at  the 
irl's    ability    to    record    his  Russian 
brogue".  "Are  you  sure  you  can  under- 
tand  me?"  he  asked.  The  girl  nodded. 
Perfectly,  thank  you,"  she  said.  "But", 
sisted  Ratoff,  "how  can  that  be?  After 
I,  nobody  else  seems  to  be  able  to.' 
'ell",  said  the  stenographer,  "it's  like 
I  used  to  be  Mr.  Skouras'  secre- 

The  reason  why  Mr.  Skouras  tells  joke~, 
gainst  himself  is,  perhaps,  to  maintain 

e,  fiction  that  he  is  a  simple  kind  of 

llow  whose  prodigious  successes  in  th? 
,nd  of  his  adoption  have  left  him  un- 

uched,  unspoiled.  He  looks  the  part,  too; 

round,  jolly  face,  twinkling  eyes,  gener- 
us  mouth,  greying  hair.  During  the  most 
erious  business  discussion  he  will  sud- 
enly  break  off  and  talk  about  his  wile 
nd  family.  Should  an  argument  develop, 
e  will  battle  his  way  vociferously  to  vic- 

ry  and  then,  disconcertingly,  turn  the 

bles  on  himself  and  leave  you  thinking 
ou  have  won. 

The  truth  is,  of  course,  that  Mr.  Skour- 
s'  undoubted  charm,  and  finesse  in  de- 
ate,  conceal  an  altogether  phenomenal 
usiness  acumen.  When  he  makes  a  move 
ou  can  bet  your  last  dime  it's  a  move  in 
le  right  direction.  And  right  now  he  is 
loving  as  rapidly  as  he  can  towards  big- 
:reen  theatre  TV. 

What  Ails  Big-Screen  TV? 
His  latest  plunge  has  given  Twentieth- 
ox  world-wide  rights  of  the  Swiss  Eido- 
hor  system,  and  has  committed  the  corn- 
any  to  an  expenditure  which,  in  the 
purse  of  the  next  five  years,  will  run 
lto  at  least  a  million  dollars — possibly 
Ubstantially  more.  Skouras  isn't  the  kind 
if  man  to  mortgage  that  amount  of  cold, 
lard  cash  on  a  half-baked  gadget.  He  is 
U.re  he  can  make  Eidophor  pay  off. 
|/hat's  more,  he  is  absolutely  convinced 
lat  big-screen  television  will  give  the  mo- 
on picture  exhibitor  his  biggest  shot-in- 
pe-arm  since  sound  reached  the  silver 
preen. 

Eidophor  is  not  exactly  new.  It  has 
?en  worked  on  for  rather  more  than  ten 
i?ars.  In  its  earlier  stages  it  was  eyed 


By  LEONARD  COULTER 


Cxciu^e  $L  BULLETIN  feature 


closely  by  several  American  companies. 
Both  Paramount  and  the  General  Preci- 
sion Equipment  Corporation  investigated 
it.  It  was  clumsy  and  complex  at  that 
time.  In  particular,  it  presented  a  difficult 
problem  in  refrigeration  and  temperature 
control.  Many  of  these  early  kinks  have 
since  been  ironed  out,  and  in  Zurich  a 


PROPHET  SKOURAS 

Foresees  Tremendous  Audiences 


few  weeks  ago  Spyros  Skouras  saw  a 
demonstration  of  the  system  which  so 
impressed  him  that  he  bought  it  then  and 
there. 

The  deal  was  made  with  Edgar  Gretner 
A.  G.,  an  independent  engineering  com-, 
pany  which  had  acquired  the  commercial 
rights  from  the  Federal  Polytechnical  In- 
stitute of  Switzerland.  Twentieth  Century 
agreed  to  advance  a  substantial  sum  of 
money  over  a  period  of  18  months,  and  to 
draw  up  certain  plans  and  specifications 
for  use  by  the  Swiss  inventors.  They  un- 
dertook, within  the  18  months,  to  supply 
Skouras'  company  with  a  working  model 
based  on  those  plans. 

If  the  instrument  gives  a  better  re- 
sult than  the  RCA  system  with  which 
Twentieth  has  been  experimenting  on  the 
West  Coast  for  some  time,  the  company 
will  arrange  for  large-scale  manufacture 
of  the  Eidophor  projector  and  for  its  sale 
to  exhibitors.  Presumably,  Mr.  Skouras 
hopes  that,  by  then,  the  Federal  Com- 
munications Commission  will  have  assign- 
ed television  channels  specifically  for 
theatre  TV. 

Experiment  Spotty 
The  few  experiments  which  have  bee  i 
made  in  the  United  States  with  big-screen 
television  have  not  been  uniformly  suc- 
cessful. In  some  cities,  notably  Chicago, 
boxoffice  figures  were  materially  helped. 
The  Fabian  Palace,  in  Albany,  N.  Y.,  re- 
ported a  standee  audience  of  3,700  when 
it  exclusively  screened  the  first  of  a  series 
of  basketball  games  of  local  interest  on 
February  20.  Robert  J.  O'Donnell,  who 
runs  the  Interstate  Circuit  in  Texas,  has 
ordered  four  TV  units  for  key  houses  in 
Fort  Worth,  Dallas,  Houston  and  San 
Antonio.  Firm  orders  for  at  least  300 
units  are  entered  on  the  fiies  of  various 
manufacturers.  There  is,  however,  little 
indication  as  yet  that  the  big-screen  boom 
has  started. 

Interest  is  sporadic,  and  will  remain  so 
until  somebody— not  necessarily  Twen- 
tieth-Fox —  produces  a  projector  far 
superior  to  anything  seen  to  date,  at  a 
price  the  exhibitor  can  afford,  and  of  a 
size  he  can  accommodate  without  prac- 
tically rebuilding  his  theatre.  Even  then 
theatre  TV  will  hang  fire  unless  there  is 
a  steady  flow  of  suitable  big-screen  en- 
tertainment available  at  an  economic 
(Continued  on  Page  14} 


ARCH   12,  1951 


U.  S.  S.  TEAKETTLE1  SEA-GOING  FUNFEST  HITS  THE  SPOT 

Rates  •  •  •  generally 


20th  Century-Fox 
92  minutes 

Gary  Cooper,  Jane  Greer,  Millard  Mitch- 
ell, Eddie  Albert,  John  Mclntire,  Ray  Col- 
lins, Harry  Von  Zell,  Jack  Webb,  Richard 
Erdman,  Harvey  Lembeck,  Henry  Slate, 
Ed  Begley,  Fay  Roope,  Charles  Tannen, 
Charles  Buchinski. 
Directed  by  Henry  Hathaway. 


"U.S.S.  Teakettle"  is  a  fun-filled  laugh- 
fest  that  will  furnish  a  boatload  of  enter- 
tainment for  moviegoers  of  all  types. 
There  is  little  letup  in  the  hilarity  as  this 
20th-Fox  comedy  rolls  along,  relating  the 
tale  of  a  green  reserve  Naval  officer  called 
up  in  World  War  II,  who  is  assigned  the 
difficult  task  of  commanding  an  experi- 
mental ship  with  an  inexperienced  crew. 
The  situations  that  arise  as  the  "Teaket- 
tle" crew  flounders  through  the  seeming- 
ly endless  and  hopeless  boiler-bursting  test 
runs  are  guaranteed  to  keep  audiences 
chuckling  and  happy  for  most  of  the 
movie's  92  minutes.  Based  on  a  New 
Yorker  article  by  John  W.  Hazard,  the 
Fred  Kohlmar  production  features  Gary 
Cooper  in  one  of  those  whimsical  assign- 
ments that  recalls  his  comedy  successes 
of  the  past.   Word-of-mouth,  coupled  with 


fyfiieu  gating 

•  POOR  •  •  FAIR 

•  •  •  GOOD         •  •  •  •  TOPS 


Cooper's  name  in  marquee  lights,  should 
bring  grosses  up  to  a  highly  profitable 
level  in  most  situations. 

Gary  Cooper  turns  in  a  highly  amusing 
stint  as  the  unfortunate  reserve  officer 
whose  engineering  degree  earns  him  the 
dubious  honor  of  commanding  a  problem 
ship  with  a  "civilian"  crew.  Excellent 
support  is  contributed  by  the  entire  cast, 
with  Millard  Mitchell,  Eddie  Albert,  Jack 
Webb  and  Richard  Erdman  standing  out 
in  important  roles.  A  little  romance  that 
could  have  easily  been  dispensed  with  ac- 
counts for  the  presence  of  Jane  Greer, 
okav  as  Cooper's  Wave-wife.  Henrv 
Hathaway's  expert  direction  creditably 
avoids  repetitious  comic  sequences  and 
cleverly  keeps  the  merriment  in  Richard 
Murphy's  screenplay  moving  at  a  rapid 
clip. 

STORY:  Desperate  for  an  officer,  ex- 
pert in  both  seamanship  and  engineering, 
to  command  the  Secretary  of  the  Navy's 
pet  project,  a  ship  with  an  experimental 
steam  engine,  the  Navy  chooses  Gary 


Cooper,  who  has  only  the  engineering  ex 
perience  desired.  Cooper  finds  himsel; 
stuck  with  a  crew,  only  two  members  o 
which  have  ever  been  to  sea.  Even  hi; 
officers  are  "90  day  wonders."  Every  tin* 
they  take  a  test  run,  the  boilers  blow  am 
after  about  eight  embarrassing  trips  bad 
to  the  base  on  the  wrong  end  of  a  tovi 
line,  Cooper  and  his  fellow  officers,  Eddiii 
Albert,  Richard  Erdman  and  Jack  Webb 
hit  upon  a  plan  to  boost  the  crew's  morale 
which  they  hope  will  result  in  a  success 
ful  trial  cruise.  They  enter  one  of  thij 
men  in  a  base  boxing  tournament  anc 
sure  enough,  the  next  test  is  successful 
or  would  have  been,  if  one  of  the  anxiou; 
sailors  hadn't  smuggled  extra  wate) 
aboard,  leaving  some  question  in  Cooper'; 
mind  as  to  the  ability  of  the  steam  tur 
bine  to  run  his  ship.  The  big  brass,  s< 
pleased  that  the  ship  came  back  unden 
its  own  power,  order  a  sea  trial  with  therrl 
aboard.  Everything  goes  wrong  am! 
when  they  return  to  the  base,  Cooper  ap 
pears  before  his  superiors  expecting  t<j 
hear  the  worst.  He  is  praised  instead 
for  turning  out  a  good  crew,  told  that  ho 
has  proven  the  steam  turbine  will  wori 
in  larger  ships  and  assigned  to  sea  dutj 
in  command  of  the  "Teakettle,"  now! 
Deisel-powered.  JACKSON. 


-UP  FRONT'  IS  A  LAUGH-SM 

Rates  •  •  •  generally;  less  for  action  h< 


Universal-International 
92  minutes 

David  Wayne,  Tom  Ewell.  Marina  Berti, 
Jeffrey  Lynn,  Richard  Egan,  Maurice 
Oaveli,  Vaughn  Taylor,  Silvio  Minciotti, 
Paul  Harvey,  Roger  de  Koven,  Grazia 
Narciso.  Tito  Vuolo.  Mickey  Knox. 
Directed  by  Alexander  Hall. 


Bill  Mauldin's  comic  war  cartoons, 
which  kept  many  a  GI  sane  in  moments 
of  acute  tension,  are  the  inspiration  for 
this  side-splitting  comedy.  The  humor 
is  full,  rich  and  rounded;  the  characters 
are  lovable  as  well  as  laughable,  and  the 
situations  are  universal.  It  is  funny 
enough  to  keep  anyone  (except  exhibi- 
tors!) from  noticing  that  Leonard  Gold- 
stein produced  it  on  a  modest  budget. 
Boxoffice  returns  Will  be  good  to  smash 
in  all  except  the  action  spots,  and  it  will 
be  OK  for  them.  "Up  Front"  has  its 
flaws  —  it  takes  some  minutes  to  get 


ises 

moving,  for  instance  —  but  Alexander 
Hall's  direction  makes  the  most  of  every 
chuckle.  This  is  not  cheap  slapstick. 
Tom  Ewell,  as  "Willie,"  is  amusing  even 
to  look  at.  His  performance  is  one  of 
sheer  artistry  of  expression  and  gesture. 
David  Wayne  is  almost  perfect  as  "Joe." 
The  whole  cast  gives  them  fine  support. 
A  curious  omission  from  the  credit  sheet 
is  the  name  of  the  street  urchin,  who  is 
a  real  find. 

STORY:  Tom  Ewell  and  David  Wayne, 
two  battle-hardened  infantry  veterans 
and  inseparable  buddies,  are  separated 
when  Wayne  is  wounded  and  sent  to 
base  hospital  in  Naples,  Italy.  Tom 
Ewell  wangles  a  pass  and  sets  out  to 
bring  his  pal  back  to  the  firing-line,  as 
a  matter  of  self-preservation.  He  dresses 
up  as  a  doctor  and  gets  Wayne  out, 
whereupon  they  set  out  on  a  brief  spree 
before  returning  to  the  trenches.  Wayne 
"acquires"  somebody  else's  uniform,  in 


the  pocket  of  which  he  finds  a  three-daj 
pass.  Unwittingly,  they  become  involved 
with  an  Italian  bootlegger,  Sylvio  Min 
ciotti,  whose  daughter,  Marina  Berti,  if, 
a  beauty.  Wayne  falls  fpr  Marina  and 
is  promptly  pressed  into  service  as  a  wit' 
ness  on  the  old  man's  behalf.  They  gei' 
him  off,  to  the  disgust  of  Vaughn  Tay' 
lor,  martinet  major  who  is  trying  tc! 
"book"  them.  Arriving  at  Sylvio's  house 
after  the  trial,  however,  they  find  astoler 
U.  S.  army  truck  loaded  with  stolen  mili 
tary  supplies.  Marina  persuades  the  twc 
luckless  G.I.'s  to  drive  it  away.  They  I 
decide  to  take  it  back  to  their  company 
which  is  short  of  food,  guns  and  cloth 
ing.  The  major,  with  a  posse  of  MP's 
gives  chase,  but  at  journey's  end  the j 
commanding  general,  instead  of  allowing 
them  to  be  arrested,  hails  them  a:, 
heroes,  reduces  Taylor  to  Lieutenant  anc 
commandeers  the  MP's  for  the  big  off  en  i1 
sive.  COULTER. 


TERESA'  UNCONVINCING  PSYCHOLOGICAL  DRAMA  HAS  NEW  STAR 


Rates  •  •  as  dualler 


Metro-Goldwyn-Mayer 
101  minutes 

Pier  Angeli,  John  Ericson,  Patricia  Col- 
linge,  Richard  Bishop,  Peggy  Ann  Gar- 
ner, Ralph  Meeker,  Bill  Mauldin,  Ave 
Ninchi,  Edward  Binns,  Rod  Steiger,  Aldo 
Silvani,  Tommy  Lewis,  Franco  Inter- 
k'nghi,  Edith  Atwater,  Lewis  Cianelli, 
William  King,  Richard  McNamara. 
Directed  by  Fred  Zinnemann. 


Because  the  pace  is  uneven  and  the 
story  too  complex,  "Teresa"  lacks  the 
convincing  quality  necessary  for  the 
success  of  this  type  of  picture.  Never- 
theless, it  has  enough  redeeming  assets 
to  make  it  a  fairly  good  dualler  for  the 
average  theatre,  while  houses  in  Italian 
districts  should  find  it  a  strong  grosser. 
The  main    interest  in    this  Arthur  M. 


Loew  production  for  Metro  will  arise 
from  word-of-mouth  comment  about  the 
promising  young  Italian  actress,  Pier 
Angeli,  who  makes  an  effective  Ameri- 
can debut.  She  is  lovely,  sensitive  and 
knows  how  to  act;  definitely  star  mate- 
rial. Unfortunately,  the  original  story 
by  Alfred  Hayes  and  Stewart  Stern  (he 
also  did  the  screenplay)  dodges  down 
too  many  dark  psychological  alleyways 
in  depicting  the  trials  and  tribulations 
of  a  confused,  young  war  veteran  who 
has  brought  over  an  Italian  bride.  Some 
of  the  scenes,  especially  those  between 
the  iovers,  are  so  effective  that  the  in- 
adequacy of  the  rest  of  the  picture  is 
rather  painfully  pointed  up  in  contrast. 

Fred  Zinnemann  ("The  Search")  di- 
rected the  romantic  scenes  beautifully, 
but  far  too  much  footage  is  devoted  to 
the  Italian  backgrounds  and  to  charac- 
ter detail.  John  Ericson  turns  in  an 
able  performance  as  the  veteran.  Patri- 


cia Collinge  makes  the  most  of  her  rol«j 
as  his  domineering  mother. 

STORY:  After  introducing  John  Eric 
son  as  an  unhappy  ex-soldier,  unable  t<, 
find  his  place  in  the  world,  the  ptoj 
flashes  back  to  his  period  in  the  service 
Stationed  in  Italy,  he  finds  his  firs, 
friend  in  sergeant  Ralph  Meeker  and  hi:; 
second  in  an  Italian  girl,  Pier  Angelij 
in  whose  home  he  is  billetted.  When 
Meeker  is  killed,  Ericson  cracks  up  an<] 
is  sent  to  a  hospital.  Upon  recovering  ) 
he  returns  to  the  village  and  marrie: 
Pier,  who  later  joins  him  on  New  York'.'! 
East  Side,  where  they  live  with  his  par1 
ents  in  a  tenement.  Everywhere  he  goes 
Ericson  meets  failure,  eventually  losing, 
all  confidence  in  himself.  He  runs  away, 
leaving  his  pregnant  wife.  She  findi 
him  at  Bellcvue  Hospital.  His  manhood 
restored,  he  cuts  the  ties  that  bound  him 
to  his  parents  and  sets  off  with  his  littler 
family  in  search  of  a  new  life.  LEON? 


6 


FILM  BULLETIN 


PAYMENT  ON  DEMAND'  ADULT  DRAMA  OF  DIVORCE  GOOD  BETTE  DAVIS  VEHICLE 

^ates  •  •  •  generally  for  adult  audiences 


RKO  Radio 
90  minutes 

Bette  Davis,  Barry  Sullivan,  Jane  Cowl, 
Kent  Taylor  Betty  Lynn,  John  Sutton. 
Frances  Dee,  Peggie  Castle,  Otto  Kruger, 
Walter  Sande,  Brett  King,  Richard  Ander- 
son, Natalie  Schafer,  Katharine  Emery, 
Lisa  Golm. 

Directed  by  Curtis  Bernhardt. 

A  serious  and  restrained  treatment  of 
the  subject  of  divorce,  enhanced  by  ex- 
cellent performances  and  keenly  modu- 
lated direction.  "Payment  on  Demand" 
shapes  up  as  a  strong  attraction  for  the 
grownups.  Just  as  good  news  is  the  fact 
that  there  is  no  letdown  in  the  key  role 
most  capably  played  by  Bette  Davis  aftt.r 
ner  honor-winning  portrayal  in  "All  About 
Eve."  As  the  dominant  wife  in  "Payment 
bn  Demand,"  Miss  Davis  fortunately  has 
i  totally  different  role  that  brooks  no 
pomparison  with  "Eve."  She  rounds  out 
fhe  character  fully,  lending  its  basically 
/iperous  nature  undertones  of  sympathy 
hat  will  appeal  particularly  to  the  femi- 
line  trade.  With  director  Curtis  Bern- 
hardt sensitively  handling  the  reins,  the 
Btory  of  an  ambitious  woman,  who  has 
-uthlessly  guided  her  husband's  career 
>nly  to  find  herself  on  the  brink  of  di- 
/orce,  is  told  with  realism  and  poignancy. 


Unobtrusive  flashbacks  fill  in  the  blanK 
spots  to  give  motivation  to  and  lay  the 
foundation  of  the  husband's  sudden  re- 
quest for  a  divorce.  Thereafter,  the  wife's 
prospect  of  a  bitter  loneliness,  coupled 
with  the  reactions  of  their  two  grown-up 
daughters  to  the  marital  severance  is  sure 
to  attack  the  tear-ducts  and  make  more 
palatable  the  only  part  of  the  film  that 
strays  into  incredulity,  the  ending  that 
forecasts  a  reconciliation.  While  the  film 
is  a  natural  for  the  ladies,  their  escorts 
are  very  likely  going  to  find  themselve, 
enjoying  it,  too.  With  the  Davis  name, 
the  adult  treatment  and  word-of -mouth 
all  contributing  to  the  boxoffice  pot,  "Pay- 
ment on  Demand"  is  assured  of  we  1  above 
average  grosses  generally. 

In  addition  to  Miss  Davis,  whose  bril- 
liant portrayal  runs  the  gamut  from  a 
bubbling  young  girl  to  a  rather  haggardly 
middle  age,  unfa  tering  characterizations 
are  registe-ed  by  Barry  Sullivan  as  the 
husband,  Betty  Lynn  as  the  younger 
daughter,  and  Frances  Dee  as  the  woman 
Sullivan  turns  to  in  his  unhappiness.  How- 
ever, the  jewel  of  the  supporting  cast's 
interpretations  is  a  small  bit  contributed 
by  the  late  Jane  Cowl,  who  is  superb  as 
an  aging  divorcee  who  attempts  to  miti- 
gate her  loneliness  with  tropical  surround- 
ings and  a  ludicrous  young  artist  "com- 
panion." 


STORY:  After  22  years  of  married 
life,  during  which  Bet»e  Davis  has  un- 
swervingly guided  her  Lawyer  husband, 
Barry  Sullivan,  to  financial  and  sociai 
success,  SulHvan  culminates  a  petty  dis- 
agreement with  a  request  for  a  divorce. 
Shocked,  Davis  reviews  the  incidents  in 
their  lives  that  led  to  the  present  situa- 
tion —  how  she  betrayed  Sullivan's  part- 
ner, Kent  Taylor,  in  order  to  give  her 
husband  his  first  c  ient;  her  maehin?tioris 
to  see  that  he  came  in  contact  with  the 
"right  people,"  their  young  romanticism 
when  each  of  their  two  now  grown  daugh- 
ters was  born.  Feeling  that  he  will  "come 
to  his  senses,"  Davis  lets  him  leave  the 
house.  When  she  hears  rumors  that  he 
had  been  seen  with  another  woman,  she 
hires  a  private  detective  to  check  on  hiin 
and  obtains  photographic  evidence  of  his 
intimacy  with  Frances  Dee.  Using  this 
as  a  club,  she  frvces  him  to  settle  every- 
thing on  her  and  the  girls.  With  divorce 
proceedings  in  progress,  she  leaves  on  a 
cruise  and  realizes  she  is  facing  a  lifetime 
of  loneliness  after  an  abortive  shipboard 
romance  and  a  depressing  meeting  with 
a  divorcee  friend,  Jane  Cowl.  She  meets 
Sullivan  again  during  the  marriage  of 
their  younger  daughter,  Betty  Lynn,  and 
confesses  her  loneliness  to  him.  He  indi- 
cates he  still  loves  her  and  a  reconcilia- 
tion is  in  sight.  BARN. 


ONLY  THE  VALIANT'  CAVALRY  VS.  APACHES 

^ates  •  •  •  generally 


vVarner  Bros. 
105  minutes 

iresory  Peck,  Barbara  Payton,  Ward 
8ond,  Gig  Voung,  Lon  Chaney,  Neville 
Srand,  Jeff  Corey,  Warner  Anderson, 
Steve  Brodie,  Dan  Riss,  Terry  Kilburn, 
rlerbert  Heyes,  Art  Baker,  Hugh  Sandeis, 
Michael  Ansara. 
Directed  by  Gordon  Douglas. 

I  In  "Only  the  Valiant"  the  U.  S.  Cavalry 
takes  on  the  Apache  "baddies  '  again,  and 
[he  result  is  an  exciting,  if  familiar,  hoss 
bpry.  Bolstered  by  Gregory  Peck's  name 
lor  the  marquee,  this  Warner  offering 
should  garner  above-average  grosses  in 
til  situations;  action  houses  will  find  it  a 
ttrong  attraction.  The  s:ory  by  Edmund 
H.  North  and  Harry  Brown,,  taken  from  a 
novel  by  Charles  M.  Warren,  develops 
considerable  suspenseful  moments  as  it 
;pins  its  tale  of  a  patrol  of  Army  misfits 
>n  a  suicide  mission.  Under  the  "taut  and 
irobing  direction  of  Gordon  Douglas, 
>ach  member  of  the  patrol  becomes  an 


individual,  their  reasons  for  hating  their 
commanding  officer,  Peck,  and  their  re- 
actions when  given  the  opportunity  to 
kill  him  making  an  interesting  supple- 
ment to  the  familiar  dose  of  shooting  ac 
tion  usually  found  in  such  films.  An  in- 
teresting sidelight  is  the  use  of  the  then 
newly-invented  Gatling  machine  gun 
turned  loose  on  the  Apache  horde  by  the 
rescuing  cavalry.  One  spectator-,  at  least, 
felt  producer  William  Cagney  would  have 
increased  the  value  of  this  merchand:se 
immensely  had  it  been  filmed  in  color. 

Gregory  Peck  turns  in  a  sterling  por- 
trayal as  the  leader  of  a  patrol  of  men, 
most  of  whom  have  openly  spoken  of  a 
desire  to  kill  him.  Ward  Bond  and  Lon 
Chaney  stand  out  in  a  good  supporting 
cast,  Bond  as  the  drunken  corporal  and 
Chaney  as  a  hulking  trooper  of  foreign 
birth.  The  inevitable  love  interest  is  ade- 
quately tended  to  by  Barbara  Payton,  and 
the  few  moments  of  comie  relief  spring 
from  Bond's  drunken  antics.  Jeff  Corey 
rates  an  honorable  mention  for  portrayal 
of  the  Indian  scout. 


STORY:  Realizing  that  the  legions  of 
Apaches  threatening  a  oadly-outnumber- 
ed  Army  fort  must  be  kept  occupied  un- 
til help  comes,  Cavalry  Captain  G-egory 
Peck  takes  a  patrol  out  to  try  to  botile 
up  the  Indians.  He  chooses  the  men  he 
feels  the  fort  can  best  spare,  winding  up 
with  a  detail  of  seven  men  who  hate  him 
as  well  as  one  another.  The  Apaches  led 
by  their  fanatical  leader,  Michael  Ansara. 
have  cut  off  their  supply  of  water  and 
wait  on  the  other  side  of  the  pass  ine 
cavalrymen  are  guarding  until  the  white 
men  run  out  of  water.  Peck  blows  up  the 
pass  after  losing  most  of  his  men,  and 
just  as  the  Apaches  break  through  for 
the  final  attack,  the  cavalry  arrives, 
blasting  the  Indians  with  a  surprise  wea- 
pon, a  Gatlins:  machine  gun.  Peck  returns 
to  the  fort  with  Ward  Bond  and  Terry 
Kilburn,  the  only  other  survivors  of  the 
detail.  Peck  heads  straight  for  the  amis 
of  Barbara  Payton,  with  whom  he'd  had 
a  misunderstanding,  while  Bond  auench- 
es  his  thirst  at  the  canteen.  JACKSON. 


LUCKY  NICK  CAIN'  TRITE  AND  INCOHERENT  RAFT  MELODRAMA 

lates  •  •  as  dualler  generally;  more  in 


50th  Century-Fox 
H  minutes 

ieorge  Raft,  Coleen  Grav,  Enzo  Staiola, 
I*arles  Goldner,  Walter  Rilla,  Martin 
ienson,  Peter  Illing,  Hugh  French,  Peter 
Soil,  Ehvyn  Brook-Jones,  Constance 
>mith,  Greta  Gynt,  Margot  Grahame. 
Directed  by  Joseph  M.  Newman. 

The  trite  title  of  the  novel  on  which  this 
irogram  meller  is  based.  "I'll  Get  You  For 
jThis,"  should  give  some  inkling  as  to  the 
urn's  content.  "Lucky  Nick  Cain,"  a  wear- 
some story  of  a  gambler  who  becomes 
■mangled  in  the  operations  of  an  inter- 
national gang  of  counterfeiters,  was  film- 
ed in  Italy  against  a  dark  and  gloomv 
packfrrcund  and  offers  little  in  the  way 
»f  entertainment.  George  Raft  plays  the 
ltle  role,  and  his  performance  merely  re- 


action houses 

calls  a  dozen  similar  roles  he  has  handled 
in  the  past.  Adding  to  the  confusion  of 
this  Kaydor  production  for  20th  Century- 
Fox  release  is  the  high  percentage  of 
foreign  dialogue  which  makes  a  mystery 
of  a  film  where  no  mystery  was  intendea. 
Action  houses  will  get  by  with  this,  but 
it  offers  little  boxoffice  value  elsewhere. 

Raft  is  unconvincing  as  the  famous 
gambler,  who  for  some  mysterious  reason 
is  framed  for  a  murder  by  the  leaders  of 
a  counterfeiting  ring.  Coleen  Gray  is 
beautiful  but  unimpressive  as  the  girl 
whom  the  gang  uses  to  dupe  Raft,  and 
little  Enzo  Staiola.  of  "Bicycle  Thiet" 
lame,  is  a  welcome  sight  as  an  Italian 
urchin  whom  Raft  befriends.  A  good  per- 
formance by  Charles  Goldner,  as  an  Ital- 
ian secret  service  agent,  is  wasted.  Di- 
rection by  Joseph  M.  Newman  is  spotty, 
both  from  the  photographic  standpoint 


and  in  the  manner  he  handles  the  puzzling 
script  by  George  Callahan  and  William 
Rose. 

STORY:  The  Italian  Riviera  gambling 
town  rolls  out  the  plush  carpet  for  gam- 
bler George  Raft,  and  though  suspicious, 
he  walks  into  a  frame-up  planned  by  the 
town's  leading  citizens,  all  of  whom  are 
members  of  a  counterfeiting  gang.  Raft, 
accompanied  by  Coleen  Gi-ay,  whom  the 
crooks  used  to  trick  him,  escapes  from 
the  Dolice  with  the  aid  of  Italian  secret 
service  agent  Charles  Goldner.  With 
Goldner's  help,  Raft  finds  the  counter- 
feiters' base  of  operation,  a  prison  honey- 
combed with  tunnels  and  dungeons,  and 
helps  capture  most  of  the  criminals.  The 
leader,  Walter  Rilla,  avoids  arrest  and 
flees  to  another  country,  with  Goldner 
hot  on  his  heels  as  Raft  and  Coleen  clinch 
in  a  romantic  fadeout.  YORK. 


|'I  ARCH    12.  1951 


7 


'AIR  CADET1  HAS  GREAT  FLYING  SCENES 

Rates  *  •  r  as  duailer:  more  in  action  situations 


Universal-International 
94  minutes 

Stephen  McNally,  Gail  Russell,  Alex  Nicol, 
Richard  Long,  Charles  Drake,  Robert  Ar- 
thur, Rock  Hudson,  Peggie  Castle 
Directed  by  Joseph  Pevney. 

Some  of  the  very  best  flying  sequences 
ever  put  on  film  lend  merit  to  "Air  C&det," 
but,  unfortunately,  the  story  fails  to 
match  the  same  high  standard.  The  ro- 
mantic and  dramatic  incidents  that  hap- 
pen on  the  ground  are  pallid  by  compari- 
son with  the  robust  excitement  of  jets 
whizzing  by  in  close  formation  at  lignt- 
ning  speed.  Airplane  addicts  (meaning 
males,  of  course)  will  find  this  Universal 
offering  interesting  enough,  but  the  ex- 
hibitors problem  will  be  to  attract  the 
women.  Boxomce  returns  will  vary  from 
fair  in  family  houses  to  good  in  the  ac- 
tion spots.  The  Stephen  McNally  name 
should  help.  The  story  by  Robert  L. 
Richards  never  quite  gets  off  the  ground, 
being  too  heavily  loaded  with  an  unsatis- 
fying triangle  involving  one  of  the  cadets, 
the  chief  instructor  and  the  latter's  wife. 


Director  Joseph  Pevney,  however,  man- 
ages to  keep  things  moving  at  a  fairly 
fast  clip  in  between  those  thrilling  flying 
sequences,  which  were  Mimed  at  Randolph 
Field. 

Competent  performances  are  turned  in 
by  McNally,  Gail  Russell,  his  wife,  and 
cadet  Richard  Long,  the  third  side  of  the 
triangle.  Producer  Aaron  Rosenberg 
shrewdly  utilized  the  services  of  Captain 
Michael  Smolen,  of  the  USAF,  as  Techni- 
cal Adviser.  Cliff  Stine  directed  the  pho- 
tography and  did  a  brilliant  job  on  the 
air  scenes. 

STORY:  Four  young  Air  Force  cadets 
who  reach  Randolph  Field  for  pre-flight 
training  strike  up  a  close  friendship.  They 
are  Alex  Nicol,  an  infantry  veteran  who 
hopes  to  become  a  commercial  pilot; 
Richard  Long,  whose  brother  was  a  World 
War  II  flying  ace;  Robert  Arthur,  a 
pampered  boy  who  wants  to  prove  him- 
self a  man,  and  James  Best,  a  civilian 
license  holder  with  a  yen  for  jets.  Best 
fails  to  measure  up  to  the  early  tests, 
but  the  others  survive.  Long,  however, 
arouses  the  antagonism  of  the  chief  in- 
structor, Stephen  McNally,  but  can't  un- 


ODETTE'  SUSPENSEFUL  BRITISH  SPY  YARN 

Rates  *  •  r  generally 


Lopert  Films 
108  minutes 

Anna   Neagle,   Trevor  Howard,  Marius 
Goring,   Peter   Ustinov,   Maurice  Buck- 
master,  Bernard  Lee,  Marie  Burke. 
Directed  by  Herbert  Wiloox. 

Based  on  the  exploits  of  Odette  Church- 
hill,  a  real-life  British  secret  service 
agent  in  France  during  World  War 
II,  this  suspenseful  spy  melodrama  has 
been  shrewdly  directed,  and  looks  and 
sounds  authentic.  Although  there  are 
a  few  slow  passages,  most  of  "Odette" 
moves  along  at  a  good  pace  with  a 
documentary  atmosphere.  Where  Brit- 
ish films  go  well,  this  should  earn 
good    returns;  elsewhere    it  will  serve 


adequately  as  a  duailer.  The  Gestapo 
torture  scenes  and  shots  of  the  women's 
concentration  camp  are  shocking  without 
being  horrib'e.  The  story  is  easy  to  fol- 
low, and  the  production  convincing. 
Though  the  cast  has  little  marquee  value, 
it  tu-ns  in  the  kind  of  performances  typi- 
cal of  the  best  British  movies.  Anna  Nea- 
gle, who  portrays  Mrs.  Churchill,  does  so 
with  quiet  skill. 

STORY:  Anna  Neagle,  a  Frenchwoman 
living  in  England,  separated  from  her 
husband,  joins  the  British  Military  Intelli- 
gence Service.  Leaving  her  three  young 
children  behind,  she  is  smuggled  into 
France  and  receives  a  series  of  dangerous 
assignments  from  Trevor  Howard,  who 
controls  the  spy  network  in  the  Cannes 
area.  Among  her  achievements,  she  se- 


SPOILERS  OF  THE  PLAINS'  GOOD  ROGERS  WESTERN 

Rate:  •  •  •  for  action  houses 


66  minutes 
Republic 

Roy  Rogers,  Penny  Edwards,  Gordon 
Jones,  Grant  Withers,  William  Forrest, 
Don  Hag^erty,  Fred  Kohler,  Jr.,  House 
Peters,  Jr.,  George  Meeker,  Keith  Rich- 
ards, Foy  Willing  and  The  Riders  of  the 
Purple  Sage. 

Directed  by  William  Witney. 

This  latest  Roy  Rogers  vehicle  is  up 
to  thp  cowboy  star's  best  standards, 
which  means  it  will  be  topnotch  fare  for 
the  western  fans.    Thanks  to  a  good  job 


of  direction  by  William  Witney,  "Spoilers 
of  the  Plains"  moves  along  at  a  spank- 
ing pace,  offering  lots  of  hard  riding  and 
such  action  as  is  usually  found  in  these 
routine  horse  operas.  Rogers  and  his 
horse,  Trigger,  are  up  to  their  familiar 
heroics  as  they  help  comely  Penny  Ed- 
wards round  up  a  gang  of  badmen  head- 
ed by  Grant  Withers.  Edward  J.  White's 
production  of  an  up-to-par  yarn  by  Sloan 
Nibley  is  competent,  and  the  prairie 
tunes  rendered  by  Rogers  and  the  Riders 
of  the  Purple  Sage  add  an  acceptable 
touch  of  rhythm  to  the  proceedings. 


derstand  why.  Their  relationship  is  noi 
improved  when  he  falls  in  love  with  Gaij 
Russell,  McNally's  estranged  wife.  ThMI 
other  two  boys  take  a  nosedive  for  Peggi 
Castle,  a  flight  nurse.  When  he  goes  fol 
his  solo  flight  Long  swerves  to  avoid  J 
collision  and  crashes.  He  becomes  mori 
convinced  than  ever  that  McNally  will 
wash  him  out  of  the  service. 

McNally's  wife,  however,  learns  that  he 
husband's  apparent  grudge  against  thi 
young  cadet  is  based  on  his  remorse  fo 
having  been  indirectly  responsible  for  th< 
death  of  Long's  brother  during  the  war 
when  McNally  was  his  commanding  offi 
cer.  She  tells  Long  the  truth.  His  con 
fidence  restored,  he  requests  a  test  flight 
McNally  goes  with  him.  He  passes  Long 
but  is  determined  to  prove  that  the  younj 
man  will  never  make  a  jet  pilot  by  put 
ting  him  to  the  most  severe  tests  in  je 
flying.  Even  under  this  strain  Long  fail; 
to  break  down.  McNally  takes  him  uj 
alone,  but  his  oxygen  tube  breaks  anc 
he  blacks  out.  Long  manages  to  crash 
land  the  plane  and  save  McNally's  life 
who  is  reunited  with  his  wife.  All  three 
cadets  pass  with  honors.  LEON. 


cures  the  plans  of  Merseilles  dockyard,  to 
help  the  Allies  when  they  land  from 
North  Africa.  Marius  Goring,  local  head 
of  the  German  counter-espionage  system, 
learns  about  Anna's  activities  and  puts  a 
proposition  to  her;  he  says  he  hates  the 
Nazis  and  can  end  the  war  if  she  will  put 
him  in  touch  with  her  chiefs  in  London. 
Suspecting  a  trap,  Anna  and  Howard  are 
about  to  transfer  themselves  to  a  safer  I 
place  when  they  are  arrested.  Anna  is 
tortured  and  sentenced  to  death.  Just  be- 1 
fore  her  execution,  however,  the  Allies 
land  in  the  South  of  France  and  the  camp 
commandant,  believing  that  his  ace  pris-i 
oner  (who  in  real  life  was  Mrs.  Peter! 
Churchill)  is  related  to  the  British  Prime] 
Minister,  hands  her  over  to  the  Ameri- 
cans to  save  his  own  skin.  LEON. 


STORY:  Badman  Grant  Withers  is  thej 
leader  of  a  gang  that  is  stealing  oil  to] 
sell  to  an  experimental  rocket  station. 
Roy  Rogers  and  Penny  Edwards,  scien-J 
tiflcally-minded  daughter  of  scientist  Wil-! 
liam  Forrest,  set  out  to  stop  Withers. 
Rogers  discovers  that  Withers  has  been ; 
trying  to  steal  secret  information  from  . 
the  experimental  station  to  sell  to  foreign  I 
agents.  Rogers  foils  this  traitorous 
scheme  just  in  time,  ending  Withers' 
criminal  career  after  a  fist  fight  which  i 
sends  the  baddie  to  his  death  from  atop 
an  oil  derrick.  YORK. 


MISSING  WOMAN'  ROUTINE 

Rates  *  *  as  supporting  duailer 

Republic 
60  minutes 

Penny   Edwards,    .lames   MiUican,  John 
Gallaudet,  John  Alvin,  Fritz  I'eld. 
Directed  by  Philip  Ford- 


A  routine  melodrama  about  a  gang  of 
auto  thieves,  this  Stephen  Auer  produc- 
tion for  Republic  has  moderate  suspense 
value.  The  story  by  John  K.  Butler  is 
rather  obvious  from  start  to  finish,  and 


MELODRAMA  FOR  DUALS 


Philip  Ford's  direction  does  little  to  make 
it  convincing.  As  a  duailer,  it  will  furnish 
miild  support  for  a  top  musical  or  com- 
edv  feature. 

STORY:  Penny  Edwards  and  her  hus- 
band of  an  hour,  John  Hedloe,  are  way- 
laid on  their  honeymoon  trip  by  two 
crooks,  John  Alvin  and  James  Millican. 
The  bridegroom  is  killed  and  Penny  sets 
out  to  trace  the  murderer.  John  Gallaudet 
of  the  Los  Angeles  Police,  warns  her  not 
to  interfere,  but  she  poses  as  an  ex-jail- 


bird and  gets  a  job  with  the  gangsters' ■ 
big  boss,  William  Forrest.  Her  disappear- ■ 
ance  worries  the  police,  but  she  is  finally  H 
traced  and  begs  for  a  further  24  hours  in  ■ 
which  to  bring  her  husband's  murderer  ■ 
to  book  and  lead  the  cops  to  the  car-steal-  ■ 
ing  gang.  The  murderer,  however,  recog-B 
nizes  Penny  and  exposes  her  to  Forrest  ■ 
She  is  about  to  be  "taken  for  a  ride"B 
when  the  police  rush  in  and  save  her,  ■ 
rounding  up  the  gang  after  a  gun  duel.  ■ 
YORK. 


8 


FILM  BULLETI 


TO  ALL  OUR  EXHIBITOR  FRIENDS 


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Short  Subjects 


By   BAR  M 


D1 


kESPITE  SOME  distribution  beefs  to 
the  contrary,  exhibitors  generally  are 
"showing  a  renewed  interest  in  co- 
operating with  distributors  in  a  revival 
of  motion  picture  showmanship,"  Alfred 
E.  Paff,  Universal  World  Sales  Director, 
finds  after  sampling  a  cross  section  of 
the  nation's  theatremen  in  personal  visits 
throughout  the  country.  In  television 
areas,  for  example,  exhibitors'  desire  to 
cooperate  in  TV  advertising  has  encour- 
aged Universal  to  develop  sectional  video 
campaigns,  Daff  says.  "It  is  most  im- 
portant that  we  cultivate  the  new  gen- 
eration who  have  been  absorbed  in  tele- 
vision. We  should  do  everything  to  get 
children  back  into  the  theatres  as  they 
are  the  customers  of  tomorrow.  To  ac- 
complish this,  we  must  get  our  adver- 
tising message  into  the  home  whether 
it  be  through  television,  radio,  direct 
mail  or  heralds,"  he  noted.  The  U  sales 
topper  also  warned  against  relaxing  the 
showmanship  campaign  in  a  National 
Emergency  boom.  "We  should  not  do 
what  we  did  during  the  last  boom,  World 
War  II,  sit  back  comfortably  merely  be- 
cause more  people  are  patronizing  thea- 
tres. Let  us  not  again  be  the  victims 
of  our  own  mistakes."  To  implement 
U's  regional,  rather  than  national,  dis- 
tribution policy,  the  local  sales  forces  are 
tabulating  information  so  as  to  negoti- 


U-I'S  DAFF 

Into  the  Home 


ate  more  efficiently  sale  of  pictures  on 
a  local  level,  he  points  out. 

METRO'S  AMPLE  star  roster  will  be 
culled  thoroughly  to  augment  the 
company's  plan  to  achieve  greater  audi- 
ence impact  through  special  "name"  ap- 
pearances in  trailers.  In  a  report  given 
to  MGM  vice-president  Howard  Dietz, 
studio  trailer  and  ad  head  Frank  Whit- 
beck  advised  that  the  studio  has  lined 
up  more  stars  and  personalities  to  nar- 
rate and  appear  in  trailers  for  the  forth- 
coming year's  product  than  ever  before 
in  the  company's  history.  The  go-ahead 
sign  was  also  given  by  Dietz  for  produc- 
ing 15  two-weeks-in-advance  teaser  trail- 
ers to  precede  regular  trailers.  Repre- 
senting one-third  of  Metro's  45-picture 
output,  teasers  for  the  coming  year  are 
more  than  triple  last  year's  total.  To 
carry  out  the  department's  requirements, 
Whitbeck    has    expanded    the  studio's 


trailer  production  unit  to  its  greatest 
strength  since  its  inception  20  years  ago. 
Harry  Loud,  Cliff  Lewis  and  Jack  Atlas 
will  handle  the  writing  and  producing 
chores,  with  Ira  Heymann,  Laurie  Vejar 
and  Marshall  Neilan,  Jr.,  assigned  as  film 
editors. 

TF  ANY  of  the  audience  due  to  attend 
A  the  world  bow  of  Warners'  "Captain 
Horatio  Hornblower"  in  London,  April 
12,  should  suffer  a  skin  puncture,  odds 
are  eight  to  five  the  blood  will  be  blue. 
The  array  of  nobility  lined  up  for  the 
premiere,  headed  by  Her  Royal  High- 
ness, Princess  Margaret,  is  just  lousy 
with  royalty,  according  to  the  list  of 
Who's  To  Be  There  we  received.  Vice 
Admiral  Earl  Mountbatten  of  Burma  is 
president  of  the  committee  in  charge  of 
special  arrangements  and  ticket  sale  for 
the  paragon  preem,  proceeds  to  go  to 
King  George's  Fund  for  Sailors  and  the 
Foudroyant  Appeal.  We  did,  however, 
note  one  commoner  among  the  "Lady's" 
and  "Sir's"  —  Mrs.  Clement  R.  Attlee. 


COME  544  Mutual  radio  stations,  the 
nation's  largest  network,  carried  a 
unique  special  broadcast  by  20th-Fox's 
Andy  Smith.  The  national  closed-circuit 
broadcast  was  in  connection  with  the 
special  promotion  on  "The  13th  Letter," 
which  will  be  featured  as  "Mystery  of 
the  Month"  on  Mutual's  forthcoming 
"Movie  Mystery  Month"  campaign.  A 
regular  weekly  feature  of  the  network's 
sales  force,  the  closed-circuit  message 
carries  forthcoming  sales  plans  to  all  of 
the  stations  in  the  chain,  where  they  are 
heard  by  station  managers  and  their  per- 
sonnel. For  this  occasion,  however,  20th 
branch  managers  and  exhibitors  who 
have  booked  the  film  were  also  invited 
into  each  studio  to  hear  details  of  the 
promotion  as  related  by  Smith.  The 
company  is  offering  free  one-sheets  to 
exhibitors  on  the  film  and  promotion; 
cross-plugs  will  be  heard  over  Mutual's 
top  whodunits,  and  in  each  locality,  Mu- 
tual promotion  managers  are  contacting 
the  local  theatre  playing  the  film  on  co- 
operative publicity,  exploitation  and  time 
purchases  for  the  picture. 


PRAISE  FOR  EXPLOITEER 

Exceptional  kudos  went  to  Max 
Miller,  Eagle  Lion  Classics  mid- 
East  exploitation  man,  from  movie 
critics  for  two  of  the  dailies  in  the 
nation's  capital.  Inspired  by  Mil- 
ler's Barnum-like  campaign  on  be- 
half of  "Prehistoric  Women,'' 
Richard  L.  Cole  column'd  in  the 
Washington  Post:  "This  week  our 
town  has  seen  the  handiwork  of 
one  of  P.T.'s  spiritual  descendants, 
an  affable,  bulky  chap,  fond  of 
chewing  cigars;  one  Max  Miller  .  .  . 
Max  earned  every  cent  of  whatever 
Eagle  Lion  Classics  pays  him.  He 
crashed  every  paper  in  town  and 
he  nicked  the  title  of  his  movie 
into  the  microphones  of  virtually 
every  radio  station  in  the  area." 
Et  cetera. 

In  the  Washington  Daily  News, 
film  critic  James  O'Neill,  Jr., 
quipped:  "My  boy  Max  swiped  so 
much  (space  in  newspapers)  that 
he  could  get  himself  indicted  for 
grand  larceny  .  .  ." 

Looks  like  the  industry  could 
use  a  few  more  field  exploitation 
men. 


ADD  HONORS:  Top  international  pel  j 
formance  awards  went  to  Jose  Ferre  | 
for  "Cyrano  de  Bergerac"  and  to  Glori 
Swanson  for  "Sunset  Boulevard"  whel 
the  Hollywood  Foreign  Correspondent 
Assn.  staged   its  ninth   annual  Golde  i 
Globes  Awards  dinner  at  Ciro's,  Feb.  21 
Both  stars,  1950  Academy  Award  nom  j 
nees  for  their  respective  roles,  were  ur 
able  to  receive  the  awards  in  persor 
Reason:  they're  both  appearing  in  th  I 
same  play  together  in  New  York,  "Twer  ; 
tieth  Century." 

*  *  * 

TJ77HOEVER  SAID,  "There's  nothinj 
certain  except  death  and  taxes  i 
didn't  know  show  business  or  he  woulij 
have  included  the  annual  Tarzan  picture.' 
These  words,  written  by  RKO  sales  vice 
president  Robert  Mochrie  to  the  coun 
try's  exhibitors,  hits  the  nail  on  the  hea< 
in  defining  the  phenomenal  success  o  | 
this  series,  still  going  strong  after  3! 
years.  The  latest  entry,  "Tarzan's  Peril,' 
is  being  given  the  benefit  of  a  nationa 
celebration  campaign  by  RKO  to  mari 
the  35th  anniversary  of  the  series.  ThJ 
current  Tarzan,  Lex  Barker,  is  currently 
on  a  key -city  tour  to  plug  the  day-andj 
date  opening  March  15,  with  special  pic: 
torial  and  story  breaks  in  national  anc 
fan  mags  adding  to  the  campaign  t(; 
whip  up  interest. 


RKO'S  MOCHRIE 

Death,  Taxes  &  Tarzan 


"CVERY  STATE  in  the  Union,  plus  at 
E  least  one  overseas  tent,  will  be  rep- 
resented at  the  15th  Annual  Convention 
of  Variety  Clubs  International  in  Phila- 
delphia, May  9-12.  The  foreign  member. 
C.  J.  Latta,  ABPC  managing  director, 
who  will  represent  the  Variety  Club  of 
London,  is  in  line  so  far  for  the  prize 
to  be  given  to  the  member  coming  the 
farthest  distance  to  attend  the  Conven- 
tion, but  from  the  way  interest  in  the 
confab  is  shaping  up,  it  is  very  likely 
he  will  be  outdistanced  by  other  Variety 
members  from  more  remote  points. 

f\F  MEN  AND  THINGS:  20th-Fox 
Coresident  Spyros  P.  Skouras,  along 
with  three  prominent  authors,  Arthur 
Koestler,  John  Hersey  and  Williard  Mot- 
ley, was  the  recipient  of  an  award  by 
the  Philadelphia  Fellowship  Committee 
for  their  efforts  "contributing  to  human 
relations  and  intergroup  understanding" 


10 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
CxciuMe       BULLETIN  Jeatun 


COLUMBIA 

OWN  STAGES  MUTED,  INDIES 
SEEN  AS  BIG  PRODUCT  SOURCE 

•THERE'S  much  beating  of  the  drums 
•*  in  Hollywood  over  Columbia's  "im- 
posing" production  slate  for  the  new 
fiscal  year,  but  from  the  look  of  things 
around  the  Gower  street  soundstages 
these  past  couple  of  weeks,  those  drums 
mignt  more  appropriately  be  rolling  out 
a  dirge.  Following  the  wind-up  of  the 
company's  latest  little  "quickie,"  "The 
Big  Gusher"  (Wayne  Morris-Preston 
Foster)  which  Wallace  MacDonald  pro- 
duced and  Lew  Landers  directed  on  a 
12  day  schedule,  the  studio  entered  a 
hiatus  for  better  than  a  week. 

Production  picked  up  again  in  a  most 
unimpressive  manner  on  March  6,  with 
the  tee-off  of  a  serial,  "Captain  Video," 
and  will  be  followed  March  13  by  "Son 
of  Dr.  Jekyll"  (Louis  Hayward),  which 
gets  a  slightly  higher  budget  than  the 
run-of-the-mill  programmer  turned  out 
since  the  first  of  the  year,  but  remains 
definitely  on  the  "B"  list. 

Beyond  this  slight  flurry  of  activity, 
nothing  is  scheduled  for  the  sound  stages 
during  the  next  two  weeks. 

As  for  the  production  slate  coming  up, 
it  appears  that  anything  very  impressive 
in  the  line  of  forthcoming  pictures  will 
come  from  the  many  independent  units 
being  lined  up  here,  and  not  from  the 
Cohn  company  itself.  In  all,  the  slate 
boasts  46  pictures  for  the  year — 14  of 
them  classified  as  A's. 

This  first  group,  coming  almost  en- 
tirely from  the  Santana,  Stanley  Kram- 
er, Sidney  Buchman  and  Robert  Rossen 
units,  will  be  budgeted  at  figures  rang- 
ing upward  from  the  $700,000  level.  The 
balance  will  range  from  better  grade  pro- 
grammers down  to  low-scale  quickies. 


including  thiee  already  cast:  "Vigilante" 
(Joel  McCrea)  to  be  filmed  in  Cinecolor; 
"My  Fine  Feathered  Friend,"  a  musical 
to  be  shot  in  color  featuring  top  record- 
ing artists;  and  "Deadlock"  (George 
Raft).  Others  are:  two  from  S^trn  Stiefel's 
Horizon  Pictures,  including  "Hothouse," 
to  be  directed  by  John  Houston,  and  the 
already  completed  "When  I  Grow  Up" 
(Bobby  Driscoll  -  Martha  Scott  -  Robert 
Preston);  15  low-budget  films  to  be  made 
by  Jack  Schwarz;  "God's  Little  Coun- 
try'' (Linda  Darnell),  to  be  filmed  m 
Technicolor  by  David  Rose  of  Coronado 
Productions,  starting  in  the  Bahamas  in 
May;  "Come  Out  Singing"  (Donald 
O'Connor-Marilyn  Maxwell),  to  be  shot 
in  Cinecolor,  and  a  Glenn  Ford-Geraldine 
Brooks  story  to  be  filmed  in  France. 

However,  ELC  has  something  more 
concrete  than  future  plans  to  offer  in 
the  line  of  production.  The  number  of 
pictures  currently  filming  or  about  to  go 
before  the  cameras,  under  independent 
production  deals,  compares  favorably 
with  the  number  of  films  underway  on 
the  major  studio  lots.  For  example, 
"Cloudburst"  (Robert  Preston),  which 
went  before  the  cameras  on  January  S, 
is  still  filming,  and  three  others  are  roll- 
ing during  the  first  half  of  this  month. 
On  March  5,  Producer  Marty  Kemp  plac- 
ed his  new  musical,  "Pan  American 
Way"  before  the  cameras  with  a  cast  of 
recording  artists  headed  by  Eddie  Le- 
Baron  and  his  orchestra.  Today  (March 
12),  producers  Seaman  and  Talmadge  roll 
their  exploitation  feature,  "I  Was  a  Rus- 
sian Saboteur,"  with  Talmadge  doubling 
on  the  megging  chores.  And  on  March  15, 
Jack  Mahon's  "South  of  Singapore"  will 
start  with  a  cast  that  was  still  being 
lined  up  at  this  writing. 


LIPPERT 

LIPPERT  ANNOUNCES  EIGHT 


HOLLYWOOD  EDITORIAL 

Exit  Turin'  Duals 

In  recent  months  we  have  witnessed 
some  lnteresling  changes  in  production 
policies,  but  none  more  beneficial  to 
everyone  concerned  than  the  new,  wide- 
spread vogue  for  one-picture  deals  be- 
tween stars  and  studios.  Almost  without 
exception,  the  old-fashioned  "term" 
agreements,  which  made  a  player  the 
exclusive  property  of  one  particular 
studio,  and  paid  him,  or  her,  a  weekly 
salary,  have  been  replaced  on  their  ex- 
piration with  contracts  which  obligate 
the  player  to  make  one  or  two  pictures 
a  year  for  the  contracting  studio  and 
leave  him  free  to  negotiate  deals  where- 
ever  else  he  may  choose  during  the  bal- 
ance of  the  year. 

The  new  practice  is  important  first  of 
all,  because  it  is  almost  certain  to  im- 
prove the  overall  quality  of  movies. 
Studios,  working  under  such  a  plan,  can 
cast  players  to  fit  the  stories  selected  for 
production,  instead  of  fitting  stories  to 
their  contract  stars. 

It's  important  also  because  stars,  hence- 
forth, will  work  for  several  studios  each 
year  and  the  average  theater  will  be 
able  to  offer  a  greater  diversity  of  star 
names  as  attractions. 

It's  important  to  the  stars  because,  by 
shopping  for  roles,  they  will  have  a  bet- 
ter chance  to  avoid  "turkeys,"  and  be- 
cause, appearing  in  pictures  turned  out 
by  several  studios,  they  will  be  seen  in 
more  theatres  and  by  more  fans. 

And,  finally,  the  studios  will  benefit, 
since  they  will  escape  the  necessity  of 
paying  high-salaried  stars  weekly  pay- 
checks during  long  periods  of  idleness. 
We're  all  for  it.  JAY  ALLEN. 


headquarters,  on  the  basis  of  the  daily 
rushes. 

Two  additional  features  will  hit  the 
cameras  between  now  and  the  end  of  the 
month.  They  are:  "Savage  Drums" 
(Sabu),  oroduced  and  directed  by  William 
Berke;  and  "Lost  Continent,"  produced 
and  directed  bv  the  combination  of  Sig 
Neufeld  and  Sid  Newfield,  and  starring 
Caesar  Romero. 


METRO-GOLDWYN-MAYER 


eagle  -  lion  -  classics   TO  BE  RELEASED  THIS  SPRING    LEO  RESUMES  BIG-SCALE 


31  INDE  DIST.  DEALS 
LINED  UP  BY  MacMILLEN 

"EAGLE-LION-CLASSICS  prexy  William 
C.  MacMillen,  Jr.  lived  up  to  all  expec- 
tations during  his  recent  business  trip  to 
Hollywood  by  lining  up  31  distribution 
deals  with  independent  producers.  Fur- 
thermore he  set  the  wheels  in  motion 
for  reopening  the  long-shuttered  Eagle- 
Lion  studio,  with  Leon  Fromkess  as  pos- 
sible head  of  production.  Fromkess  was 
formerly  president  in  charge  of  produc- 
tion for  PRC,  which  emerged  as  Eagle 
Lion  following  the  Pathe  Industries  re- 
organization in  1945.  Since  leaving  that 
post,  he  has  served  as  production  chief 
for  Samuel  Goldwyn  Productions,  a  posi- 
tion he  is  vacating  on  April  15. 

Among  the  31  production  commit- 
i  ments  from  independents  which  Mac- 
-  Millen  signed  during  his  Hollywood  look- 
see  are  ten  Fidelity  Pictures  productions, 


PLIGHT  new  films  have  been  set  for 
*-J  national  release  by  Lippert  general 
sales  manager,  Arthur  Greenblatt,  for  the 
period  March  through  June.  The  fir<?t  of 
the  group,  "Fingerprints  Don't  Lie," 
(Richard  Travis-Sheila  Ryan-Sid  Melton), 
is  already  going  into  release  as  this  issue 
goes  to  press,  with  the  others  following 
in  this  order:  "Mask  of  the  Dragon" 
(Richard  Travis-Shelia  Ryan),  March  12; 
"Stop  That  Cab,"  a  Sid  Melton  comedy, 
March  30;  and  three  William  Berke  films. 
"Danger  Zone"  (Hugh  Beaumont-Richard 
Travis),  April  20;  "Pier  23"  (Hugh  Beau- 
mont-Richard Travis),  April  27;  and 
"Roaring  City,"  May  4.  "Kentucky  Jubi- 
lee," a  Ron  Ormond  musical  starring 
Jerry  Colonna  and  Jean  Porter,  which 
started  February  16  and  wound  March  1. 
will  bow  on  May  18,  to  be  followed  on 
June  18  by  Carl  K.  Hittelman's  "Little 
Big  Horn"  (John  Ireland-Lloyd  Bridges- 
Marie  Windsor),  which  rolled  February 
12,  and  finished  on  March  4.  The  latter, 
incidentally,  is  creating  quite  a  little 
flurry  of  excitement  around  the  Lippert 


ACTIVITY;  SET  5  TOP  PICS 

LIKE  most  other  studios  in  town,  pro- 
duction at  Metro  has  lagged  somewhat 
during  the  past  two  weeks,  with  only 
two  pictures  shooting  during  most  of  that 
time.  "The  Law  and  Lady  Loverly" 
(Greer  Garson-Michael  Wilding),  which 
Droducer-director  Edwin  Knopf  put  be- 
fore the  cameras  on  January  29,  wound 
on  March  1,  leaving  in  the  works  only 
the  Panama-Frank  production  of  "Strict- 
ly Dishonorable"  (Ezio  Pinza  -  Janet 
Leigh),  and  "Texas  Carnival."  Techni- 
color musical  starring  Esther  Williams 
and  Red  Skelton. 

The  next  two-week  period  will  see  a 
sharp  upswing  in  activity,  with  the  start 
of  five  more  top  budgeters.  First  to  go  is 
the  Z.  Wayne  Griffin  production,  "Lone 
Star"  (Clark  Gable),  which  starts  filming 
today  under  Vincent  Sherman's  direction. 
Tomorrow   (March   13),  Stephen  Ames 

(Continued  on  Next  Page) 


MARCH    12,  1951 


11 


STUDIO  SIZ6-UPS 

(Continued  from  Preceding  Page) 

will  green-light  "Constable  Pedley",  men- 
tioned above,  and  on  March  15,  two  more 
will  get  underway.  They  are:  "The  People 
Against  O'Hara"  (Spencer  Tracy  -  John 
Hodiak-Pat  O'Brien  -  Diana  Lynn),  with 
W.  H.  Wright  producing,  and  "Angels  in 
the  Outfield"  with  Clarance  Brown  pro- 
ducing and  directing,  and  Paul  Douglas, 
on  loan-out  from  20th  Century-Fox,  cast 
in  the  starring  role.  On  March  26,  Dore 
Schary  launches  his  next  personal  pro- 
duction. "Westward  the  Women"  (Rob 
ert  Taylor  -  Nancy  Davis),  with  W.  A. 
Wellman  handling  the  directorial  chore. 

In  line  with  a  new  policy  established 
by  Production  Chief  Dore  Schary,  we 
can  look  for  some  off-beat  casting  in  the 
heavy  line-up  of  pictures  set  to  go  into 
production  during  the  next  six  months. 
Schary  plans  to  alternate  his  stars  — 
particularly  the  male  stars  —  between 
period  and  modern  scripts,  sophisticated 
type  dramas  and  comedies,  and  outdoor 
epics.  He  maintains  that  by  so  doing, 
each  individual  star's  drawing  power  can 
be  considerably  enhanced,  inasmuch  as 
all  stars  will  thus  be  made  to  appeal  to 
movie-goers  of  every  taste. 

Another  new  development  in  matters 
of  company  policy  is  shaping  up  on  the 
Culver  City  lot,  with  the  use  of  a  great- 
er number  of  stars  in  trailers  exploiting 
Metro  product.  As  a  matter  of  fact,  star 
trailer  plugs  will  become  one  of  the  key 
facets  of  Metro's  plan  to  accord  its  new 
product  the  biggest  merchandising  pro- 
gram ever  attempted. 

Much  interest  is  being  focused  also  on 
a  plan  to  institute  Leo's  own  color  pro- 
cess on  "Constable  Pedley,"  the  new 
Stewart  Granger  starrer  which  rolls  this 
week.  As  FILM  BULLETIN  reported 
some  weeks  past,  MGM  technicians  who 
have  been  working  on  the  process  believe 
they  now  have  all  of  the  "bugs"  ironed 
out  so  that  it  is  ready  for  an  unveiling. 
According  to  those  who  have  seen  tests 
on  the  process,  it  is  the  most  perfect 
color  system  to  come  along  since  Tech- 
nicolor. 

The  threesome  who  worked  together 
on  the  production  of  the  hit  musical,  "On 
The  Town",  Gene  Kelly,  Stanley  Donen 
and  Arthur  Freed,  will  combine  their 
talents  again  for  the  forthcoming  "Sing- 
ing in  the  Rain". 


MONOGRAM  -  AA 

'HIGHWAYMAN'  LOOMS  BIG, 
NEW  AA  BOOM  DUE  IN  APRIL 

TN  "The  Highwayman",  which  rolled  on 
A  February  19,  Allied  Artists  started 
what  appears  to  be  one  of  its  most  am- 
bitious projects  to  date.  Hal  Chester  is 
produc'ng  and  Lesley  Selander  directing, 
with  a  cast  headed  by  Wanda  Hendrix, 
Philip  Friend,  Charles  Coburn,  Cecil  Kell- 
away,  Victor  Jory  and  Virginia  Huston. 

The  only  Monogram  feature  before  the 
cameras  as  of  this  writing  is  the  Lind- 
sley  Parsons'  musical,  "Casa  Manana," 
which  rolled  March  5,  with  a  cast  of  more 
or  less  familiar  names  from  the  world  of 
popular  music.  "Nevada  Badman"  (Whip 
Wilson  -  Fuzzy  Knight),  which  producer 
Vincent  Fennelly  put  before  the  cameras 
on  February  6,  wound  the  following  week. 

Allied  Artists  has  nothing  more  for 
March,  but  quite  a  line-up  of  AA  pictures 
are  slated  to  roll  in  early  April.  Mono 
gram,  has  three  more  new  starters  on  tap 


for  this  month.  Producer  Peter  Scully's 
"Father  Takes  the  Air"  (Raymond  Wal- 
burn),  has  been  given  a  March  14  start- 
ing date.  One  week  later,  on  March  21 
Producer  Walter  Mirisch  will  launch  his 
Cinecolor  special,  "Rodeo"  (Jane  Nigh), 
and  a  tentative  starting  date  of  March 
23  has  been  set  for  Mirisch's  other  Cine- 
color  production,  "Flight  To  Mars."  No 
cast  has  as  yet  been  announced  for  the 
latter. 

Singer  Herb  Jeffries  has  been  announc- 
ed as  the  associate  producer  of  "Disc 
Jockey."  which  Maurice  Duke  will  pro- 
duce for  Allied  Artists  release.  Jeffries 
will  also  be  featured  in  the  cast,  which 
will  also  include  Lenny  Kent,  the  Dukes, 
and  possibly  Connie  Haines  as  the  femme 
lead. 


PARAMOUNT 

HARTMAN  APPOINTMENT 
SEEN  AS  QUALITY  FILM  HYPO 

TPHE  big  news  here  in  the  past  fortnight 
A  was  the  appointment  by  Y.  Frank 
Freeman,  of  Don  Hartman,  to  serve  as 
the  company's  new  head  of  production 
directly  under  Freeman.  In  a  whirlwind 
negotiation,  the  deal  was  set  for  Hartman 
to  move  over  from  his  MGM  producer- 
director-writer  berth  as  of  March  5.  He 
replaces  Sam  Briskin,  who  announced  sev- 
eral weeks  ago  that  he  was  relinquishing 
the  post. 

In  a  statement  which  followed  the  ap- 
pointment, Freeman  declared  that  Hart- 
man would  supervise  production  only  on 
Paramount's  own  program  of  pictures, 
whereas  the  inde  units  operating  on  the 
lot  will  continue  under  his  supervision. 

The  news  of  the  appointment  has  been 
greeted  with  real  enthusiasm  in  all  quar- 
ters in  Hollywood,  and  most  oldtimers  in 
the  business  believe  Hartman  will  do  a 
great  deal  to  further  the  production  of 
top  calibre  movies  on  the  Paramount  lot. 
He  is  greatly  respected  throughout  the 
industry,  and  has  even  been  compared  to 
Metro's  Dore  Schary  as  a  man  with  great 
vision,  drive  and  diplomacy. 

Certainly  he  is  moving  in  at  a  time 
when  activity  is  at  a  peak  at  the  studio. 
Six  features,  all  high-budgeters  have  been 
before  the  cameras  all  this  month,  with  a 
seventh  set  to  roll  today.  The  newcomer 
is  "My  Son  John,"  much  discussed  Leo 
McCarey  production  assignment  which 
brings  Helen  Hayes  back  to  the  screen 
after  an  absence  of  twelve  years.  McCarey 
will  also  direct  the  picture,  which  boasts 
in  addition  to  Miss  Hayes,  such  names  as 
Van  Heflin,  Robert  Walker  and  Dean  Jag- 
ger.  Carrying  over  from  earlier  starts 
are:  "My  Favorite  Spy"  (Bob  Hope-Hedy 
Lamarr)  and  C.  B.  DeMille's  "Greatest 
Show  on  Earth"  (Betty  Hutton-James 
Stewart-Cornel  Wilde),  both  of  which 
started  on  January  29;  the  Hal  Wallis  com- 
edy, "The  Stooge"  (Martin  and  Lewis), 
William  Wyler's  production  of  "Detective 
Story"  (Kirk  Douglas-Eleanor  Parker), 
Perlberg-Seaton's  H.  Allen  Smith  comedy 
about  the  cat  that  inherited  the  New  York 
Giants,  "Rhubarb"  (Ray  Milland-Ann 
Sterling),  and  another  Hal  Wallis  produc- 
tion, "Peking  Express"  (Corinne  Calvet- 
Joseph  Cotten) — the  latter  four  all  start- 
ing around  mid-February. 

Probably  at  no  time  in  the  company's 
history  has  there  been  a  larger  outlay  of 
cash  representd  in  a  group  of  films  shoot- 
ing at  the  same  time.  Of  the  seven  now 
before  the  cameras,  the  total  budgets  ex- 
ceed $8,000,000. 

Screen  rights  to  Clifford  Odet's  "Coun- 
try Girl"  has  been  acquired. 


REPUBLIC 

HEAVY  MARCH  PRODUCTION 
SETS  SEVEN  BEFORE  CAMERAS  i 

TPHROUGH  the  month  of  March,  RepubJ 
A  lie  will  launch  its  heaviest  production 
program  of  the  past  ten  months.  By  the 
end  of  the  month,  no  less  than  seven  fea- 
tures will  have  gone  before  the  cameras. 

Teeing  off  the  upsurge  was  "Havana 
Rose,"  (Estelita  Rodriguez-Hugh  Herbert- 
Florence  Bates-Fortuno  Bonanova),  which 
Director  William  Beaudine  is  directing  for 
Producer  Sidney  Picker. 

Two  top-budget  films  head  up  the  cur- 
rent month's  schedule:  "A  Lady  Pos- 
sessed" (James  Mason-June  Havoc-Pam  l 
ela  Kellino)  and  "Wings  Across  the  Pa- 
cific," a  saga  of  the  B-29's  with  Alan  Dwan 
producing  and  directing.  "South  of  Cali- 
ente"  (Roy  Rogers-Dale  Evans)  got  away 
on  March  6,  and  another  sagebrusher, 
"The  Rodeo  King  and  the  Senorita"  (Rex 
Allen),  starts  March  14.  "Secrets  of  Monte 
Carlo,"  with  George  Blair  directing  for1 
Associate  Producer  William  Lackley,  and 
"Rangers  of  the  Golden  Sage,"  the  third 
in  the  series  of  Valley  Vista  productions 
starring  the  new  juve  stars,  Michael 
Chapin  and  Eilene  Jansses,  complete  the 
roster  of  March  starters. 

"Don  Daredevil  Rides  Again"  and  "Mil- : 
lion  Dollar  Pursuit,"  a  couple  of  low-  j 
budgeters,  were  shot  during  the  two  week 
period  since  THE  BULLETIN  last  went 
to  press. 


RKO 

PAPER  WORK  OVER,  RKO 
POISED  FOR  MAJOR  SHOOTING 

A  FTER  coasting  along  for  several  weeks 
with  only  a  lot  of  plans  on  paper  to 
talk  about,  RKO  is  about  to  plunge  into 
some  important  reduction  activity. 

Although  only  one  unimposing  picture 
has  started  in  the  two  weeks'  period  since 
FILM  BULLETIN  last  went  to  press, 
three  additional  features — among  them 
the  first  two  productions  on  the  Wald- 
Krasna  slate — have  been  whipped  into  fi- 
nal shape  for  filming.  The  feature  already 
underway  is  "Half  Breed,"  a  Starr-Bisch- 
off  production  directed  by  Earnest  Lud- 
wig,  and  starring  Robert  Young,  Jack  Beu- 
tel  and  Janis  Carter.  This  one  appears  to 
be  of  only  programmer  calibre. 

On  March  19,  Wald  and  Krasna  break 
out  the  first  offering  on  their  slate,  "Be- 
have Yourself"  (Farley  Granger-Shelley 
Winters-Francis  L.  Sullivan),  with  George 
Beck  directing  for  Producer  Stanley  Ru- 
bin. A  week  later,  the  W-K  outfit  will  send 
Jane  Wyman  before  the  cameras  in  "The 
Blue  Veil,"  to  be  directed  by  Curtis  Bern- 
hardt and  produced  by  Raymond  Hakim. 
The  one  remaining  starter  for  the  month 
is  "The  Miami  Story"  (Jane  Russell  -Vic- 
tor Mature),  which  producer  Sam  Bischoff 
will  launch  on  March  19,  with  R.  Steven- 
son directing.  To  this  group  can  be  added 
the  Gabriel  Pascal  production  of  Andro- 
cles  and  the  Lion"  (Jean  Simmons-Robert 
Newton),  which  carried  over  from  last 
month.  | 

The  musical,  "Two  Tickets  to  Broad-, 
way,"  which  began  filming  on  November 
10),  has  finally  come  off  the  stages.  Star- 
ring Tony  Martin,  Janet  Leigh,  Ann  Mil- 
ler, Gloria  DeHaven,  Eddie  Bracken  and 
Barbara  Lawrence,  it  is  reliably  reported 
to  have  run  well  over  its  original  budget. 


FILM  BULLETIN 


r 


STUDIO  SIZ6-UPS 


20th  CENTURY-FOX 

FOX  HOLDS  FILMING  HIGH 
WITH  6  GOING,  2  STARTING 

IflTH  Century-Fox  continues  to  be  the 
tv  busiest  studio  in  town  with  six  pic- 
ures  shooting  simultaneously  during  the 
>ast  two  weeks,  and  a  pair  more  slated  to 
oil  today  (March  12).  Two  features,  "No 
loom  for  the  Groom"  (Fred  MacMurray- 
Cleanor  Parker)  and  "Meet  Me  After  the 
>how"  (Betty  Grable-Macdonald  Carey) 
vere  completed  during  the  latter  part  of 
February.  The  Grable  picture,  produced 
»y  George  Jessel,  had  started  on  January 
\,  and  was  completed  on  February  20. 
'roducer  Bert  Friedlob  brought  in  "The 
iolden  Goose"  on  about  the  same  sched- 
ile. 

The  two  new  starters  are  "Anne  of  the 
^dies,"  which  teed  off  on  February  22, 
;nd  "Friendly  Island,"  a  Technicolor  big- 
Tie,  launched  on  February  19.  "Anne." 
vhich  is  also  slated  for  Technicolor  tint- 
ng,  has  been  set  for  a  42-day  shooting 
chedule,  with  Jacques  Tourneur  direct- 
ng  for  producer  Jessel.  The  cast  is  headed 
iy  Jean  Peters,  Louis  Jourdan  and  Debra 
»aget.  Fred  Kohlmar  is  handling  the  pro- 
luction  chore  on  "Friendly  Island"  (Jane 
»reer-William  Lundigan-David  Wayne- 
Iloria  DeHaven). 
The  two  features  starting  today  are: 
Mr.  Belvedere  Blows  His  Whistle"  (Clif- 
on  Webb),  directed  by  Henry  Koster  and 
iroduced  by  A.  Hakim;  and  Darryl  F. 
'.anuck's  personal  production  of  "The 
)octor  Praetorius  Story,"  which  Joseph  L. 
fankiewicz  will  direct.  In  addition,  Jo- 
eph  Bernhard  is  launching  his  production 
■f  "Skid  Row"  (Viveca  Lindfors-Sterling 
I  mi  Jayden),  to  be  filmed  at  Motion  Picture 
I  Center  for  a  Fox  release,  also  on  the 
"T  welfth. 


UNITED  ARTISTS 

HEW  UA  REGIME  LINES  UP 
MP0SIN6  ARRAY  FOR  FUTURE 

ALTHOUGH  it  is  still  too  soon  after 
^the  transfer  of  ownership  for  United 
Vrtists  to  get  any  new  productions  roll- 
ng,  the  company  has  been  negotiating 
;ome  very  impressive  looking  deals.  For 
example,  Arthur  Krim  has  nailed  down 
i  commitment  with  Horizon  Pictures  for 
'African    Queen"    (Humphrey  Bogart- 


Katharine  Hepburn),  which  John  Huston 
will  direct  on  location  in  Africa  starting 
April  1.  In  addition,  the  new  UA  head 
lined  up  a  couple  of  already  completed 
features:  "He  Ran  All  the  Wav"  (John 
Garfield  Shelley  Winters)  and  "First 
Legion"  (Charles  Boyer).  The  former 
certainly  could  have  surprised  no  one 
however,  inasmuch  as  it  was  largely 
Krim-Benjamin  money  that  financed  this 
Bob  Roberts  production. 

Krim  has  served  notice  that  he  will 
personally  handle  all  negotiations  with 
prospective  UA  producers.  This  arrange- 
ment certainly  meets  with  the  whole- 
hearted approval  of  most  of  the  inde- 
pendent producers  in  Hollywood  who  are 
eyeing  his  company  as  a  release  outlet. 
Krim  has  a  high  reputation  here  for  in- 
tegrity and  fair  dealing. 

During  his  recent  sojourn  to  the  coast, 
Krim  held  numerous  conferences  with 
inde  producers,  free  lance  stars  and  di- 
rectors relative  to  lining  up  future  pro- 
duct. Several  of  those  with  whom  he 
talked  are  producers,  directors  and  stars 
who  are  under  contract  to  major  com- 
panies but  have  the  right  to  make  one 
or  more  pictures  on  the  outside. 

According  to  some  of  the  inde  pro- 
ducers, the  new  management  appears  to 
meet  with  the  approval  of  major  banking 
interests  who,  for  some  time,  have  been 
very  reluctant  to  finance  pictures  a<mprl 
at  UA  release.  One  producer  tells  FILM 
BULLETIN,  that  he  can  now  get  both 
first  and  second  money  on  the  strength 
of  the  new  management's  reputation. 


UNIVERSAL-INTERNAT'L 

20-FILM  BACKLOG  AT  U-l 
AS  STUDIO  LAG  CONTINUES 

AFTER  a  one-week  production  hiatus 
in  mid-February,  U-I  put  a  single  pic- 
ture before  the  cameras  on  February  24, 
as  the  studio  continued  to  mark  time 
while  the  story  department  was  given 
an  opportunity  to  catch  up.  The  lone 
production  before  the  cameras  is  "Fid- 
dler's Green,"  (Richard  Conte-Shelley 
Winters)  to  be  filmed  on  a  28-day  shoot- 
ing schedule. 

Nevertheless,  the  cutting  rooms  are  all 
busy  at  the  present  time,  with  12  pic- 
tures —  five  of  them  in  Technicolor  — 
getting  the  snippers.  This  brings  the 
total  U-I  backlog  to  20  films. 

Three  more  productions  are  in  the 
final  stages  of  preparation,  and  should 
all  get  underway  within  the  next  two 
to  three  weeks.  First  to  roll,  about 
March  20,  will  be  "You  Never  Know" 
(Dick  Powell-Peggy   Dow),   an  off-beat 


comedy  about  a  doc  that  is  reincarnated 
and  sent  back  to  earth  to  straighten  out 
hi.s  mistress'  problems.  The  script  is  an 
original  by  Lou  Breslow,  who  also  draws 
the  megRing  assignment  under  Leonard 
Goldstein. 

Next  to  go  on  stage  will  be  "Fine 
Day,"  Josephine  Hull's  new  starring 
vehicle  follow-up  to  "Harvey."  Leonard 
Goldstein  is  again  set  to  produce,  start- 
ing on  March  22.  Four  days  later  How- 
ard Duff  returns  to  the  cameras  follow- 
ing that  leg  injury  several  weeks  ago  -  - 
this  time  to  star  in  an  original,  "The 
Cave,"  which  William  Castle  will  direct. 

John  Lund  has  been  borrowed  from 
Paramount  for  the  male  lead  in  "Week- 
end With  Father." 


WARNER  BROS. 

LONG  SHOOTING  SCHEDULES 
CONTINUE  TO  PREVAIL  AT  WB 

ALTHOUGH  it  is  difficult  to  under- 
stand, judging  by  some  of  the  com- 
pany's recent  releases,  Warner  Brothers 
continues  to  produce  its  pictures  on  the 
longest  shooting  schedules  in  town.  For 
instance,  three  features  are  now  enter- 
ing their  third  month  before  the  cameras. 
They  are  "Tomorrow  Is  Another  Day" 
(Ruth  Roman-Steve  Cochran),  which 
Director  Felix  Feist  teed  off  on  Januarv 
3;  Bryan  Foy's  production  of  "I  Was  A 
Communist  For  the  FBI"  (Frank  Love 
joy-Dorothy  Hart),  which  has  been  shoot- 
ing since  January  5.  and  the  Technicolor 
musical,  "Moonlight  Bay"  (Doris  Day- 
Gordon  MacRae),  which  Director  Roy 
Del  Ruth  launched  on  January  6.  The 
only  other  feature  carrying  over  from 
earlier  starts  is  "Paintine  the  Clouds 
with  Sunshine"  (Dennis  Morgan-Virginia 
Mayo),  which  started  on  January  26. 

On  March  12,  production  was  due  to 
take  another  big  spurt,  with  the  start  of 
three  new  pictures.  This  group  includes: 
Milton  Sperling's  production  of  "Distant 
Drums"  (Gary  Cooper),  Anthony  Veil- 
ler's  "Force  of  Arms,"  for  which  he  has 
drawn  Mik~  Curtiz  as  director,  and  "A 
Baby  For  Midge,"  a  Walter  Jacobs  pro- 
duction. Casting  was  incomplete  on  all 
three  features,  as  of  this  writing. 

The  only  picture  to  wind  during  the 
past  two  week  period  was  "Fort  Worth" 
(David  Brian-Randolph  Scott)  in  Tech- 
nicolor. Filming  started  on  December 
28th,  and  wound  on  February  19th. 

Valentine  Davies.  one  of  the  town's  top 
scriveners,  has  been  borrowed  from 
Paramount  to  work  on  the  Warner 
screenplay  of  "The  Will  Rogers  Story," 
upcoming  Robert  Arthur  production. 


Check  FILM  BULLETIN  Reviews 
with  your  boxoffice  grosses  and 
you  will  find  an  amazing  degree  of 

ACCURACY 


VI  ARCH   12,  1951 


Skouras'  TV  Revolution 


(Continued  from  Page  5) 
figure.  The  problem  is  a  dual  one:  pro- 
vision of  the  right  projector,  plus  the 
right  kind  of  show  to  project. 

Earl  I.  Sponable,  Twentieth's  Research 
Director,  thinks  the  Eidophor  system 
solves  the  first  of  these  problems,  and 
Mr.  Skouras  shares  his  optimism.  No 
big-screen  system  in  operation  at  present 
gives  a  black  and  white  picture  image  as 
bright  and  well-defined  as  a  properly 
projected  film  because  of  the  difficulty 
of  passing  adequate  illumination  for  a 
theatre-size  screen.  This  illumination  snag 
practically  rules  out  the  showing  of  big- 
screen  TV  in  color. 

How  Eidophor  Works 
Supposing,  however,  that  an  arc  lamp, 
as  now  used  in  a  regular  projection 
booth,  were  the  main  illuminant  in  thea- 
tre TV;  what  then?  Obviously  there 
should,  in  theory  at  least,  be  considerable 
improvement  in  the  quality  of  the  pic- 
ture. That,  in  fact,  is  the  basis  of  the 
Eidophor  method.  In  the  base  of  the  pro- 
jection unit  is  a  bowl  covered  with  a  vis- 
cous skin.  This  skin  comprises  mineral 
cil  and  two  secret  ingredients.  When  a 
cathode  ray  beam  scans  this  oily  medium, 
the  surface  is  distorted  into  the  actual 
image  being  picked  up  by  the  camera.  In 
doing  so  it  modulates  the  light  beam 
from  an  outside  arc  lamp  so  as  to  pro- 
duce after  passing  through  an  optical 
system  a  television  picture  on  the  theatre 
screen. 

In  other  words,  unlike  other  systems, 
the  cathode  ray  beam  is  not  used  to  il- 
luminate the  screen  at  all,  but  merely  to 
"regulate"  the  arc  lamp  so  that  it  corres- 
ponds to  the  intensity  of  the  television 
signal.  Thus  in  screen  brightness,  tone 
scale,  contract  ratio  and  detail,  claims 
Mr.  Sponable,  Eidophor  projection  closely 
approaches  the  35  mm  motion  picture 
film.  It  is  comparable  with  home  tele- 
vision in  quality.  The  equipment  can  be 
mounted  in  the  average  theatre  booth, 
and  employs  projection  lenses  which  can 
accommodate  any  theatre  throw  distance 
or  screen  size. 

Two  Years  From  Now  .  .  . 
Before  the  Eidophor  can  be  introduced 
commercially  a  considerable  amount  of 
development  work  will  have  to  be  done. 
The  existing  model  operates  at  the  ultra- 
low  temperature  of  8  degrees  Centi- 
grade. It  must  be  kept  at  a  temperature 
of  only  2  degrees  either  way.  Thus  it  has 
to  be  coupled  to  a  cooling  unit.  The  one 
being  used  in  Zurich  is  an  ordinary  do- 
mestic-type refrigerator,  and  Mr.  Spon- 
able says  he  does  not  anticipate  any  dif- 
ficulty in  changing  the  composition  of 
the  image-bearing  "oil"  so  that  it  will 
function  at  room  temperature,  though 
the  tolerance  will  still  be  very  close. 


RESEARCHER  SPONABLE 

Eidophor  Solves  Projection  Problem 


"I  was  very  impressed",  Spyros  Skour- 
as said,  when  asked  what  he  thought  of 
the  demonstrations  given  to  him  in  Zur- 
ich with  the  model  working  there.  That 
model,  he  added,  projected  in  black  and 
white  only,  but  color  was  the  ultimate 
aim. 

Would  20th  Century-Fox  market  the 
Eidophor  projector  as  soon  as  it  was  suit- 
able for  commercial  use  in  black  and 
white?  No,  answered  Mr.  Skouras.  "There 
would  be  no  object  in  that.  We  shall  wait 
until  it  is  suitable  for  color  transmission." 

How  long  would  that  be?  He  would 
not  hazard  a  guess,  but  it  "might  be  two 
years  hence." 

Price?  "That  depends  on  the  quantity 
manufactured." 

The  Coming  "Boom" 
But  though  he  is  fascinated  by  the 
technical  aspects  of  Eidophor,  Mr.  Skour- 
as is  most  interesting  when  discussing 
the  possibilities — and  virtually  predicting 
the  future — of  big-screen  television.  He  is 
its  biggest,  most  plausible  booster.  He 
will  talk  endlessly  ("off  the  record,  I  in- 
sist") about  his  early  days  in  show  busi- 
ness in  St.  Louis  when  the  vaudeville 
houses  held  sway,  and  what  happened 
when  the  motion  picture  came  along. 
Very  few  people  believed  Skouras  when 
he  told  them  then  films  had  come  to  stay. 
"Today",  he  says,  "there  are  still  a  lot 
of  people  who  think  TV  is  a  passing 
fancy.  They'll  change  their  minds.  It  is 
the  most  revolutionary  thing  that  has 
ever  happened  in  the  entertainment 
business." 


As  soon  as  theatre  television  matches  I 
the  quality  of  motion  picture  projection  I 
— and  it  will  get  nowhere  until  it  does— 
boxoffice   revenues   will   soar.    Predicts  I 
Skouras:  "We  shall  get  tremendous  audi-  l 
ences— so  tremendous  that  motion  pic-  !1 
ture  grosses  will  be  higher  than  ever  be- 1 
fore.   We  shall  be  able  to  present  on  mo- 
tion picture  screens  throughout  the  coun- II 
try  the  very  finest  'live'  entertainment— 
'live'  in  the  sense  that  we  shall  be  screen- 
ing it  as  the  greatest  artists  in  the  coun- 
try are  actually  performing." 

"The  ultimate  development  in  theatre 
entertainment  will  be  television",  Skouras 
declares  emphatically.  "If  big-screen  TV 
were  to  provide  every  day  artists  of  the! 
caliber  of  Artur  Rubenstein  or  Danny  | 
Kaye,  and  give  such  shows  as  "South  I 
Pacific"  or  the  Sadler's  Wells  Ballet,  If 
there  would  be  a  great  theatre  boom." 

In  his  opinion,  motion  pictures  could 
not  but  help  benefit  from  such  TV,  be-' 
cause  they  would  play  to  bigger,  far  big- 
ger audiences.  Films  would  always  be  the 
basis  of  the  exhibitor's  business.  If  the 
Rockefeller  Center  Music  Hall  discon-! 
tinued  its  stage  shows,  the  public  would  | 
not  stop  going  there  to  see  the  picture.  1 
"Always",  Skouras  argues,  films  will  be 
the  basis  of  our  business.  Television  will' 
be  the  bonus." 

Others  In  It 

Spyros  Skouras'  enthusiasm  is  infec- 
tious; his  judgment  is  not  to  be  scoffed 
at.  His  view  of  TV's  future  in  the  motion 
picture  field  is  worth,  as  Damon  Runyon  I 
would  say,  "more  than  somewhat." 
Twenty  years  from  now  he  will  probably 
be  looked  back  on  as  an  outstanding 
prophet,  though  Twentieth  is  not  the! 
only  film  major  with  one  foot  in  thei 
"new"  medium.  Paramount  farsightedly 
bought  into  DuMont  some  years  ago  at  a 
cost  of  about  $565,000;  its  holding  is  now 
worth  about  $12,000,000  on  the  open  mar  | 
ket.  It  has  other  TV  projects  on  hand, 
though  details  are  a  closely-guarded  se; 
cret.  Howard  Hughes  has  been  dallying' 
with  it.  Columbia  is  keeping  its  eyes  open; 

But  the  immediate  outlook  is  stil( 
"iffy".  The  shrewd  exhibitor  will  not  b< 
panicked  into  a  premature  money 
spending  spree.  For  one  thing,  quality  o> 
big-screen  TV  has  yet  to  be  proved.  Foi 
another,  no  one  —  unless  it  is  Spyro^ 
Skouras— has  the  foggiest  idea  of  when 
big-screen  material  is  coming  from.  Ar< 
the  motion  picture  producers  going  tij 
supply  it?  Are  the  big  chains  going  t<i 
gouge  the  guts  out  of  the  small  exhibito 
who  can't  afford  to  present  his  own  elaj 
borate  TV  entertainment?  This  is,  hov\| 
ever,  a  time  for  watchful  waiting,  fo! 
siphoning  off  a  little  of  each  week's  boxj 
office  take  against  the  day  when  the  sigl  i 
nal  bell  clangs.  . 


14 


FILM  BULLETIN 


More  on  "FOR  ADULTS  ONLY!" 

Mail  continues  to  come  from  people  in  the  industry  expressing 
their  opinions  on  the  recent  FILM  BULLETIN  feature  article  titled 
"FOR  ADULTS  ONLY!"  Following  are  more  views  on  the  article's 
recommendations  that  pictures  be  classified  as  to  their  suitability  for 
children  and  that  youngsters  be  barred  from  theatres  when  pictures 
which  are  patently  for  adults  only  are  shown. 


Your  recent  editorial,  "For  ADULTS 
3NLY,"  is  indeed  a  constructive  thought 
,vhich  our  industry's  producers  might  well 
consider.  I  do  believe,  and  have  main- 
rained  it  for  a  long  time,  that  the  present 
'code"  of  our  industry  is  thoroughly  anti- 
quated and  sadly  in  need  of  revision. 
I  While  there  is  seldom  anything  about 
'in  English-made  picture  which  I  find  par- 
ticularly relishing,  I  must  insist  that 
England's  maintenance  of  a  Classification 
System  for  film  productions,  plainly  mark- 
ing and  titling  a  picture  as  one  for  Gen- 
eral Family  showing,  for  Children,  for 
Adults,  etc.,  is  an  excellent  plan  worth  of 
it  least  partial  adoption  by  our  Motion 
Picture  Association's  Breen  office. 

I  am  heartily  in  accord  with  your 
ADULTS  ONLY  plan  and  wish  we  exhibi- 
tors could  be  helpful  to  you  in  some  way 
to  bring  this  about.  I  cannot  help  but  feel 
however,  that  this  is  fundamentally  a  pro- 
ducers' problem.  If  they  can  successfully 
launch  the  plan,  I  am  sure  it  will  help  our 
industry's  efforts  to  recapture  the  "lost 
audience,"  and  that  it  will  further  exhib- 
itors' efforts  to  orientate  the  younger  gen- 
eration into  the  tremendous  ENTER- 
TAINMENT enjoyment  to  be  had  in 
movie  theatres.  Failure  of  the  producers 
to  take  cognizance  of  this  younger  gen- 
eration (as  well  as  the  oldsters)  must 
purely  reflect  itself  in  the  years  to  come, 
iwhen  those  youngsters  shall  have  ma- 
tured into  a  generation  of  men  and  wom- 
en nearly  completely  devoid  of  the  mo- 
tion-picture-going habit. 

i     HARRY  C.  ARTHUR,  JR.,  President 
Fanchon  &  Marco,  Inc. 


I  Frankly  speaking,  I  do  not  look  with 
tfavor  on  your  recommendation.  There  are 
|some  pictures,  of  course,  that  are  strictly 
jadult  in  theme.  I  think  the  kids  smell 
these  out  as  a  rule  better  than  the  exhib- 
itors— they're  just  not  interested  in  that 
type.  I  hate  the  implication  of  the  "Adults 
|Only"  theme,  as  it  appears  to  put  us  in 
the  category  of  peep  shows,  etc.  I  think 
this  problem  is  largely  taken  care  of  by 
itself,  and  I  do  not  believe  that  your  ap- 
proach is  sound. 

H.  A.  COLE, 
Allied  Theatre  Owners  of  Texas 

*  * 

Your  article,  "For  Adults  Only,"  makes 
good  sense  to  me.  We  have  "Art  Thea- 
tres," "Western  Theatres,"  "Neighborhood 
Theatres,"  "Foreign  Language  Theatres," 
"Deluxe  Theatres,"  and  etc. 

It  seems  that  the  World  Motion  Picture 
Industry  is  capable  and  has  been  produc- 
ing selected  pictures  for  selected  audi- 
ences in  addition  to  the  general  run  of 
entertainment  for  mass  Americans.  It  is 


only  natural  that  pictures  made  "For 
Adults  Only"  should  be  so  sold  and  so 
identified. 

Congratulations  on  your  efforts  to  clar- 
ify this  issue. 

MITCHELL  WOLFSON, 
Wometco  Theatres. 


Regarding  your  article  "For  Adults 
Only,"  it  is  a  good  article,  but  frankly  I 
feel  the  public  is  pretty  well  aware  of  the 
content  of  each  motion  picture  because  of 
reviews  carried  not  only  in  the  news- 
papers but  in  almost  every  type  of  maga- 
zine on  the  stands  today. 

Further,  I  feel  any  program  such  as 
you  are  suggesting  should  be  submitted 
to  COMPO  for  action,  for  I  feel  that  no 
action  affecting  the  industry  as  a  whole 
should  be  undertaken  by  any  individual  or 
group  of  individuals  except  through  the 
Council  of  Motion  Picture  Organizations. 

ROTUS  HARVEY,  President, 
Pacific  Coast  Conference  of 
Independent  Theatre  Owners 


Your  article,  "For  Adults  Only,"  is  a 
most  constructive  appraisal  and  outlines 
the  kind  of  enlightened  self-control  by  our 
industry  that  would  create  profitable  re- 
sults at  the  boxoffice  and  in  the  public 
mind. 

GAEL  SULLIVAN, 
Theatre  Owners  of  America. 


Personally,  I  am  fearful  of  an  idea  of 
this  sort,  unless  it  is  subjected  to  some 
absolute  control,  which  I  don't  believe  to 
be  possible.  There  is  another  point  that 
comes  to  my  mind,  as  I  write  this  letter. 

The  industry  is  constantly  faced  with 
legislation  designed  to  limit  the  age,  or 
the  conditions  under  which  children  can 
go  to  theatres,  and  these  are  consistently 
fought,  on  the  basis  that  the  responsibil- 
ity for  the  control  and  the  attendance  of 
children  to  motion  picture  theatres  should 
lie  with  the  parents  and  not  shunted  to 
the  theatre  operator.  It  seems  to  me,  if 
we  are  to  decide  whether  or  not  children 
should  be  permitted  to  a  particular  thea- 
tre, we  are  taking  a  step  in  a  direction 
away  from  the  foregoing  position. 

Today  I  notice  that,  where  a  picture  is 
obviously  unsuited  for  juvenile  trade, 
most  of  the  exhibitors  will  carry  a  line 
in  their  advertising  to  the  effect  that  the 
picture  is  not  recommended  for  children; 
and,  I  know  that  many  theatres,  including 
our  own,  will  not  exhibit  that  particular 
picture  as  part  of  a  special  kiddie  matinee. 

In  the  light  of  the  above  outlined  alter- 
native, I  personally  feel  that  the  present 
system  is  better,  although  I  admit  that  it 
is  far  from  perfect. 

— From  the  executive  of  a  large 
theatre  circuit,  who  asked 
that  his  name  not  be  used. 


Ads  like  this  are  appearing  in  58  National  Magazines  and  93  Sunday  Newspaper  Supplements  totaling  185.761,000  crabrm 


MARCH    12,  1951 


IS 


SKOURAS  PRAISES  SWISS 
TV  SYSTEM,  RCA  CUTS  COST 

Although  there  may  have  been  no  con- 
nection, one  week  after  20th  Century-Fox 
president  Spyros  Skouras  revealed  details 
of  his  company's  deal  for  a  Swiss  system 
of  theatre  television  (see  feature  story, 
page  5).  RCA  announced  that  the  price 
of  its  theatre  TV  equipment  had  been  cut 
to  $15,800  from  its  previous  estimated 
$25,000  per  unit. 

Twentieth-Fox  had  cooperated  with 
RCA  in  development  of  theatre  TV  equip- 
ment and  has  been  using  the  system  in 
test  theatres.  On  his  recent  visit  to  the 
Continent,  Skouras  witnessed  demonstra- 
ions  of  the  new  Eidophor  large-screen 
process  in  Zurich  and  concluded  a  deal  for 
financing  development  of  the  system.  Un- 
~*ier  terms  of  the  agreement,  if  the  im- 
proved model  meets  20th-Fox  standards 
within  18  months,  the  company  will  re- 
ceive world  wide  rights  for  its  manufac- 
ture-and  use. 

RCA's  announcement  of  the  price  reduc- 
tion was  made  by  Barton  Kreuzer,  general 
product  manager  of  RCA  Engineering 
Products  Department,  "in  response  to 
qaeries  from  the  press  and  motion  picture 
-exhibitors."  Kreuzer  declared  that  RCA 
-is  proceeding  with  full-scale  production 
of  its  present  Model  PT-100  currently  in 
use  in  theatres  in  New  York,  Boston,  Chi- 
cago, Los  Angeles  and  a  number  of  small- 
er cities.  Production  volume  has  reached  a 
point,  he  added,  which  enables  the  com- 
pany to  turn  out  the  equipment  at  the 
$15,800  figure,  and  place  it  on  the  market, 
through  RCA  dealers,  for  immediate  in- 
stallation in  all  TV  areas  in  the  country. 

Citing  instances  where  theatres  using 
the  equipment  have  drawn  overflow 
crowds,  Kreuzer  said  both  exhibitors  and 
theatre-goers  have  given  the  system  "en- 
thusiastic and  unanimous"  approval. 


BULLETIN 


Volume  19,  Number  6 
March  12,  1951 


and 
Opinion 


MAX  E.  YOUNGSTEIN 

An  Ace  in  the  Hand 


COURT  GIVES  NOD  TO  UPPED    TREASURY  SHOWS  ONLY  6% 


UPT  HOLDINGS  IN  INTERSTATE 

Despite  opposition  by  a  number  of  un- 
affiliated theatre  circuits,  the  New  York 
District  Court  amended  the  Paramount 
decree  to  permit  United  Paramount  Thea- 
tres to  retain  95  of  the  171  theatres  in  the 
fully-acquired  Interstate  chain,  instead  of 
the  44  houses  named  in  the  original  de- 
cree. Apparently  the  argument  bv  Philip 
Marcus,  Justice  Department  attorney, 
recommending  the  amendment,  held  sway 
over  the  objections  registered  by  Russell 
Hardy,  counsel  for  the  theatres  opposing 
the  change,  for  the  three-judge  Statutory 
Court  made  its  decision  immediately  after 
hearing  arguments  for  both  sides. 

Representing  Fanchon  &  Marco.  St. 
Louis  Amusement  Co.,  Southside  Thea- 
tres and  other  chains  operating  in  Mis- 
souri and  California,  Hardy  claimed  that 
UPT  and  Interstate  had  violated  the 
decree  by  entering  into  an  unauthorized 
deal  and  that  his  clients  would  suffer  be- 
cause of  the  augmented  buying  power  of 
the  chain. 

Marcus  took  the  opposite  view— that 
competition  would  be  fostered  and  that 
the  appellants'  theatres  would  actually 
benefit  since  by  taking  on  the  additional 
houses  in  Texas,  UPT  would  be  forced  to 
rid  itself  of  other  theatres  in  the  Mis- 
souri and  California  areas,  where  these 
chains  operate. 


B.O.  DIP,  BUT  EXHIBS  WONDER 

Although  total  Federal  admission  tax 
receipts  for  1950  showed  a  drop  of  less 
than  six  per  cent,  skeptical  exhibitors 
were  wondering  where  the  rest  of  their 
profits  decline — some  as  high  as  30  per 
cent — went.  The  Treasury  Department 
summary  of  ticket  tax  revenue  for  1950 
showed  a  total  of  $355,679,176  collected 
from  February,  1950,  through  January, 
1951,  representing  the  admissions  paid  in 
1950.  For  the  12  months  in  '49,  the  Treas- 
ury's take  from  admissions  was  $377,- 
911,424. 

Upon  analysis,  however,  certain  factors 
cropped  up  which,  collectively,  might  ex- 
plain the  difference  in  boxoffice  business 
indicated  by  the  Treasury  figures  and  the 
exhibitors'  take: 

— Only  about  three-quarters  of  the  ad- 
missions tax  comes  from  motion  picture 
theatres.  The  balance  is  divided  among 
sporting  events,  legitimate  stage,  concerts 
and  other  forms  of  entertainment  (exclud- 
ing night  clubs),  many  of  which  may  have 
shown  an  increase  in  1950. 

-  More  theatres  in  operation,  with  de- 
luxers  showing  the  least  effect  from  tele- 
vision, thus  spreading  the  b.o.  take  thin- 
ner for  individual  houses,  and  changing 
the  division  of  profits  much  more  drastic- 
ally for  some  theatres  than  for  others. 


HEINEMAN,  YOUNGSTEIN 
DIG  IN  AT  REJUVENATED  UA 

The  new  deal  for  United  Artists'  con 
tained  several  aces.  The  vigor  and  enthus 
asm  with  which  they  tackled  the  prospect 
for  the  future  indicated  that  at  long  las  I 
the  company's  luck  had  turned  and  i 
held  a  winning  hand. 

William  J.  Heineman's  entry  as  victj 
president  in  charge  of  distribution  las,i 
Monday  (5th)  was  coupled  with  a  wire  t| 
all  UA  sales  personnel  that  virtually  bul  II 
bled  with  optimism.  The  pep  talk  wa 
bolstered  by  the  assurance  that  "leadin;! 
independent  producers  and  agents  repreJ 
senting  top  personalities  are  rallying  t  i| 
our  banner  and  are  pledging  the  top  indti' 
pendent  product  now  available  and  to  b'i 
made  available  in  the  future."  He  promii 
ised,  further,  that  an  "augmented"  release 
schedule  for  the  next  90  days  will  be  forth  i 
coming  before  the  end  of  the  week. 

Another  ace  in  the  UA  hand  was  thl 
earlier  advent  of  Max  E.  Youngstein  a 
vice-president  and  national  director  of  ad 
vertising-publicity-exploitation.  He,  tool 
lost  no  time  in  applying  his  dynamit 
talents  to  the  new  job.  The  day  aftd 
taking  on  the  post,  Youngstein  reveale*' 
plans  for  co-operative  advertising  ant, 
exploitation  with  exhibitors.  Within  9( 
days,  he  added,  UA  will  have  a  permanem 
field  exploitation  staff  of  15,  to  be  aug, 
mented  with  temporary  exploiteers  ac 
cording  to  the  demands  of  individual  pki 
tures.  The  set-up,  he  explained,  will  bt 
similar  to  the  one  at  Paramount  wherl 
he  headed  the  ad-publicity  department 
there. 

Definite  indications  that  the  production 
tangle  which  had  snafued  UA  deals  foi 
product  was  over  came  from  various, 
sources.  Inde  producer  I.  G.  Goldsmith  dei 
clared  that  UA  producers  were  now  find- 
ing banks  and  other  sources  of  financing 
opening  their  doors.  He  revealed  that  he 
has  turned  over  the  print  of  his  "Tht, 
Scarf"  to  UA.  While  UA  itself  will  not  pro-, 
vide  financing  for  its  producers,  the  indies 
can  expect  first  and  second  money  finanej 
ing  from  Walter  E.  Heller  and  Co.  oJ 
Chicago,  Goldsmith  said.  The  latter  hasj 


KRIM  ANNOUNCES  PLAN 
TO  SECURE  INDE  FUNDS 

In  a  precedential  move  aim- 
ed at  providing  "greater  security 
for  active  United  Artists  producers." 
and  "creating  a  fairer  financial  cli- 
mate for  them  and  for  all  inde- 
pendent producers,"  UA  president 
Arthur  B.  Krim  announced  a  new 
arrangement  with  the  Walter  E. 
Heller  Co.  of  Chicago,  to  receive 
and  deposit  the  producers'  share  of 
collections  in  a  special  bank  ac- 
count. 

Disbursements  from  this  fund 
will  be  made  only  on  counter-sig- 
natures by  a  representative  of  both 
companies,  thus  insuring  that  the 
producers'  share  of  film  rentals 
cannot  be  used  for  any  other  pur- 
pose. 

"It  is  a  matter  of  primary  im- 
portance to  the  management  of 
United  Artists,"  Krim  stated,  "that 
its  producers  feel  secure  in  the 
custodianship  of  the  funds  receiv- 
ed from  exhibitors  which  are  due 
to  producers." 


16 


FILM  BULLETIN 


JWewvs  and  Opinion 


rovided  the  funds  for  UA  operating  cap- 
al. 

i  Producer  Robert  Stillman  also  visual- 
!:ed  valuable  new  product  sources  opening 
p  to  the  new  management.  He  felt  that 
lany  established  producers  now  releasing 
jirough  other  big  companies  would  wel- 
)me  the  opportunity  to  make  films  with- 
ut  being  shackled  by  company  dictates. 

Filmmaker  Sam  Spiegel  called  the  UA 
?organization  the  "answer  to  independent 
reducers*  prayers."  Failure  of  the  com- 
any  to  survive,  he  added,  "would  have 
een  the  death  blow"  to  indies,  many  of 

horn,  he  said,  had  been  operating  with- 
ut  a  long-range  plan  because  of  UA's 
>ttering  position  before  institution  of 
le  new  management. 

A  complete  slate  of  the  company's  of- 
fers was  disclosed  last  week  by  president 
rthur  B.  Krim.  In  addition  to  vice-presi- 
;nts  Heineman  and  Youngstein.  whose 
i?als  with  the  company  reportedly  call 
»r  stock  options  and  or  participation  in 

•ofits,  vice-presidencies  are  held  also  by 
kymour  M.  Peyser,  general  counsel,  and 
trmer  distribution  head  Gradwell  Sears. 
?ward_I.  Benjamin  is  secretary,  and  H.  J. 
iuller,  treasurer. 

1-G-M  STEPS  UP  RELEASE 
'ACE  WITH  18  IN  5  MONTHS 

.11  The  next  two  months  will  see  Metro- 
f  oldwyn-Mayer  releasing  its  product  at 
Jho  rate  of  three  pictures  per  month, 
:«hd  during  the  following  three  months. 
Jne  pace  will  be  stepped  up  to  a  picture 

I  Br  week.  The  18-picture  schedule  set  to 
Jte  end  of  July  was  revealed  last  week 
.    ,•  sales  vice-president  William  F.  Rodg- 

IfOf  the  18,  eight  will  be  in  Technicolor 

■  ith  each  month  having  at  least  one,  and. 

three  instances,   two   of   the  tinted 
ms. 

I I  March  will  have  "Three  Guys  Named 

■  Like,"  "Inside  Straight"  and  "Royal 
^redding". 

J  April  calls  for  "Father's  Little  Divi- 

■  tnd,"  "Soldiers  Three"  and  "The  Great 
r  aruso." 

I  The  quartet  for  Mav  include  "The 
J  bunted  Hills",  "The  Headline  Story", 
•  Pandora  and  the  Flying  Dutchman" 
4  pd  "Go  for  Broke." 

i  In  June,  "People  in  Love",  "Mr.  Im- 
Ifrium",  "Calling  Bulldog  Drummond" 
Ihd  "Excuse  My  Dust." 
I  [July,  "Kind  Lady",  "An  American  in 
-■bris",  'Love  Is  Better  Than  Ever"  and 
'  Show  Boat." 

■  [The  announcement  of  the  five-month 

■  rogram,  it  was  said,  is  in  line  with 
■fmpany  plans  to  make  known  its  forth- 

■  wrung  releases  as  soon  as  possible  as  a 
lidance  for  exhibitors  as  well  as  facil- 

iating  promotional  activities. 

OL  26-WEEK  NET  DROPS 
ROM  $945,000  TO  $660,000 

Columbia's  six-month  net  took  a  dip 
ifcm  last  year's  figure.  For  the  26  weeks 
(ded  Dec.  30.  the  company  estimated  its 
n  profit  at  8660,000.  For  the  comparable 
Hf  year  in  '49,  the  net  came  to  $945,000. 

The  more  recent  profit  was  equal  to  79 
«nts  per  share  on  the  common  stock, 
tmpared  with  S1.22  per  share  in  the 
qrlier  comparable  period. 

Operating  profit  for  the  last  six  months 
x--s  estimated  at  $1,160,000,  compared 
Vth  $1,650,000.  Provision  for  taxes  came 

'  $500,000,  compared  with  $705,000. 


BERNARD  G.  KRANZE 

ELC  VP.  Works  P.  D.  Q. 


KRANZE  SETS  13  FOR  ELC  IN 
MARCH  THRU  MAY  SCHEDULE 

With  the  hesitancy  that  clouded  the 
Eagle  Lion  Classics  sales  picture,  pending 
the  departure  of  distribution  vice-presi- 
dent William  J.  Heineman,  dispelled,  Ber- 
nard G.  Kranze,  new  ELC  v.p.  in  charge 
of  distribution,  lost  no  time  in  setting  up 
a  release  schedule  of  13  pictures  in  the 
next  three  months. 

At  a  press  meeting,  attended  by  Milton 
Cohen,  ELC's  general  sales  manager,  and 
Howard  LeSieur,  national  director  of 
advertising,  publicity  and  exploitation, 
Kranze  detailed  the  program  beginning 
with  "My  Outlaw  Brother"  on  March  15. 
Releases  thereafter  were: 

"Circle  of  Danger,"  March  22;  "Skip- 
along  Rosenbloom,"  April  3;  Badman's 
Gold,  April  3;  "The  Long  Dark  Hall," 
April  10;  "Oliver  Twist,"  April  17;  "When 
I  Grow  Up,"  April  20;  "Volcano,"  May  1; 
"Fighting  Rebels,"  May  8;  "Cairo  Road." 
May  8;  "Hoodlum,"  May  15;  "Two  Guys 
and  a  Gal,"  May  15,  and  "Man  With  My 
Face,"  May  22. 

SCHWALBERG  SHUFFLES  HOT 
WEATHER  RELEASES  AT  PARA 

Paramount  reshuffled  its  summer  re- 
lease schedule,  at  the  company's  division 
sales  managers'  meeting  which  reviewed 
product  to  be  released  through  the  end  of 
the  year.  Paramount  Film  Distributing 
Corp.  president  A.  W.  Schwalberg,  who 
conducted  the  meeting,  announced  the 
following  changes  for  June,  July  and 
August: 

"Dear  Brat"  and  two  reissues,  titles  to 
be  announced,  in  June;  "Passage  West." 
originally  set  for  June,  moved  back  to 
Julv,  along  with  "Ace  in  the  Hole";  "War- 
path," formerly  due  in  July,  pulled  out, 
release  date  to  be  announced  later;  "Cross- 
winds"  added  to  the  August  pair  of  "A 
Place  in  the  Sun"  and  "That's  My  Boy"  to 
make  three  releases  for  the  month. 

A  "stepped-up"  effort  in  the  overall 
merchandising  of  features  and  shorts  for 
1951-52  was  promised  by  Jerome  Pickman. 
acting  director  of  ad-publicity-exploita- 
tion. 


COMPO  RATIFICATION  IS 
SIGNAL  FOR  ALL-OUT  DRIVE 

Prompt  ratification  of  the  COMPO  re- 
organization formula  by  all  the  constitu- 
ent organizations  will  unleash  the  full- 
fledged  support  within  the  industry  and 
enable  the  all-industry  machine  to  oper- 
ate at  full  speed.  These  opinions  were 
stressed  by  Allied's  A.  F.  Myers  and 
Motion  Picture  Industry  Council's  Art 
Arthur,  upon  the  formal  notification  to 
COMPO  that  their  respective  organiza- 
tions had  approved  the  by-laws  changes. 

Myers  expressed  the  hope  that  COMPO 
"will  receive  widespread  support  and  that 
it  soon  will  be  able  to  carry  on  the  con- 
structive work  for  which  it  is  intended. 
It  will  be  a  tragedy  if  1951  does  not  see  a 
mighty  nation-wide  campaign  through 
COMPO  to  pull  the  motion  picture  busi- 
ness out  of  the  doldrums,"  he  added. 

Machinery  for  the  initial  venture,  a  na- 
tional boxoffice  drive  to  begin  early  in 
September,  was  put  into  motion  at  a  meet- 
ing of  top  distribution,  advertising  and 
exhibition  executives.  sponsored  by 
COMPO  prseient  Ned  E.  Depinet  and  20th- 
Fox  head  Spyros  P.  Skouras.  The  pro- 
gram, as  outlined  by  Skouras,  will  be  di- 
rected at  overcoming  prevalent  fallacies 
about  the  movies — that  pictures  are  bad, 
Hollywood  is  decadent  and  immoral,  that 
the  industry  is  panicky  over  television, 
etc. — as  well  as  plugging  the  quality  of 
films,  the  industry's  national  service  and 
charitable  works,  and  the  importance  of 
the  theatres  in  the  nation's  economy. 

Leonard  Goldenson,  president  of  United 
Paramount  Theatres,  recommended  an 
"Oscar"  be  awarded  to  the  best  boxoffice 
pictures  of  each  of  the  four  months  the 
drive  lasts.  The  award  would  go  to  the 
best  in  each  of  four  classes — westerns, 
musicals,  comedies  and  straight  dramas. 

William  F.  Rodgers,  M-G-M  sales  vice- 
president,  urged  that  the  foremost  ex- 
hibitor in  each  state  be  invited  to  Holly- 
wood by  the  producers  for  discussion  of 
mutual  problems. 

Depinet  announced  he  would  appoint 
committees  immediately  to  lay  plans  for 
the  campaign. 


PARAMOUNT.  UA,  ELC 
RESHUFFLING  BOX  SCORE 

William  J.  Heineman  from  Eas:lo 
Lion  Classics  distribution  vice- 
president  to  United  Artists  in  same 
post. 

Max  E.  Youngstein  from  Para- 
mount v.p.  in  charge  of  advertis- 
ing, publicity-exploitation  to  UA  as 
v.p.  and  national  director  of  ad-pub- 
licity-exploitation. 

Bernard  G.  Kranze  from  ELC 
general  sales  manager  to  v.p.  in 
charge  of  national  distribution,  and 
.Milton  E.  Cohen  to  general  sales 
manager. 

Robert  J.  Rubin,  former  general 
counsel  for  Society  of  Independent 
Motion  Picture  Producers,  to  a-si^t 
ant  to  Paramount  president  Barney 
Balaban. 

C.  J.  (Pat)  Seollard  from  UA  exe- 
cutive v.p.  to  ? 

Francis  M.  Winikus  reappointed 
UA  advertising  manager. 

Joonas  Arnold  from  ELC  adver- 
tising manager  to  UA  assistant  ad 
manager. 


ARCH   12,  1951 


17 


EXPLOITATION  PICTURE 

THE  HEAL'  JESSE  JAMES  STDHY 

Outlaw  Sana,  Action  Pace  "Raid"  Angles 

AN  '  EXCELLENT  NEW  version  of  the  Jesse  James  story 
.  .  .  crammed  with  old-fashioned  riding,  shooting,  hell- 
hent-for  leather  action,"  is  the  way  FILM  BULLETIN  de- 
scribes Paraniount's  "The  Great  Missouri  Raid"  in  its  re- 
view. Conceding  the  high  hoxoffice  potential  for  action 
houses,  FB  reviewer  Jackson  notes  that  "for  exhibitors  who 
fully  capitalize  upon  the  exploitation  possibilities"  of  the 
story,  receipts  should  reach  the  rarer  atmospheres  even  in 
"deluxers  and  class  situations."  Which  just  about  covers 
the  nation's  theatres,  since  all  those  houses  between  the 
categories  mentioned  can  benefit  from  proper  ballyhoo  of 
the  film's  exploitation  angles. 

First  of  these  is  the  furious  action  that  characterizes 
virtually  every  scene.  The  stills  (see  opposite  page)  and 
art  work  depict  this  in  a  wide  variety  from  which  the  show- 
man can  choose  for  display  purposes.    The  incredible  ex- 

  ploits  of  the  James'  gang,  touted  by  Paramount  as  the  first 

'"authentic"  account  on  film  of  the  events  that  forced  Frank 
and  Jesse  James  into  a  life  of  crime,  is  told  practically 
without  pausing  for  breath.  The  bank  robberies,  assaults 
on  cavalry  troops,  the  lootings  and  murders  and  a  sequence 
that  details  the  first  train  holdup  in  history,  are  all  cram- 
med into  the  85-minute  running  time. 

Four  of  the  most  desperate  and  ruthless  outlaws  that 
ever  terrorized  the  YS'est  are  the  principals  in  "The  Great 
Missouri  Raid,"  the  James  boys  and  the  Younger  brothers. 
Each  of  these  roles  is  entrusted  to  players  of  proven  merit: 
W  endel]  Corey  and  Macdonald  Carey  as  Frank  and  Jesse 
James,  and  Bruce  Bennett  and  Bill  Williams  as  Cole  and 
Jim  Younger.  How  they  were  turned  from  youngsters,  pro- 
tecting their  homes  from  marauding  post-Civil  War  bands, 
into  lour  of  the  Old  West's  most  legendary  outlaws,  is  a 
story  that  should  be  capitalized  fully  as  the  first  film  docu- 
ment that  attempts  to  explain  the  why's  of  the  James  gang.   

Around  these  two  prime  factors  —  action  and  the  out- 
law principals  -  should  be  built  the  foundation  of  the  ex- 
ploitation campaign.  But  there  are  several  sidelights  that 
can  be  used  to  good  advantage.  The  "Great"  in  the  title 
is  a  juni ping-off  point  for  co-opportunities  and  tie-ups.  The 
co-op  ad  with  local  merchants,  for  instance,  could  carry  the 
name  of  the  town  in  a  sale,  like  "The  GREAT  Chicago'  sale, 
or  the  name  of  the  dealer,  if  the  co-op  is  with  a  single  firm. 

Teasers  can  play  an  important  role  in  the  promotion. 
A  natural,  of  course,  is  the  WANTED  poster  in  and  out  of 
the  theatre.  Teaser  lines  can  be  spotted  as  snipes  on  bill- 
boards and  in  the  amusement  pages  indicating  that  "Am- 
erica's most  desperate  outlaws  are  coming  to  town  in  'The 
Great  Missouri  Baid'." 

Th  ere  can  be  plenty  of  effective  lobby  displays,  such  as 
an  outlaw  lobby  museum.    You  can  make 


an  eye-stopping 

  display  simply  by  showing  off  the  lethal  weapons  used  by 

tb<  four  desperadoes  —  blackjack,  guns,  can  of  dynamite, 
cartridges  and  a  noose.  Good  copy  for  the  labeling  of  each 
of  these  items  i.  included  in  the  press  book  outline  for  such 
i  display.  In  addition,  virtually  every  library  has  illustrated 
hooks  detailing  the  careers  of  the  notorious  robbers.  These 
can  be  matched  up  with  stills  from  the  film  for  additional 
interest. 

Another  angle  is  special  screenings.  One  suggestion  is 
an  invitational  viewing  for  detectives  and  police  officers  on 
the  angle  of  what  the  forces  of  law  and  order  were  up 
a^ain-t  in  the  days  when  the  James  boys  and  Younger 
brothers  were  on  the  loose.  A  new>papcr  editor  should  be 
invited  to  the  showing  with  the  idea  of  a  special  piece  on 
the  work  of  modern  law  enforcers  as  compared  with  the 
efforts  in  the  post-Civil  War  period. 


RRNNETT 

Cole  Younaei 


NEWSPAPER  ADS 

The  types  of  ads  worked  up  for  "The 
Great  Missouri  Raid"  are  adaptable 
many  purposes.  There  is  the  regular 
display  copy,  suitable  for  opening  day 
or  immediately  preceding  (above,  tojl 
and  bottom).  There  are  several  lypH 
of  teaser  ads  (left)  and  special  taW 
loid-type  ads.  A  special  "reader"  ad 
for  Sunday  and  Home  editions  is  ah 
shown. 


EXPLOITATION 
PICTURE 


THE  GHEAT  MISSOURI  RAID 

Paramount's  version  of  the  '"factual"  tale  of  Frank  and  Jesse  James  is 
told  in  a  welter  of  violence,  gunpowder,  thundering  hoofs  and  color  in  "'The 
Great.  Missouri  Raid."  As  narrated  hy  Anne  Revere,  who  plays  the  mother 
of  the  James  boys,  Frank  (Wendell  Corey)  and  Jesse  (Macdonald  Carey) 
were  driven  into  their  life  of  crime  by  the  merciless  hounding  of  a  Union 
Army  officer  (Ward  Bond  I  seeking  revenge  for  the  death  of  his  brother  on 
the  James'  farm  during  a  skirmish  between  guerillas  and  plundering  soldiers. 
Unable  to  make  their  way  through  the  persecution  barrier  set  up  by  tbe 
officer,  the  boys,  along  with  the  Younger  brothers,  I  Brue  Bennett  and  Bill 
Williams),  began  the  notorious  exploits  which  included  daring  daylight  bank 
robberies,  countryside  forays,  battles  with  the  U.  S.  Cavalry  and  eventuallv 
the  first  great  train  robbery  in  history.  Jesse's  ironical  death  at  the  hands  of 
one  of  his  own  men  just  as  he  and  his  brother  have  decided  to  end  their  lift 
of  violence  puts  the  period  to  one  of  the  most  exciting  stories  in  American 
crime  annals. 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1950-51  Features 
Serials 
Westerns 


Completed  (42) 
Completed  (  2) 
Completed  (10) 


In  Production 
In  Production 
In  Production 


NEW  PRODUCTIONS 

THE  BIG  GUSHER 
Drama— Started  Feb.  20 

Cast:    Wayne  Morris,  Preston  Foster,  Dorothy  Patrick 


Director:  Lew  Landers 

Story:    Life  in  an  oil  boom  town. 

RELEASE  CHART 

  1950-51   

COMPLETED 

Title — Running  Tin 
At  Jennings  of  Oklahomi  ( 
Beware  of  Blondie  (66)  . 

Born    Yesterday   Crawford-Holliday 

Brave   Bulls,    Tho   Ferrer-Quin   

Chain   Gang   Kennedy-Lawrence 


Producer:  Wallace  MacDonald 


Cast  Details 

.  Duryea-Storm   5-8 . 

.Singleton-Lake   8-29. 


.2-51. 
.8-50. 
12-50 . 


.327  

.207  

.344.  .12- 


Congo    Bill   McGalro-Moore  .. 

Counterspy    Meets   Scotland   Yard   Blake-St.  John 

Convicted    (91)   Ford-Lrawford  . 

Criminal    Lawyer   OBricn-Wyatt 

Olck   Turpin's    Ride   ■ftyward-Medina  . 

Emergency   Wrdding    (78)   Parks-Hale   

Firefighters.   The   Williams-Reynolds 

Flying    Missile.    The   Ford-Linfors  ... 


Fury  of  the  Congo   Weismuller-Tal 

Gasoline    Alley   Beckett-Lydon 


2-26   

5-1C 

6-19. 

.2-51. . 

.307 

1-2. 

.8-50. . 

. .324. 

.8-28 

n_«   

4-10 

11-50 . . 

. .332. 

. . . 1-1 

.2-27 
7-31. 
9-25. 

.1-51. . 
.3-51 

.335 

7-3. 

10-9. 

. 1-51 . . 

.  .301 

4-19. 

.1-51.  . 

.  .351. 

.11-6. 

11-50 . . 

. .323. 

.12-18 

11-10. 

Harlem    Globetro'.ters,    The   Gpmez-Dandridge 

Harriet  Craig  (94)   Crawfo-d-Corey 

Her   Wonderful    Lie   Xlepura-Eiferth 

Details  under  title:  The  Eternal  Melody 

He's  a   Cockeyed   Wonder    (77)   Roon:y-Moore   12-50        340.. 11-20 

Hoe    Down   4rnold-0'Mahoney   7-4... 6-50  

Hurricane    Island   Hall-Windsor   10-23  

Killer  That  Stalked  New  York  (79)   Keyts-Korvin   12-5  . 12-50  388.. 12-18 

last  of  the   Buccaneers    (T)   Henreio-Booth   3-27  .10-50.  ..  .341  

Lightning  Guns   Starrett-Burnette   6-5.. 12-50  361  

lorna  Dcone  (T)   Hale-Green*   6-5... 3-51  

Magic  Carpet   BaM-*gar   12-18  

Mask  of  the  Avenger   rjcrk-Lawrence   10-23  

My   True  Story   Parker-Walker   12-18  

No  Help  From  Heaven   Cla:k-0'Uonn:||   12-18  

No  Sad  Songs  For  Me   (89)   Suliivan-Corey   10-24... 3-50  

Creration   X    (78)   Roiinson-Cummins   2-51  2-26 


Outcast  of  Black  Mesa  (54) 

Palomin^  (T)   

Pyomy  Island   

Petty  Girl,  The  (T)  (87) 
Prairie  Rojndup   


Stnrrett-Burnett 
.  Courtland-Tyler     .  . 
.  We.ssmuller-Savage 
.  Cummings-Caulfield 
.Starrett-Burnette 


. 11-7 . 
. .8-1. 
. 1-19 . 
.9-26. 
.7-31. 


.4-50. 
. 3-50 . 
11-50. 
.9-50. 
.1-51. 
10-50. 
.3-51. 


Raiders  of  Tomahawk  Creek    Starrett-Burnette   6-19. 

Bevenu.i  Ag  nt    Kennedy-Willes   7-31. 

Ridin'   the  Outlaw  Trail   Starrett-Burnette   8-28..  2-51  

Riders  of  the  Whistling   Pines   >mrv- White   7-5  

•vtaiu   under  title:  Wings  Westward 

Romantic   Age.   The   O'Br  en-Martin   8-28  

Rooki-  in  Korea   McAllister   11-6  

Ssnta   Fe   (T)   Scott-Carter    7-3   

Saturday's    Hero   Derek-DaRt   6-19... 5-51  

Secret,    The   Derek-Coliu   2-26  

Sirocco   Sogart-Toren   11-20  

Smuggler's  Gold   Mitchell-Blake   11-20... 5-51  

Snake   River  Desperados   Starrett-Burnette   11-6...5-51  

Sunny  Side  of  the   Street   Lane-Daniels   1-29  

711   Ocean    Drive    (102)   O'Brien-Dro   7-50  319. 

Texans  Neve-  Cry   Autry-Davis   7-31... 3-51  352. 

Tougher  They  Come,  The    Foster-Morris   7-31 ..  12-50 .... 305 . 

Two  of  a  Kind   Scott-Moore   10-23  

Valentino   Parker-Dexter   6-19...  4-51  

When  the  Redskins  Rode   Hall-f.astle   8-28  

When  You're   Smiling    (75)   Courtland-Albright   10-50.  ..  .304. 

Whirlwind   Autry-Burnette   12-18  

  1949.50   

Across   the   Badlands   Starrett-Burnette   4-10. 

Blailng  Sun   Autry-Gwynne   5-8. 

Captive   Girl   Weismuller-Crabbe  ...10-24. 

David  Harding,  Counter  Spy   (71)   Parker-Long   1-30. 

r liter  Brash  Girl.  The   Ball-Albert   2-27. 

In  a  Lonely  Place   Bogart-Grahame   11-7. 

Indian   Territory   Aulry-Buttram   4-10. 

Rogues  of  Sherwood  Forest   <T)    (80)    .  .  .  Dcrlck-Lynn   9-12. 


.9-50. 
11-50. 
.7-50. 
.7-50. 
10-50. 
8-50 
.9-50. 
.7-50. 


262 
.246. 
240 
220 
239. 
242 
249 
243 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  til] 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  a 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  tl 
Release  Number.  "Rev."  is  the  issue  in  which  the  Revie 
appeared.  There  may  be  variations  in  the  running  time 
States  where  there  is  censorship.  All  new  productions  a 
on  1950-51  programs  unless  otherwise  noted.     (T)  immec 


ately  fol 


owing 


title  and 


running 


time  denotes  TechnicoU 


(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 


1950-51 


EAGLE.LION.CLASSICS 


Completed  (    )      In  Production  (] 


RELEASE  CHART 


IN  PRODUCTION 

Title — Running  Time 
Cloudtjurst   


COMPLETED 

Alice  In  Wonderland  (A) 

Blackjack   

Border  Outlaws  (58)  .  .  . 
Cat'le  Queen   


. .  Preston-Scllars   1-29. 

1949-50-51   


..Marsh-Murray   Foreign...  Feb. 

.Marshall-Sanders     .  .  Foreign.  .  .9-50. 

.  Coolcy-Hart   11-2. 

.Hart-Smith   10-23  


Ci.cle  of   Danser   Milland-Roc   3-8  

Destination  Boo"   (T)   Ancerson-Archer   11-21... 8-50  

Eye  Witness    (104)   Montgomery-Banks   9-50  

Golden  Salamander   (96)   Anouk-Howard   Foreign ...  12-1  

Good  Time  Girl   Kent-Robson   5-30  

High    Lonesome   (T)    (81)   Barrymore  Jr.-Botler    . 11-16 ...  9-30   044  

I    Killed   Geronimo   Ellison-Herrick   6-19... 8-50  

I'll  Be  Seeing  You     Rogers-Cotten   Reissue  

Kangaroo   Kid    (73)   0  mano  cy-Sorg   10-22  

Korea    Patrol   Emory-Fong   10-9... 1-15  

Lovable  Cheat,  The  (77)    .  Iiggles-Garner   1-31..  4-15  ■  4- 

Mr.    Universe   Car:on-Paige   1-10  

My    Outlaw    Brother   Reo -cy-Hendrix   2-27  

Narcotic  Agent   Henry-Blake   3-27  

Oliver  Twist   (115)   Newtcn-Guinness   Foreign ...  1-18  

One  Minute  to  Twelve  (76)   Han<on-3r:st  om      ...  Foreign ...  10-1  

Paper   G?llows    (80)   4nCe  son-  entley   Foreign ..  .9-22  1 

Passport  to  Pimlico   ..  .  .  .  Rutherford-Holloway    ..Foreign  010  

Prehistoric   Women   Lui2-Ni  on   5-8.  ..11-1  

Project   "X"    (60)   Colton-Andes   10-7  

Rebecca    (SRO)   Fontaine-Olivier   Reissue.  .  . Joly  J 

Rogue   River   Calhoun-Lidell   8-14.  .11-15  J 

Sarumba   (65)   Oowling-Whalen   Jan  014. .  .3-1 

Searth  for  Danger  (63)   Calvert-Dell   1-3  4-*  

Second   Face,   The   Bennetl-Jahnson   5-8.  .  .1-51  

So  Long  at  the  Fair  (90)   Simmons-Bogarde   Foreign ...  3-29  1- 

Stronghold   Lake-?cott   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27... 1-22   2- 

Taming  of  Dorothy  (75)   I'en'-3catty   Fore'gn  .  .9-29  

They  Were  Not  Divided   Underdown-Clanton    .  .  Foreign  ....  2-1  

Time  Running  Out  Clark-Signoret   Foreign  10-31  

Tinderbox    (C)   Cartoon   Feature   12-25  

Two   Lost  Worlds    (61)   Elliott-Arness   10-29  2- 

Vicious  Years    Cock-Merritt     

Wicked    City   Montez-Aumont   1-2  

When    I   Grow  Up   Preslon-Scott   12-18... 3-22  

Wind  Is  My  Lover,  The   Lindfors-Kent   j 


LIPPERT 

1950-51 

Completed  (  1) 

In  Production  (1) 

IN  PRODUCTION 


Little  Big  Horn   

COMPLETED 

Bandit  Queen   

Border    Ranger  .... 

Colorado  Ranger    .  .  . 
Danger    Zon;  ........ 

Fast  on  the  Draw 
Fingerprints   Don't  Lie 

Ganflre   

Hiiacked   

Holiday  Rhythm 


RELEASE  CHART 

1949-50-51   


 Elliscm-Havden  '-'1 

 Beaumont-Travis   4-20. 

rili.on-Hayden  1-2  j-l" 

 Travis-Ryan   3-3. 

  "arry-Lowery   8-11. 

 Davis-Jones   5-8.  7-14 

 Hig.ies-Street   6-5.. 10-13. 

I  Shot  Billy  the  Kid   (58)   Barrv-Lowery   5-8  .  9-8. 

Kentucky   Jubilee   Colonna-Porter   2-26  .  .5-18. 

Mask  ol  the  Dragon   Travis-Ryan   12-18 ...  3-17 . 

Motor  Patrol    (67)   Castle-Nigh   3-13... 5-12. 

Pier   23   Beaumuitt-Savage   4-27. 

Return  of  Jesse  James  (75)   lrelai;c-Dvorak   6-5  9-8. 

Roaring  City   Bsaumont-Travis     ...   .1-15...  2-2. 

Steel    Helmet,   The   Edwnrds-Br&dic    ,  11-6... 2-2. 

Stop   That   Cab   Melton-Adrian   3-31 

3  Desperate  Men   Foster-Davis   10-23  1-5. 

Train   to  Tombstone   Barry-Lowery   5-8... 9-15. 

West  of   Brazos   Ellison-Hayden   12-19  6-2. 


.5015 
.4932. 
.4020 

4911. 
.4931. 
. 5007 . 
.5013 
.4923. 
.5018 

4907. 
.5016 

5006 
. .501. 


20 


FILM  BULLETI 


METRO-COLDWYN-MAYER 


1930-51  Features 


Completed  (87) 


Production  (3) 


RELEASE  CHART 

FN  PRODUCTION 

••••  _»i»nin|    Tim  Cut  DrMIs 

'aw  and   Lady   Loverly.   The   Garson-Wildini   2-12. 

itrietly   Dishonorable   Pima-Leigli   1-29 

exas  Carni»al   Williams-Skelton   2-26. 

  1950-51   

COMPLETED 

•crass  the  Wide  Missouri  (T)    (95)   Tirner-Pii 


Paris  (T) 
Iradlty  Mason  Story.  The 
ailing  Bulldog  Drummond 
ausc  for  Alarm    (75)    .  .  . 

nil's  Doorway  (84)   

ill   1119  (75)   

(•use  My   Dust  (T) 


.  Killy-Caron 
, .  Pidseoi-Hardino 
.  Pldgean-Leighton 
.  Yotns— Sullivan 
.  Taylor-Raymond 
.  mompson-Held 
. .  ;i  Iton-Forrest 


.8-14. 
8-14. 
.1-29 


.3-27 
.11-6. 
10-23 
.10-9. 
.9-25. 


.118. . .2-12 
.102. . .  6-5 
.107  10-23 


Little  Dividend  (82)   Tracy-Taylor 

■  Far  Broke   lohnson-Anderson 

reat  Cans*,  The   (T)   Lanza-Slyth  ... 

rounds  For  Marriage   (91)   Jol.nson-G  ayson   6-5 

islda  Straight    (90)   Brian-Dahl   9-25 

ft  A   Big   Country   All  Star   4-24 

Im    (T)    (112)   Flynn-Stockwell   12-19 

Ind   Ladv   Barrymore-Evans   12-4 

Ing  So'omon's  Mines   (T)    (102)   iurr-t.ranger   11-/ 

Ifa  of  Her  Own.  A  (108)   Timer-Corey   2-13, 

at*  li  Batter  Than  Ever   Taylor-Parks   12-18 

agnlflcent  Yankee   (89)   Caine.n_Ma.ding   7-17 

Initer  Story.  The  (104)   Garson-Pidgeon   10-10 

r.   Imperlem    (T)   Gable-Hodiak   8-14 

•at  Voiee  Yoe  Hear.  The  (82)   Whitmore-Davis   3-13 

i  Questions   Asked   Sullivan-Dahl   1-1 

igan   Love  Song  <T)    (77)   Williams-Keel   4-24 

tinted  Hills,  The  (T)   Lassie-Kelly   6-19 

wale  In   Love   Mllland-Hcdiak   12-18. 

ii  Vadis   (T)   Taykv-Kerr   6-5 

•d  Badge  of  Courage   (81)   Muruhy-Mauldin   9-11. 

it.  Young  and  Pretty  (T)   Vowell-Uamone   12-4 

gat  Cross    (90)   Po*e;|-»ion:a  ban   4-10 

■yal  Wedding   (T)    (92)   Astaire-Powcll   7-17 

•w  Boat   'T)   Gardner-Keel   12-4 

Idier's  Three   G.-angcr-Pidgton   11-6 

Tip,  The   Rooney-Forrest   1-29 

ill   Target.   The   Powell-Raymond   1-29. 

Details  under  title:  Man  on  the  Train 

tree  Guys  Named  Mike  (90)   Wyman-Johnson   8-14 

.  Please  A   Lady    (92)   Gable-Stanwyck   4-24 

■ait  of  New  Orleans.  The   (T)    (97)    . . .  Rrayson-Lanza   1-16. 

■I  Weeks  with  Love   (T)    (92)   Pcwcll-Monta  ban   4-10 

ngeance  Valley  (T)    (83)   Lantasttr-Wa  ker   6-19 

itti  the  Birdie  (70)   Skelton-Brtlon   5-22 

  1949  -  50   

mil  Get  Yoir  Gin  (T)   (107)   Hutton-Keel   10-24 


Apr  2-26 


Oct 

Dei 
May 


110 
112 


.8-2} 

! .  1-1 


lili   (96)   , 

ichess  of  Idaho  (T)  (98)   

ithir  of  the  Bride,  The  (93)   

ippy  Years,   The   (T)  (110)   

dy  Without  Passport   (72)   , 

Ipptr  Surprises  His  Wife,  The  (85) 

arj  In  My  Crown   

amir  Stick   (T)  (109)   

in*  Little  Wards  (T)  (102)   


.Grant-Ferrer 
.  Williams-Johnson 
.  Bennett-Tracy 
.  Stiekwell-Beckett 
.  Lamarr-Hodiak  . 
.Walker-Leslii  .. 
.  McCrea-Drew 

.Garland-Kelly   12-5. 

.  Astalri-Skiltan   12-19. 


. 1-16 . 

..11-7. 
. .1-30  . 
. .9-26. 
..1-16. 
.11-21  . 
. .6-20 


. Feb . . 

.119. 

.2-12 

.Oct. . 

.105. 

.Se"t.  . 

.103. 

.'8-28 

.Nov. . 

10-23 

. Feb . . 

.hi'. 

.2-12 

Jan. . 

.113. 

.12-4 

.ah.. 

.  .39. 

.4-24 

.Jay.. 

..41. 

.7-17 

.Al|.. 

...33. 

.6-19 

Jure  . 

...30. 

.6-5 

Jaly.  . 

. . .32. 

.  6-5 

Alf.. 

..37. 

.7-31 

June  . 

..31. 

.5-22 

...40. 

'.All'.' 

.  38. 

.'■-14 

Ai|.. 

.  .36. 

.7-17 

MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (  ) 
Completed  (  1) 


In  Production  (2) 
In  Production  (1) 


NEW  PRODUCTIONS 

"HE  HIGHWAYMAN  (T) 
>rama— Started  Feb.  19 

Charles   Coburn,   Philip   Ford,  Cecil 


Producer:  Hal  Chester 


)rama— Started  Feb.  19 
fast:   Wanda  Hendrix, 

Kellaway 
>irector:  Lesley  Selander 

tory:    Based  on  the  classic. 

:asa  MANANA 

lusical— Started  Mar.  5 

|ast:    Scott  Forbes,  Eileen  O'Herlily 

Hrector:  Gene  Yarborough  Producer:  Lindsley  Parsons 

tory:    Not  available. 

RELEASE  CHART 

  1950-51   

MTLETED 


tor 


rm» 


Tit 


«ardln|  to  Mrs.  Hoyle  . 
•■ii  and  thi  Hidden  City 

iwary  Battalion   

avalr,   Scut  (C)   

natarfeit   

aantv  Fair  <C)  ... 
•  ther's  Wild  Game  (61)  ' 

hast  Chasers   

l«  Sllngers  (55)   

*e  Palooka  In  Himphrey  T 

Ion  Hinters.  The   

Ian   From  Sonora  (54) 
I'xican  Silver   

lodern  Marriage.  A   (66)   CiarkWieTd 

„"!!   Neal-Toomey 

«ada  8adman   Wllson_K night 


Catt  rtataHi  »•!. 

.  Byington-Chandler    . .  .  11-20 .  .  .  5-20 . 

.Sheffield-England   6-5...  9-24. 

.  Goreey-Hall   8-14 .  . .  1-21 . 

.Cameron-Long   10-9... 5-13. 

.DfFoe-KIni   7-3  

.Calhoun-Nigh   4-24  8-1. 

.  Walburn-Gray   10-9...  12-3. 

.Gorcey-Hall  1-29...  4-29. 

Wilson-Clyde   2-13  4-9. 

Kirlrwnod-Errol   3-13...  6-4. 

.Sheffield-Whitfield   1-1...  3-25. 

.Brown-Hall   11-20. .  .3-11 . 

Wllson-Clyda   6-5  

. .2-13. .10-15. 
. .11-6. . .2-25. 
2-26. . .5-27. 


"11  Oist   

"iois  Years.  The  (79) 


.  Frazse-Grant   12-18 ...  2-11 . 

.Morris-Hale  1-7. 

.Albright-Winters   10-23 ..  12-31 . 

.Cook-Moore   2-18. 


.5122. .  . 
.4906.  . . 
.5111.  . . 
.5101. . . 

.4903... 
.5125. . . 
.5112  . 
.4^41. . . 
.4912. . . 
.5109. . . 
.5141.  .  . 

'5199.'.'. 
.5120. . . 
.5152. . . 
.5115. . . 
.5107. .. 
.5107... 


Wltnisi.  The   

ALLIED  ARTISTS 

I   Was  An  American  Spy   Dvorak-Evans   1-29 

Saithslde  1-1000   (  73)   DeFore-Kini   

Short    Grass   Cameron   

  1949-50   

Abilene    Trail    <64)   W.Ian   9-11 

Arirona    Territory   Wllson-C  yde    6-5. 

Big    Timter   MacOoweil-Oonnell     .  6-19 

Blue  Blood  (C)   Wlllr.ms-Nigh   9-25. 

Bomba  and  the  Lost  Volcano   hemelo-Lura   3-27. 

Call   of   the   Klondike   Grant-Chinook   10-9 

Cherokee   Uprising    (57)   Wllon-Clyde    8-28 

Colorado  Ambush   B-own-H  r   10-23 

Gypsy    Fury   Vive:a-Lindfors   

Hot    Rod    (61)   lyoon-win  ,rs   8-14 

Joe  Palooka  in  the  Squared  Circli  (63)    .  .  Kirkwood-Gleason 

Outlaw  Gold   (51)    Browti-*dams    ,  , 

tiltaws  of  Texas   Wilson-Clyde 


Silk  Nooie   

Snow  Dog   

Triple  Trouble   

Wild    Horse  Prairie 


.dei  aire-  .ilia* 
Land  s-C.illeia 
Grant-Verdugo 
Goreev-Hall 

.Wil.on-Kr.ight 


. .7-31. 
. .9-11. 

4-10 
.  Relssie 


4-15 

11-  12 

12-  24 

.  2-4 
.  7-2 
9-10 
. . 1-28 
.  6-25 

12-17 
. .10-8 
.  1-14 
3-18 
.  10-22 . 
.  11-5. 

11-26 
.12-10 

.6-18 
.  . .7-9. 
.  -716 
.  8-13 
4-8 


4946 

4942 

4908 
.4904 

4yOV 
.4920 

4944 
.4955. 

5192 
.4918 
.5117 
.4954 
.4945. 

49?4. 
.4923 

4919 
.4915. 
.5151. 


PAR  AMOUNT 


1950-51  Feature 


Completed  (34)      In  Production  (7) 


NEW  PRODUCTIONS 

RHUBARB 

Comedy— Started  Feb.  20 

Cast:    Ray  Milland,  Jan  Sterling,  Gene  Lockhart 

Director:  Arthur  Lubin      Producers:  Wm.  Perlberg-Geo.  Seaton 

Story:    Cat  inherits  the  New  York  Giants. 

PEKING  EXPRESS 
Drama— Started  Feb.  2G 

Cast:    Joseph  Cotten,  Corinno  Calvet,  Edmund  Gwenn 
Director:  Wm.  Dieterlie  Producer:  Hal  Wallis 

Story:    Murder  aboard  an  oriental  train. 

RELEASE  CHART 

IN  PRODUCTION 

Tltl— liinlM   Thai  Cast  0«till«        RH         Hi.  Me 

Crosswinds    (T)   Payne-Flemini   1-29  

Greatest   show   on   Earth   HJtton-Stewart   

My   Favorite  Spy   Hope-Lamarr   

Detective    Story,    The   Douglas-Pa  ke.-   2-26  

Stooge.   The   Mi-rtin-Lewis   2-26  

COMPLETED    1950-51   

Ae«  l«   Thi   Holi   Dojglas-stfrling   7-51  .5023  

Appointment  With   Danger   Ladd-Calyert   8-15.  .5-51  

Details   under  title:  Pntil  Inspector 

At  War  with  the  Army   (93)   Martin-Lewis   1-51 ..." 014  12-18 

Branded   (T)    (103)   Ladd-Frecdma 

Details  under   title:   Montana  Rides 
Carrli   


.  Documentary  . 
.Milland-Lamarr 
.  Fontaine-Lund 

Heston-Seof 
.  Fretmai.-Arr.old 

Hope-Bali  ... 


.3-27. 

.1-51. 

5009 

.9-11 

10-50 

5008. 

.4-25 

. 10-12 . 

5003 

11-20 

.  4-24 

10-50 i 

5004 

11-6 

6-S1. 

5021 

. .7-4. 

. . .9-4 

.3001 

.12-4 

.6-5. 

.  2-51 

.5013 

.12-4 

10-23. 

. .5-51. 

.5020 

. .11-7. 

.10-24 
.11-20. 
.  .  .7-3. 


4-51. 


.3-51. 
12-50 
6-51. 
.8-51. 


.4-51. 
.3-51. 
.3-51. 
.2-51. 


.8-51 


Casiino  ti  Korea  (59)   

Caiiir  Caavan   >T  (85)   

Darling.   How  Could  Yoa!   

Dark  City   

Dear  Brat   

Fancy  Pants  (T)  (92)   

Fort  Savae*  (T)   Hryoen-Rmh 

Great  Missouri  Raid,  The  (T)    (85)  Corry-Crey 

Here  Comes  the  Groom   Cro'y-W  man 

Last  Oitpost,  The   (T)   Rcagai-Flemii 

Lemon    Drop   Kid,   The   Ho|,e-Maxwell 

Let's    Dance    (T)    (112)   Hitton-Astairi   7-18  .11-23 

Mating   Season,   The   Tierney-Lund   6-5... 3-51 

Details  onder  title:  A  Relative  Stranger 

Molly   Berg-lock   

Mr.    Mislc    (108)   Crosby-Hn.ev   

Passage  West   (T)    (80)   Paync-OKeefe  .... 

Place   in   The  Sin,  A   Cliff-Winters   

OoMtreH'i   Ratden    (T)   Laeld-Kennedy   

taetat    (T>   Barrymari  Jr.-Calvet 

Redhead  and  the  Cawboy     82   Ford-Fleming   

Somen  and  Delila*     <>    (128)   La-ran-matere   10-25 

September  Affair    (104)   FintiHie-Citteo   8-29 

Smethini  To   Llvi   Far   F  cysteine- lliltand   6-5 

Details  onder  title:  Mr.  and  Mn.  AoaerymHH 
Submarine   Command   Haldtn-OfiM   1-15 

(Details  under  title:  Submarine  Stody.  Thi) 

That's    My    Boy   Martin-Lewis   12-18 

Trie    (91)   Slmaiofu-Rinnle   Ferelga 

Trlpall    <T)    (95)   OHara-Payne   3-27 

Unlet  State*    (80)   Helden-Fitietrald   1-30 

•artatt.    IT)   0'Brien-asger   9-11 

When  Worlds  Collide  (T)   Derr-Rnh   1-1, 

  1949-50   

Eagle  and  the  Hawk,  Thi  (T)    (104)   ?ayne-MtmlB|   8-15 

Farias,  Thi  (109)   Stanwyck-Carey   12-5 

Lawless.    The    (83)  Carey-RnnJI   11-7 

My   Frend   Irma  Goes  West   (90)   Wllsoa-Liad   ...2-13 

iaiut   Boulevard   (110)   Holdea-Swaasan   4-25 


RELEASE  CHART 

  1949-58-51   

Title — Raanlni    Time  ..>i  Details  Rel. 

All  Quiet  on  the  Western  Frint  (103)    . .  .Ayres-Wolhilm   8-50 

Beyond    thi  Sinset   Ford-O'Brien   5-8 

Bowery  to  Broadway    (94)   O  Connor-Blytli   2-50 

Dead  Man's  Eyes  te>4)   Chaney-Parker   5-50 

East  Side  of  Heaven   (88)   Crasby-Blordell   1-50 

Flesh  and   Fantasy    (94)   Robinson-Stanwyck   4-50 

Follow  the  Boys   (109)   Baft-Dletrleli   2-50 


5016  .1-29 

.5011. . .12-4 
.5007.  .  t-U 

.5022  

.5025  


i017  

.5015.... 1-1 
.5010. .11-11 
.5012... 1-15 


11-11. 
9-50. 

.7-51. 


.5026  

 U-6 

.5005. .10-23 
.5002... 7-31 

.5024  


6-50. 

.4916. 

2-13 

8-50. 

.4926. 

.7-17 

7-50. 

4923. 

.4-10 

7-50. 

.4922. 

6-19 

8-50 

.4927. 

.4-24 

027 
634 
020 
036 


r'    MARCH   12,  1951 


Framed  (60)   

Met.  Sal  (94)   

Gallty  if  Marker   (80)  .. 
Gypsy  Wildcat   <T)  (75) 
Hare  Com*  (he  Coeds  (£0) 
If   I    Had   My  Way  (93) 
Imitation  of  Life   (109)  . 
I  9Me  a  Million  MSO. 
Keen  'Em   SI jgcjing    (61)  . 
Leather    Pashm    (64)     .  .  . 
Magnificent   Obsession  (103) 


fostir-io,   2-50... 

Sanders-Fitzferald   6-50... 

.  Montu-Hall   6-50.  . . 

.  Alkott-CartoMo   6-50  .  .. 

Crtsby-jean   1-50  . 

,  ;olbert-Bea»eri   12-49 . . . 

Raft-Trevor   3-50... 

.  Bead   End  Kldl   5-50. . . 

.  Arlen-Devlne   4-50... 

Donna-Taylor   1-50... 

,  6-50.  . . 

 5-50... 

 4-50... 

 2-50... 


Horry   Monahans    (91)   O'Connor-Blythe  ... 

Nilhtmare    (82)   Donlevy-liarrymere  . 

Mr.   Dynamito   (68)   Holan-Honroy   

Paris   Bo-nbshtli    (96)    Seett-lathbtne   

Parole    (67)   Hanter-Prestan   3-50.. 

Stipeet.    The    (85)   Latqhton-Ralnes   6-50.. 

Shadow  of  a  Doubt  (108)   WrigM-Cattao   12-49.. 

Solll»ans.  The   Baxtar-Mitthell   1-51  

Ttegh  As  They  Cone   (61)   Oead  End   Kids   5-50.. 

Walk   in  the  San.  A   Andrews-Canto   1-51  

too  Can't  Get  Away  With  It  (29)   Gaanjeter   Bettmeaitiry   3-50.  . 


1950-51  Features 
Serials 
Westerns 


REPUBLIC 


Completed  (15)  In  Production  (1) 
Completed  (  1)  In  Production  (0) 
Completed  (  6)     In  Production  (0) 


NEW  PRODUCTIONS 

DON  DAREDEVIL  RIDES  AGAIN 
Serial— Started  Feb.  5 
Cast:    Alan  Curtis 

Director:  F.  Adreon  Producer:  Fred  Brannon 

Story:    Not  available. 

MILLION  DOLLAR  PURSUIT 
Drama- -Started  Feb.  19 

Cast:    Penny  Edwards,  Stephen  Flagg,  Grant  Withers 
Director:  R.  G.  Springsteen  Producer:  Stephen  Auer 

Story:  Not  available. 
HAVANA  ROSE 
Musical —Started  Feb.  26 

Cast:    Estelita  Rodriquez,  Fortunio  Bonanova 


Director:  S.  Picker 

Story:    Not  available. 


COMPLETED 


Producer:  Wm.  Beaudine 


TltU—  Manilla  Time 


.7-31. . .1-27. . .5006. 


Iff  of  Texas   

I  the  Lady   

California  Passage   

Cuban  Fireball   

Don   Daredevil   Rides  Again   

Fighting  Coast  Guard,  The   

Heart  of  the  Rockies   

Hit  Parade  of  1951  (85)   

Neneyehlie   Canova-Fov, 

Insaranee  Investigator   Denning-Long 

Macbeth   Welles-Ntlan     .  . 

Missing    Women  Edmards-Milliean 

Hlght   Raiders  of  Montana   Lane   

•h,  Sosanna!    (C)   Cameron-Tucker 

Pride  of  Maryland   Clemen  !s-Stewart 

Rio   Grande    (105)   Vtayne-O'Hara 

Roogh    Riders  of  Darango   Lane-Towers 

Silver  City  Bonanza   Allen-Ebsen  ... 

Spoilers  of  the   Plains   Rogers-tawards 


RELEASE  CHART 

  1950-51   


RaMon-Carroll 

Chapin-Janssen   

Stack-Page   6-5  4-1  

rueker-bUra   3-27 .  .  12-15 .  . .  5005  

Estelita-Vineent   9-25  ....3-5...  5007  

Curtis-Towne   3-12  

Donlevy-Tucker   1-1 

Rogers-Edwards   10-23 .  .  .  3-30  

MaeDona  d-Carroll   5-22.  .10-15. .  .5002.  .11-20 

.11-6  

12-18. 


.3-23. 
.10-20. 

.11-20. . .2-23. 


..12-4. 

.6-19. 

.10-9. 
...7-3. 
.10-23 
. .11-6. 
. . 8-28 . 


Carroll-Mara   3-14. 


Sarrender   

Details    under  title 

  1949-50   

Avengers.    Th-   Carroll-Ralstan 

Covered   Wagon    Raid   Lane-Walter    .  . 

Destination  Big  House   Patriek-Roekwell 

Frisco    Tornado   Lane-Waller    .  . 


.2-28. 
3-10 . 
.1-20. 
11-15. 

.1-30. 
. .3-1. 
.  .2-5. 
.9-15. 


.5003  

.5025  

.5059  

.5008  

.5023. . .1-29 
.5004. .11-20 

.5058  

.5051  

.5041  

.5001  


3-13. . .6-26. 
3-13  . . 6-30 

 6-1. 

.6-5  9-6. 

Jangle    Stampede   Native   Cast    .   7-29. 

Lonely    Hearts   Bandit   ^trlek-Flrtrldge   4-24...  8-29. 

Million  Dollar  Pursuit   Edwards-riagg   3-12  

Mlssourlans,    The   rtalc-Hurst   8-28.  .11-25. 

North  ol  the  Great  Divide  (Tr.)   hoqers-Edwards   5-22.  .11-15. 

Old   Frontier,  The   Ha:a-Harst   4-10.  .  7-29. 

Pioneer    Marshal   Hale-Hurst    9-26..  12-24. 

Powder    River  Rostlers    (60)   Lane-Walttr   9-12.. 11-25. 

In   Petticoats   Perkins-Rockwell   5-8...  9-18. 

Forest   Trail   Allen-Donnell   11-7..  9-18 

Rustlers  on   Horseback   Lnne-Waller   7-31. 10-23 

Showdown.    The   Elliott-Brennan   8-15.. 

stnset   In   the  West    (C)    Raters-Edwards   3-27.  .  . 9-25 

Trail  of  Robin  Hood  (C)    (67)  Rogers-Edwards   7-3.  .12-15 

Trial    Without   Jory   Patrick-Rockwell   2-27  ...  . 7-8. 

Trigger.    Jr.    (Tr.)   Ragere-Evans   12-19 ...  6-30 . 

Unler   Mexican   Stan   Allen-Patrick   11-20 

Vigilante   Hideout   Lana-Wallar   5-8  8-6. 

Wells   Fargo  Ganmaster   Lane-Chapin   2-12  


.4918. 
.4967. 
. 4922 . 
.4925. 


.4974  

.4944  

.4973  

.4971  

.4961  

.4929  

.4953  

.4968  

4924  

.4943  

.4946. . .1-15 

.4921  

.4945  

.4954  

.4966  


RKO  RADIO 


L950-51  Features 


Completed  (47)      In  Production  (1) 


IN  PRODUCTION 

Title—  Pennine  Tint 

Androclei  and   the  Lion   


RELEASE  CHART 


 Simmons-Newton 

  1950-51   

GROUP  ONE 

Traasare   Holt-Martin  ... 


■art  Ta  la  Bad  (93)   

Beat*   Stead  (67)   

•atrata  (75)   

Walk  Sattly,  Stranger  (81)   

GROUP  TWO 

Exttrhaent  Aleatrai   

Rever    a   Dull  Moment   

let  Grande  Patrol  

NOT  DESIGNATED 

Alice  li  Wenderland  (T)  

tatter..  The  (81)   

Company  She  Keeps   

Details   trader  title:  The  Wall  Ottside 

Crttk  Dawn   

Cry   Danger  (79)   

Doable  Deal  (64)   

Edge  of  Doom   , 


.  Fontaine-Ryan  .... 

 7-4. 

..8-50.. 

.101. 

9-11 

.Storllng-Dlxan   

. . .2-27. 

. .9-50. . 

. .104. 

.  .8-21 
9-2} 

.  Andrews-Powers    .  .  . 

. . .2-27. 

.10-50. . 

.  .103 

.  Cotlen-Valli   

.11-50.. 

..102. 

.9-11 

.  Howard— Dixon 

. 11-50 

107 

. .  -If 

.  Dunna-MacMurray 

.11-50. 

'.'.106'. 

.Holt-Martin   

.11-50.. 

..108. 

. . .8-29. 

.6-50.. 

..073. 

.'.'4-2- 

Ill  A 

... 

• ■ 1-51 ■ . 

• -109. 

.1-1! 

.  Dennin  j-Windsor 

7-31. 

. .2-51. . 
12-50. . 

..U2. 

.2-21 

.  .1-: 

.  Andrews-Granger 

. . .12-3. 

..8-50.. 

. .152. 

.12- 

.  Paar-iuttons   

8-14. 

.  Bendix-Matore 

.  . .2-13. 

.110 

Andrews-Rains    . . . 

..8-14. 

2-51. 


.3-51. 


Gambling   House  (80)   

Detail!  under  title:  Alias  Mike  Fury 
Gaunt  Woman,  Tha   

Gun    Notches   Holt-Martin   11-6 

Gin  Thunder   Holt- Mart  in   10-24 

Details  under  title:  Mother  of  a  Champion 

Hard,  Fast  and  Beautiful   Trevor-Forrest   7-31. 

Hunt  the  Man  Down  (68)   Young-Anderson   5-22. 

Retails   under  title:   Seven  Witnesses 

It's    Only    Money   Sliatf*-8t«tl|   12-6 

Jet   Pilot    (T)   Wa»ne-Le;ih   12-19. 

Maeat   Rassell-Mltehonj   9-11. 

Mad  Wednesday  (80)   Lloyd-Walbam   10-1. 10-50 

Mad  With  Mach  Heart   Ryan-Lupine   5-8  

Mat  He  Foand.  Tha  Red-Tattle   6-5... 

My  Forbidden  Past   Gardner-Mitehum   10-10 

On  The  Loose   Evans-Bari   1-29 

Our   Vary  Own    (93)   Granger-Blyth   9-12 

Payment  an  Demand   Oavis-Stlllvan   2-27 

Details   under   title:  Story  of   a  Divorce 

Pistol    Harveet   Ho!t-Martin   12-4 

Roadblock   MeGiaw-DIXM   10-23 

Rustler's   Range   Holt-Martin   1-29 

Saddle   Legion   Halt-Martin   7-31 

Secret  Fury   (86)   Colbert-Ryan   11-7 

Soni  of  the  Masketetrs  (T)   Wilde-O'Hara   1-2 

Target   MeGraw-Wlilit   6-19 

Iimn'i  Peril   Barker-Huston   11-6 

Texas   Triggtrman   Htlt-Martln   7-3 

titaf,  The   Tabey-Sherldan   11-6. 

Treasure    Island    (T)    (96)   Drisccll-Newttn   

Twe  Tickets  ta  Brttdway  (T)  Leigh-Martin   11-20 

Under  Arizona  Skies   Holt-Lesl. 

Vendetta   Domergue-Dolew   8-19.  .12-50 

  194940   

GROUP  SEVEN 

tlatr  freei  Titana   Htlt-Martln   7-4... 6-50 

Artttred  Car  Rtbhtry   McG  aw-Jergens   1-30... 6-50. 

eMails  enter  title:  Cat.  3 

erder   (72)   MaeKeniie-Clements   6-50. 

I  Danger  Lifts   (82)   Mltchira-Domtrgue   1-16  . 10-50. 

1  Tower.  The  (T)   (98)   Valli-Ford   8-29.  .4-50 

SPECIALS 

■r.  Ttad  (T)   (68)   Disney  Carttan 


.9-50. 


.3-51. 


7-50.... 191... 7-3 


.026... tv: 
.024... 7- 
.023. ...7-, 


My   Fttllsh   Heart  (99) 


Andrews-Hayward 


20th  CENTURY-FOX 


1951  Features 


Completed  (27)     In  Production  (6) 


NEW  PRODUCTIONS 

FRIENDLY  ISLAND  (T) 
Musical— Started  Feb.  19 

Cast:    William  Lundigan,  Jane  Greer,  Gloria  De  Haven,  Mil 

Gaynor,  David  Wayne 
Director:  Edmund  Goulding  Producer:  Fred  Kohlm 

Story:    Not  available. 

ANNE  OF  THE  INDIES 
Drama— Started  Feb.  22 

Cast:  Louis  Jordan,  Debra  Paget,  Jean  Peters,  Thomas  Goro: 
Director:  Jacques  Torneur  Producer:  George  Jes.i 

Story:    Modern  day  woman  pirate. 

RELEASE  CHART 

IN  PRODUCTION 
Titif—Ronning  Time  P.nrt  Detail*       Rel.       it  fee 

House  On  the  Square   Power-Smith   2-12  

Kangaroo    (T)   O'Hara-Lawford   11-20  

Secret  of  Convict  Lake   Ford-Tierney   2-12  1 

COMPLETED    1950-51   

Bird  ef  Paradise   <T>   Jordan-Paget   8-14... 3-51  109....! 

Call  Me  Mister   <T)    (95)   Grablc-Dailey   7-17... 2-51  104. .  5.1 

David  and   Bethsheba    (T)   Pecx-Mavward   12-4  

Decision  Before  Dawn   Merrill-Basehart   9-25  

Details  under  title:  Legion  ot  the  Damned 

Follow  the  Son   Ford-Baxter   10-9... 4-51  * 

Fourteen    Hours   Douqlas-Basehart   5-51  fl 

Froq    Men.   The  Mac  Murray-Parker   1-29  

Golden   Goose.  The   Widmark-Andrews   1-1  II 

Guy  Who  Sank  the  Navy   Douilas-Darnell   12-18.  .  .6-51  ft 

Half   Angel    (T)   Younn-Cotton   7-17  . .6-51  IJ 

Halls  of  Montezuma.  The  (T)   (113)   Widmark-Gardner   6-5.. 1-51  103. .Ill 

Holy    Year.   1950    (42)   Documentary   Aeg  II 

Hoase  on   Telegraph  Hill   Co'tesa-Lundigan   9-11...6--51  If 

I  Can  Get  It  For  Yoo  Wholesale   Dally-Hayward   10-23.  .  .  4-51  

I'd  Climb  the  Highest  Mountain  (T)   (88)  .  Hsyward-Lundigan   6-5... 2-^1  105.  ..fl 

Laeky  Nick  Cain   (87)   Raft-tray   3-51  11 

Man  Who  Cheated   Himself,  The   (81)    .  . .  Cobb-Dall   1-51  102... P 

Meet  Me  After  The  Show  (T)   Grable-Carey    1-29  Itf 

Medltrk    The  (99)   Dunne-Guiness   6-5  ..  1-51  101.  .ip 

Na  Highway  Stewart-Dietrich   9-25  ]• 

Of  Men  and  Music  (85)   Concert    Feattre*   3-51  If] 

On  the  Riviera    (T)   Kaye-Tierney   9-25... 5-51  K. 

Rawhide   Powtr-Hayward   1-30... 5-51  U 

Sword  of  Monte  Cristo,  The  (80)   Montgomery-Corday     ...9-25..  3-51  106...  • 


FILM  BULLET" 


I.  Cart  af  My  Uttli  Girl  (T) 
irteenth  L«tter.  Til  (85)  ... 
'  S.  S.  Ttakettli  (93)   


.Crain-Prter? 


11-6 
8-25 
.11-6. . 


4-24 

4-  24  . 

5-  23 

6-  20 
9-12 


1-30 
10-10 


(MHMM 

 1949-50  — 

I  Akeet  E»e   (138)   Da.  s-aaster 

terkan  Siarllla  In  Philippines  (T)    (105)  Power-Prel:e 

ttk  Rase.    The   (T)    <  120)   aewer-Aekrry 

.ken    Arrow    (T)    (93)   Sttwirt-Paoti 

rikoo    Trail    (C)   Se..t-Williams 

rcwtl   Tt   Yesterday   Ooeanntary 

what  I.  Tk*   Roeniy-Tyler 

r  Bta.eas  Saaa  (92)   Weih-Bennett 

i  aBahter.  Tke  (84)   P«i-Parker 

II  Cat  By  (T)    (82)   Ha.cr-L.nai.an  

:iMt    Tka   (85)   ittwan-Mtdina   7-3 

n  That  Britt  (85)   Doilas-Peters   7-4 

«tar  880    (90)    McKiirt-lanrasttr   4-24 

Bin  Heatea   (T)    (97)   Grahle-Da.ley   12-19 

tkt  and  the  City   <95)   Tiernty-Widmark   8-29 

Way  Oat  (106)   Darneil-Widmarli   11-7 

ait  ii  the  Stmts   (93)   Widmark-Bel    Ceddes  1-2 

.fa   Sheridan-Matere   

•  Flats   West   Da/nell-Wlldt   4-24 

Ottalls  inder  title:  Trumpet  to  thi  Moon 

en  thi  Sidewalk   Ends    (95;   Andrews-Tierney   1-30 

II  Yai  La»t  Mi  in  December?   Wooley-Petcrs   1-1 


Sect 
*■■ 

A., 
Sect 
Oct 


•  30  10-9 

032  12-4 
019 .. . 9-25 
014. .  7-J 
020  6-19 

.02*  

023 

033 .. .  12-4 


027 
031 
016 
024 
C21 
013 
025 
022 
018 


10-23 
.11-6 

5-22 
.9-11 

8-2a 
.6-19 
.9-11 
.7-17 
.8-14 


UNITED  ARTISTS 


1950-31  Features 


Completed  (    )     In  Production  (0) 


OMPLETED 

TPtt 
airal  Was 


RELEASE  CHART 

  1949-50   


(112)   

•  Tkls  Bt   Sin  (72)   

neii   Trail.   Tka  (85)   

•.  Tka  (§5)   

11  Meilte   

*  A  Thltf  (88>   

JrtaMs  ladar  title:  Once  Orer  Lifjt 
'■far.  Tka   

MUlls  inder  title:  Cast  *f  Ltrlaf 

<  ta  Far  A   Day  (107)   

.rt.   Tkt  (93)  

Malls   inder  title 

•ad  Waaiaa.  Tka  (91) 

nd  of  Fary  (90)    .  . 

•e  Haskaatt   (78)    .  . 

aa  Steps  Berth   

•  lanaarld  Stacy   


.Chaelin-Cherflll 
.  Ferrer-Ptwtrs 


.  Iraada-Wrlfht 
.  R,  res-MajrweH 
Beware- Hate* 

.  Hafla-Krya  , 

.  AYtry-McCa.1* 


.  Yeina-D'akt  . 
.  loeeJey-Byan 
.  Prilliams-Ardin 
If  etes-Pada.i.l 

.  Oiryea-Storn 


 Raiuat .  . 

9-50. 

Chap 

 7-17. . 

Roadshow 

.  Kr 

...9-8 

Bat 

ftkali '..  .10-^24 

. .  616. 

..Bar. 

 11-21. 

.8-25 

.  Kr. 

.  All. 

'.'.'.'.'.'.'.'.'.i-i.'. 

!  [7-7" 

.  Wil .  . 

 4-24. 

Eag 

 10-9. 

ridgi  ...4-24. 

".'»>e.' 

.2-51  . 

.  .Paa. 

.'.'.'.'.'.'.'.'.5-22.' 

. .1-15. 

Stun 

 7-3 

..  Mat. 

.6-C. 

1   7-3. 

7-21.'.' 

C-E .  . 

UNIVERSAL-INTERNATIONAL 


|1950-51  Features 


Completed  (34)      In  Production  (1) 


NEW  PRODUCTIONS 

DDLERS  GREEN 
rama— Started  Feb.  24 

ist:    Shelly  Winters,  Richard  Conte,  Charles  Bickford,  Stephen 
McNally 

rector:  George  Sherman  Producer:  Aaron  Rosenberg 

3>ry:    Thug  tries  to  escape  law  by  hiding  on  fishing  boat. 

RELEASE  CHART 

  1950-51   


■•tt  t  Cotelle  Meet  tki  Irrtslili  Man. 


<  Maa.  Tka 

•etkie  (T)   

faatj  Goes  to  the  Races 
♦lea  Herde,  Tke  (T)  . 
•am  Wart  Sain  (80)  . 

"H«t  (142)   

I»ty  (104)   

Mywaed  Stary.  Tki  ... 


.  Abaott  t  Castelle   11-6. 

Mc«ai  , -Russell   

,  Crey-MeCally   8-28 

.  Be?aan-Lynnn   9-11  . 

Celbert-Brytk   11-20. 

Mecrta-S'etlrerell   12-4. 

Torea-Ckaaaler   10-10  . 

HonUlkaa-Charltta   

OConnar-Carter   10-10. 


 MeCrta-Winttrs 

 u  wniser-whtte 

 Blytne-Farrar 


.1Z-4. 
.1-29 
.7-31. 


The 


 Nirchy-Chaeman 

 Blytha-stetias 


.  .5-8  . 
.12-18 
.  .1-29. 
. .6-5  . 
.  6-19 


Mar.  .  .  .114.  .  .2-26 

Hoy.  .  .  101  

Jan. .     107.  10-23 


<rat 


•sa»  Balden  (T)  (8*) 

«i   Did  It   

kt»  Bet   

la  Eayat  (T)   

and  Pa  Ke'tle  at  tke  Fair   Main-Kilbrid 

and  Pa  Kettle  Back  on  tke  Farm   Maia-Kilkrit 

«»aa.  Tke   (87)   D'Connor-Oti 

t*ry  Submarine   Carey-Tortn 

Disaster   (100)   Mills-Cherry 

»«d  Who  Was  A  Thief.  Tke  (T)   Cartij-Uerie   9-25 

I  McCey,  Tke   Aktott  &   Costello-Shay  1-29. 

imar-i  island   (T)    Keyes-Chandler    7-17 

f«t  Unknown   Sterens-Nieol   9-11  . 

•aaawk  (T)    (82)   Hemn-DeCarlo   6-5  . 

•rearer  Girl   (83)     Smith-Brady   7-31. 

I«r  tht  Gtn   (84)   Totter-Conte   5-22  . 

Ft««t   Wayne-Ewell   10-9  . 

OMPLETED    1949-50   

*  Costilla  in  the  Foreign  Legion  (79)  Abliott  &  Costello   5-8  . 

Wn  Call  at  Cae'us  Creak  (86)   O'Connor-Arden   2-28 

!,     .cV-  The  (T)    (77)   DcCar'o-Greene   4-10. 

?  ,V0)  ,■ ■  Byington-Reagan      ....  12-13  . 

n   (T)    "7>   Lyan-Cakam   


. . 12-4  

.1-15  

..2-27  

. .5-8  ...Mar.... 102  

.7-31  .  .  .Dee.  .  .  .106  

Foreign  .  .  Jan  113  .  1-29 


I-  29 

II-  5 
.  .1-1 


.924  

.91*. . . 
.925. .8-14 
.926  . .6-13 
.922. . . .7-3 


McCrea— Hoadrli 

928 

929 

McCrt  i— Hendrli 

itf 

928 

S>30 

9-11 

Say   Hent  (75)   

fain-DaB   

...  2-27 

Jim 

.  920 

7-31 

Details    inder    title:    Panthers  Mo 

N 

Winchester   73  (92)   

.  Stewjrl-Wlntin 

2-27 

Jaly.. 

.  921 

Woaian  on  the   Dm  (77)   

 Sherifsn-OKeeli 

5-22 

Oct 

932 

Wyoming   Mail    (T)  (87)   

 lanHB)  mlliltj  ... 

5-22 

Oct 

931 

WARNER  BROTHERS 


1950-51  Features 


Completed  (29) 


'roduction  ( 


NEW  PRODUCTIONS 

PAINTING  THE  CLOUDS  WITH  SUNSHINE  I 
Musical  -Started  Jan.  26 
Musical  -Started  Jan.  26 

Cast:    Dennis  Morgan,  Virginia  Mayo,  Lucille 
Nelson 

Director:  David  Butler  Producer: 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION' 
Title — feawlmi    1  Cast  Ditalls 

I    Was  A    Communist   leef jay-Hart    1-15 

MMMifht   Bay    (T)   MaeKae-Oay   1-29 

Totrorrow   Is   Another   Day   lomao-Cechran   1-15. 


T) 

Norman,  Gene 
William  Jacobs 


(64)  . . 
Tke  (97) 


(T) 


Aleatraj  111 
B.-eak.ng  Po 
traakthreigk 

Caatala    Horatio  Hernk'i 

Deltas  (T)  (94)   

Dodge  City  (104)   

Enforcer.   The  (87)   

Finer  Story.  Tke   

Fart  Warth  (T)   

Clam)  Meaaeerie,  Tke  (107)   

Ceadkyo.   Mv  Faacy   

Hhjtway  301  (83)   

Jim  Thorpi.  All-American   

Lightning  Strikes   Twice  (91)   

Lallahy  ol  Braadway  (T)   

Hartt   of  thi   Rio  Grande   

(Mails   inder  title:   Colorado  Territory 

Only     Thi  Valiant   

flotation    Pacific  (109)   

Pretty   Ba»y  (92)   

Raton  Pais   

Reeky    Mountain  (83)   

Saa   Oatntin  (70)   

Sterm  Warning  (91)   

••tails    inder   title:   Storm  Center 

A  Train   


1950-51   

.  Ann  Skaridaa  .  . 
.  Carteld-leal    . . . 

.  Briaa-Aaar   

.  Peek-May. 

,  Coo-er-Aaman 
Flynn-dtHasilland 
Boaart-Raberts 
.  3r  an-  oehra..e 

Sectt-Briaa   

.aorcnee-Wyman 
.  Crasrtard-Teang 
.  C*cnran-Andn 
.  lineaster-Blckford 

.  TeJd-Pomaa   

.  Oay-Helsea   


Rilsiei 

4-10 

6-19 
2-13 

■aaamta. 

8-  14 
11-6 

1-  15 
.  11-7 
.  .9-25. 

2-  13 

9-  11 
2-13 
9-11 

.  .9-27 

.  8-14 
.  9-11 

. .1-2. 
.  .7-31. 

.  Fryon-wymare   6-19. 

.  logart-^keridaa   Biiuee 

.  Regeri-Beagan   12-5 


80' 


 Afalker-IUaan 

 Brando-Lelak 

 Setrtt-Jtrgeas 

Tea  Far  Tw»  (T)    (98)   Oay-MaaBaa   

Tarea  Secrets    (58)   Parter-lieai-Beman 

r ranlen    Tke   Deaflas-Maya    .   .  . 

Viraiala   City    (121)   Flynn-Bagart 

Weet  Punt  stary,  Tkt  (107)   Cataey-Haya 

COMPLETED    1949-50   

BrtgBrt  Leaf   (110)   (-••aer-Keal 

Caaad   fartar-Maarkeae 

50  Tears  Befart  Tear  Eyes  (70»  Daaamentary   

Flaaee  aa4  tke  Arrow  (T)    (88)   Laaeas  er-Maye 

Cad  Ii  It  Ca-Pllet  «   

Great  Jewel  ksMer  (91)   

Kiss   Tamorraw   Gaawoye    (102)   Camaey-Adrer 

Batern  af  tki  FrMUenmea  (T)  (74)  .  .  .  MaeBae-CaJk«ai 
This  Side  ef  the  Law  (74)   Llatffere-Smlth 


9-9 

002 

.9-30 

005 

.9-45 

.  12-9 

010 

11-6 

12-30 

!  on 

12-4 

.  3-17 

.2-24. . 

015 

2-26 

10-28 

007 

ll-« 

"i-ii!" 

!  012 

3-10 

019 

2-26 

. .3-24. 

020 

1-27  ' 

.  013. 

1-29 

. .9-16. 

004 

7-J1 

' ii— ii" ' 

!  008 

. . .9-9. . 

003 

.2-10 

014. 

1-29 

4-10 

11-6 


.  .3-3 
9-2. 
10-14. 


016  2-12 

ooi  c-aa 

006  10-23 


6-19 

11-25 . . 

.  009. 

11-20 

.12-5. 

7-1.  . 

928 

...«-» 

8-1 

6-10 

.  .'.2'.. 

5-8 

7-15.  . 

931 

'-3 

7-22 

930 

.  .7-3 

Beiuee 

6-3 

924 

8-29 

7-lr 

929 

6-19 

5-C 

.8-19 

.  .932 

8-14 

4-25 

.  aV24.  . 

927. 

6-5 

10-25 

.6-17. . 

.  926 

.  6-5 

Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 


250  N.  Juniper  St,  Phlla.  7,  Pa. 


LOcuBt  lAMZi 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed   containers   and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 

Member  National  Film  Carriers 


I  ARCH   12,  1951 


23 


CENTURY- FOX 


25c  per  Copy 


BULLETIN 


MARCH  26.  1951 


I9SI 

'9 

IE 

PROSPECTUS 

Spring  at  1540  Broadway 

•  •     •    IN  THE  SPRING,  a  young  man's  fancy  may.  as  Alfred  Lord 

Tennyson  wrote  in  his  "Locksley  Hall."  turn  to  thoughts  of  love,  but  in 
the  den  of  Friendly  Leo,  the  Lion,  vernal  thinking  is  more  concerned  with 
those  lovely  grosses  that  bloom  in  the  Spring,  tra  la.  .  .  .  And  with  the 
pictures  which  earn  'em,  .  .  .  And  the  campaigns  which  assure — or 
should  Phil  M  say  insure? — that  said  grosses  will  be  earned,  to  the 
satisfaction  of  all  concerned,  down  to  and  including  John  Q.  Public. 
T  T  T 

•  •  •  DURING  THE  NEXT  FIVE  MONTHS.  Metro  will  be  sending 
out  a  total  of  18  features,  and  you  don't  need  to  be  an  Einstein  to 
figure  that  means  almost  four  pictures  each  month.  .  .  .  What's  more, 
eight  of  the  big  ones  will  be  in  Technicolor.  .  .  .  And  you  don't  have 
to  be  told  the  box  office  potential  of  Technicolor.  ...  Or  that  John  Q's 
interest  in  color,  per  se,  has  been  stimulated  not  a  little  o'  late  by  the 
rhubarb  over  rainbowed  television  systems.  .  .  .  But  Phil  M  is  digressing 
— this  little  homily  draws  its  inspiration  from  some  of  the  promotional 
activities  presently  under  way  at  1540  Broadway.  .  .  .  And,  as  someone 
surely  has  remarked  ere  this,  one  thing  at  a  time. 

T  T  T 

•  •  •  FOLKS  AT  1540  are  especially  excited  these  mid-March 
days  over  "Father's  Little  Dividend,"  which  will  be  going  into  release  in 
April,  and  "Go  for  Broke,"  scheduled  for  availability  the  following  month. 
.  .  .  And,  of  course,  there's  the  continuing  drum-beating  for  "Quo  Vadis." 
.  .  .  (They  will  tell  you.  and  proudly,  too.  "THIS  is  the  year  of  'Quo 
Vadis'.")  .  .  .  They  think  rather  highly  of  "Father's  Little  Dividend"  at 
Metro,  and  it  wouldn't  surprise  them  at  all  if  the  picture  shaded  "Father 
of  the  Bride"  at  the  box  office.  .  .  .  Which  admittedly  would  be  quite  a 
feat.  .  .  .  Metro  and  its  agency,  Donahue  &  Co.,  have  come  up  with  a 
swell  newspaper  teaser  ad  campaign  for  the  picture.  ...  It  comprises 
a  series  of  cute  baby  photos,  with  text  restricted  to  the  three  words  of 
the  title,  lettered  on  the  tyke's  training  panties,  as  they're  known  in  the 
infants'  wear  trade. 

T  T  T 

•  •  •  THE  TEASERS  WILL  BREAK  in  some  150  newspapers  of 
large  circulation  in  75  important  cities.  .  .  .  Donahue  &  Co.  estimates 
that  over  the  course  of  the  advance  build-up  the  title  of  the  picture 
thus  should  receive  a  circulation  of  55,000,000  per  insertion,  or  for 
the  entire  campaign  something  in  the  neighborhood  of  250,000,000 
impressions.  .  .  .  That,  you  will  admit,  is  newspaper's  pre-selling  with  a 
vengeance.  .  .  .  Metro  is  not  slighting  the  national  magazines,  of  course. 
.  .  .  The  first  copy  already  has  broken  in  some  April  issues,  and  by  the 
time  the  last  ad  appears  in  May  issues  some  32  mags,  will  be  repre- 
sented in  the  campaign.  .  .  .  It's  Phil  M's  guess  this  means  an  aggregate 
circulation  of  upwards  of  62,000,000.  .  .  .  Promotional  tie-ups  for  the  pic, 
by  the  way,  are  figured  at  Metro  as  accounting  for  a  further  astrono- 
mical 670,000,000  readership! 

▼  ▼  ▼ 

•  •  •  AS  FOR  "GO  FOR  BROKE,"  Metro's  "Battleground"  suc- 
cessor, Phil  M  caught  a  glimpse  of  some  of  the  roughs  for  the  maga- 
zine ad  campaign  the  other  day,  and  they're  corking.  .  .  .  They  know  how 
to  key  copy  to  picture  content  at  1540.  .  .  .  Meanwhile,  "Quo  Vadis"  is 
in  motion  in  a  big  way  tie-up-wise.  .  .  .  Already  some  40  manufacturers 
are  set  to  turn  out  a  varied  array  of  products  from  a  special  set  of 
200  "Quo  Vadis"  patterns  developed  by  the  Knickerbocker  Textile  Corp. 


"THE  M-G-M  STORY'  IS  THE 
GREATEST  THING  THAT 
HAS  HAPPENED  TO  SHOW 
BUSINESS  IN  YEARS!" 

—says  Charles  P.  Skouras,  Pres., 
Fox  West  Coast  Theatres 


•  •  •  THE  BEST  PLACE.  IT  WOULD  SEEM,  to  sell  pictures,  is 
from  the  point  of  initial  audience  impact  and  that  is  from  the  screen. 
.  .  .  And  that.  also,  is  not  news.  ...  But  the  way  M-G-M  does  it  in 
"The  Metro-Goldwyn-Mayer  Story"  is  something  else  again.  .  .  .  With 
Dore  Schary  and  Lionel  Barrymore  seen  and  heard,  the  parade  oi 
coming  Leo  attractions — 25  of  them — is  on  view  in  black  and  white  and 
in  Technicolor.  .  .  .  Also,  there  are  58  members  of  M-G-M's  player  list 
on  parade  including  many  newcomers  who  will  be  seen  for  the  first  time. 
.  .  .  The  narration  by  Barrymore  and  Schary  reflects  a  great  deal  of 
enthusiasm  for  the  lineup  of  forthcoming  entertainment  and  that,  too. 
is  as  it  should  be.  .  .  .  This  is  an  entirely  new  version  of  the  item  that 
was  first  shown  last  year  during  the  TOA  convention  in  Texas  for 
showmen.  .  .  .  Here  the  comment  is  slanted  for  the  general  public.  .  .  . 
It  runs  60  minutes  and  may  be  booked  for  free,  gratis,  nothing — from 
the  area  exchange. 

T  T  T 

•  •     •    HERE  IS  THE  PROGRAM  "Across  The  Wide  Missourf 

"An  American  In  Paris,"  "Calling  Bulldog  Drummond,"  "Excuse  My 
Dust,"  "Father's  Little  Dividend,"  "Go  For  Broke,"  "The  Great  Caruso." 
"Inside  Straight."  .  .  .  Plus  "It's  A  Big  Country."  "Kind  Lady."  "King 
Solomon's  Mines."  "The  Magnificent  Yankee,"  "Mr.  Imperium,"  "Pandora 
and  the  Flying  Dutchman."  "People  In  Love,"  "Painted  Hills."  .  .  . 
And  including,  of  course.  "Quo  Vadis."  "Red  Badge  Of  Courage,"  "Rich. 
Young  and  Pretty,"  "Royal  Wedding,"  "Showboat,"  "Soldiers  Three," 
"Teresa."  "Three  Guys  Named  Mike."  and  "Vengeance  Valley." 

THE  FASTEST  BOOKING  HIT 

IN  FILM  HISTORY! 
Timely!  Immediate  Dating! 
Ask  M-G-M  Today! 


SI  66 BR  THM  THE  . 
flRST  UMBARoOftlpf 


.TODAY 


Thf  Most 
Honored. 
Picturf 

"BEST  FILM 
of  the  YEAR!" 

-M  Y.  Film  Critics 
-nominated  for 

Academy  Award 
-Cleveland  Film 

Critics 
-San  Francisco 

Film  Critics 
-N.  Y.  Hewspaper 

Guild 

-London  Daily 

Telegraph 

-Saturday  Review 

of  Literature 
-A.  P.  Hollywood 
Correspondents  Poll 

-CBS  Public  Poll 


Tn  ^TURNING 
K  PH/lADflPHM 

OPULAR  DEMAND! 


"all  about  eve 


TGAIN! 


Bene  owns 

Anne  BAXTER 
George  SANDERS 
Celeste  HOLM 
Thelroa  RITVER 

2ft 


all  about  eve 


m 


til 


Bring  it  back  for  Greater  Business 
"EVE"  IS  THE  HOTTEST 
DATE  AROUND! 


CENTURY-FOX 


BULLETIN 


Vol.  19,  No.  7 


March  26,  1951 


Page  Seven 


THINK  IT  OVER 

VULNERABLE 

"'T'/ie  fool  maintains  an  error 
ivith  the  assurance  of  a 
man  u/io  can  never  be  mis- 
taken: the  sensible  man  de- 
fends a  truth  with  the  circum- 
spection of  a  man  ivho  may  be 
mistaken." 

— De  Brtjix 


REVIEWS  in  This  Issue 


ourteen  Hours    8 

'he  Lemon  Drop  Kid    8 

•h.'  Susanna   8 

'iRD  of  Paradise   9 

ALENTINO    9 

HE  M  M.N  FT   9 

'he  Scarf   10 

word  of  Monte  Cristo   10 

i  Yank  in  Korea  10 

'ainted  Hills   35 

!uban  Fireball   35 

lbbott  and  Costello 

Meet  The  Invisible  Man   35 


FILM  BULLETIN— An  Independent  Motion  Plctir* 
Trait  Paper  pabllshed  ttery  other  Monday  by  Film 
Billetln  Company.  Mo  Wax,  Editor  and  Pablishtr. 
BUSINESS  OFFICE:  35  West  53rd  St.,  New  York, 
19;  Clrelo  6-9159.  David  A.  Bader,  Bislnoss 
Manattr.  PUBLICATION  -  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa.,  Rlttoa- 
loost  6-7424;  Barney  Stein.  Nanaiini  Editor:  Jul 
Taylor.  Pablieation  Manager:  Robert  Heath.  Clret- 
»tlen  Manaatr.  HOLLYWOOD  OFFICE:  659  Hiror- 
»rt  Am.,  paellt  Palisades.  Calif.,  Hlllsldt  8183; 
»»  Allen,  Hollywood  Editor.  Sabwrlption  latt: 
ME  YEAI.  {3.00  li  tbt  United  Statu:  Canada. 
*-00;  Etrtpt.  J5.00.  TWO  YEAIS,  S5.0O  la  tbt 
••Ittd  Statae;  Ca„ua.  17.50;  Eor.pt,  tS.OC. 


We  Need  Men  of  Enthusiam 

"For  one,  I  am  not  willing  to  believe  that  the  picture 
industry  has  anything  but  a  bright  future.  I  believe,  as  I 
have  expressed  myself  before,  that  those  who  have  seen  fit 
to  attempt  to  write  the  obituary  of  motion  pictures  are 
premature  to  say  the  least. 

"There  are  many  forms  of  entertainment  that  have 
weaned  away  some  motion  picture  patrons,  but  from  my 
observations  they  are  gradually  returning  to  the  field  of 
amusement   that   offers   them   most  —  motion  pictures." 

In  these  words,  Metro's  dynamic  distribution  executive,  Bill  Rodgers,  has 
expressed  to  us  his  faith  in  the  future  of  our  industry,  his  faith  and  his  en- 
thusiasm, undiminished  after  approximately  a  third  of  a  century  in  movie 
business. 

Sad  to  relate,  there  are  too  few  veterans  of  the  industry  like  Mr.  Rodgers. 
Against  each  of  his  kind  stand  a  dozen  pessimists,  mourners  for  the  "days 
beyond  recall",  men  in  production,  in  distribution,  in  exhibition,  who  whimper 
and  cast  a  pall  over  the  entire  industry. 

If  ever  the  motion  picture  business  needed  men  of  enthusiasm,  this  is  the 
time.  There  is  no  doubt  but  that  the  current  slump  is  due  in  part  to  the 
whining  and  the  wailing  of  people  within  our  own  ranks,  the  depressive  state- 
ments, the  penny-wise  and  pound-foolish  economies  that  have  contributed  to- 
the  public  suspicion  that  the  movies  are  "washed  up." 

In  congratulating  FILM  BULLETIN  on  its  announcement  of  the  Spring 
Picture  Prospectus  in  this  issue,  Republic's  James  R.  Grainger,  another  of 
those  irrepressible  believers  in  this  industry,  wired  from  the  studio: 

"Ours  is  a  business  of  enthusiasm  and  that  attitude 
should  be  reflected  by  everyone  associated  in  the  motion 
picture  industry." 

Jimmy  Grainger,  like  Bill  Rodgers,  is  a  showman  at  heart  and  it  is  in  the 
hands  of  the  showmen  that  the  fate  of  filmdom  rests.  Only  by  showmanship, 
by  keeping  our  heads  and  our  fighting  spirit  up,  can  the  recovery  of  the  movie 
business  be  speeded. 

No  one  denies  the  need  for  economies  to  offset  the  decline  in  boxoffice 
receipts,  but  neither  can  an  observer  avoid  the  conclusion  that  major  econ- 
omies must  be  effected  in  Hollywood,  where  loose  and  prodigal  production 
methods  have  always  been  the  greatest  drain  on  the  industry's  economy.  The 
tendency  of  some  of  the  men  who  hold  the  purse  strings  of  film  companies  is 
to  fight  this  serious  slump  by  retreating,  rather  than  striving  to  overpower  the 
public's  apathy  by  creating  a  refreshed  desire  to  go  to  the  movies.  Would 
not  the  logical  means  of  offsetting  television's  inroads  be  a  rip-roaring  ex- 
ploitation counter-offensive  on  behalf  of  the  wonderful  entertainment  and  re- 
laxation offered  by  motion  pictures? 

But  where  are  the  leaders  of  exhibition  and  distribution  who  should  be 
leading  this  drive?  Are  they  dreaming  of  the  days  when  the  lines  always 
extended  around  the  corner  from  the  boxoffice?  Or  are  they  busy  sharpening 
pencils  to  figure  means  of  stifling  the  advertising,  the  publicity,  the  ballyhoo, 
the  enthusiasm  which  a  business  like  ours  must  have  for  its  very  existence. 

Let  those  who  lack  faith  and  spirit  step  down.  We  need  more  men  of 
enthusiasm. 

MO  WAX 


'FOURTEEN  HOURS'  OUTSTANDING  SUSPENSE  THRILLER 

Rates  »  »  •  -t- 


20th-Fox 
91  minutes 

Paul  Douglas,  Richard  Basehart,  Barbara 
Bel  Geddes,  Debra  Paget,  Agnes  Moore- 
head,   Robert  Keith,  Howard  da  Silva, 
Jeffrey  Hunter,  Martin  Gabel. 
Directed  by  Henry  Hathaway. 

"Fourteen  Hours"  is  an  outstanding 
motion  picture,  one  of  the  finest  suspense 
thrillers  ever  made.  As  its  source  for  the 
story,  20th  Century-Fox  has  once  again 
gone  to  the  New  Yorker  Magazine, 
whence  it  obtained  "Jackpot"  and  "Mister 
880",  and  has  come  up  with  a  winner. 
Based  on  a  real-life  incident  of  some  11 
years  ago,  it  tells  the  grim  and  gripping 
tale  of  a  young  man  perched  on  the  ledge 
of  a  building  14  floors  above  the  teem- 
ing, excited  crowd  below,  while  he  pond- 
ers suicide  and  valiant  efforts  are  made 
to  dissuade  him.  The  film  has  been  ex- 
pertly made.  Henry  Hathaway's  direction 
is  superb,  completely  convincing.  John 
Paxton's  screenplay,  adapted  from  Joel 
Sayre's  New  Yorker  article,  intelligently 
avoids  cliches  both  in  dialogue  and  situa- 
tions. Sol  C.  Siegel's  production  is  real- 


geiiieu  gating 


istic  in  every  detail.  And  the  perform- 
ances are  just  right.  "14  Hours"  will  rank 
among  the  season's  best  grossers.  It  will 
win  resounding  critical  acclaim  and  word- 
of-mouth  will  make  it  a  "must-see"  to 
millions  of  people  everywhere.  The  20th- 
Fox  exploiteers  are  giving  it  both  barrels, 
as  it  deserves. 

Paul  Douglas,  as  the  police  officer, 
turns  in  a  finely  drawn  performance 
minus  any  sentimental  slush.  His  gift  for 
humor  doesn't  get  a  chance  here,  but  his 
stint  is  as  effective  as  anything  he  has 
done.  As  the  "jumper",  Richard  Basehart 
provides  just  the  right  mixture  of  emo- 
tion and  defiance.  Beautiful  jobs  are  done 
by  Agnes  Moorhead  and  Robert  Keith, 
as  the  boys'  parents,  while  Howard  da 
Silva,  as  the  zealous  police  captain,  and 
George  MacQuarrie,  as  the  evangelist, 
are  also  outstanding.  Cameraman  Joe 
MacDonald  has  photographed  some  par- 
ticularly impressive  crowd  scenes,  his 


night  shots  of  the  watchers  in  the  streei 
below,  brightly  lit  by  flares  and  search-  1 
lights  are  most  spectacular. 

STORY:    Paul  Douglas,  a  traffic  cop  \ 
tries  to  persuade  Richard  Basehart  not  tcl 
jump   from   a   15-story    window  ledge 
Basehart  refuses,  and  police  lieutenant 
Howard  da  Silva  takes  over.  Basehart 
threatens  to  jump  when  da  Silva  and  his ; 
crew  try  to  get  him  back  into  the  room,  |j 
saying  he'll  talk  only  to  Douglas,  whom 
he  trusts.  Douglas  returns  from  his  job  i 
of  holding  back  the  crowd  that  has  gath- : 
ered  and  keeps  Basehart  occupied  while 
a  huge  cargo  net  is  set  up  two  floors  | 
down.  Each  time  the  policeman  convinces 
the  boy  he  should  give  up  the  idea  of 
jumping,  something  or  somebody  causes  I 
him  to  change  his  mind.  Finally,  when| 
someone  accidentally  switches  on  a  police 
floodlight,  Basehart  moves  to  avoid  the 
beam  and  falls  from  his  perch.  He  grabs 
for  the  cargo  net,  clutches  it  and  is  pull- 1 
ed  in  by  the  police,  who  take  him  into1 
custody.   Douglas,   exhausted   from  14- 
hours  of  tension  and  constant  talking,  is 
met  by  his  wife  and  child  downstairs,  just 
another  cop  who   has   done  his  duty.1 
YORK. 


'THE  LEMON  DROP  KID'  SUB-PAR  HOPE  COMEDY 


Rates  '*  •  '•  —  on  Hope  popularity 


Paramount 
91  minutes 

Bob  Hope,  Marilyn  Maxwell,  Lloyd  Nolan, 
Jane  Darwell,  Andrea  King,  Fred  Clark, 
Jay  C.  Flippen,  William  Frawley. 
Directed  by  Sidney  Lanfield. 


This  slapstick  version  of  the  Damon 
Runyon  fable  is  lucky  to  feature  the  in- 
comparable Bop  Hope  in  the  title  role, 
for  without  him  there  would  be  no  hope 
(no  pun  intended)  for  any  appreciable 
boxoffice  success.  As  "The  Lemon  Drop 
Kid,"  the  talented  jester  works  furiously 
to  overcome  the  script  deficiencies,  and 
is  almost  constantly  on  the  screen.  The 
overall  effect  however,  is  disappointing 
and  only  those  exhibitors  whose  receipts 
soar  when  the  Hope  name  lights  up  their 
marquees  can  expect  the  returns  normal- 
ly associated  with  a  Hope  film.  Produced 
for  Paramount  release  by  Robert  L. 
Welch,  this  loose-jointed  comedy  doesn't 
approach  the  excellence  of  the  earlier 
Hope  portrayal  of  a  Runyon  character, 
"Sorrowful  Jones,"  principally  because  of 
the  mediocre  script  provided  by  Edmund 


Hartmann  and  Robert  O'Brien.  Director 
Sidney  Lanfield  wisely  gives  Hope  a  free 
rein  as  the  conniving  racetrack  tout  who 
fumbles  his  way  into  doing  a  good  deed 
as  he  tries  to  save  his  worthless  hide, 
and  the  hilarity  that  stems  from  the 
comic  s  antics  helps  serve  as  an  antidote 
for  the  film's  shortcomings.  The  entire 
thing  is  in  a  light,  spoofing  vein  and 
though  "The  Lemon  Drop  Kid"  is  not  up 
to  Hope's  best,  it  should  bring  in  gratify- 
ing returns  in  most  situations.  Some  un- 
favorable word-of-mouth,  however,  may 
cut  down  returns  in  the  subsequent  runs. 

Hope  clowns  and  sings  his  way  through 
this  movie  with  the  wisecracking  ease 
and  personable  grace  that  has  made  him 
one  of  the  nation's  top  laughgetters.  He  is 
ably  assisted  by  the  lovely  blonde  Marilyn 
Maxwell  in  a  couple  of  musical  sequences, 
while  Fred  Clark,  Jane  Darwell,  Lloyd 
Nolan,  Jay  C.  Flippen  and  a  host  of  oth- 
ers fit  in  well  as  assorted  Runyon  guys 
and  dolls.  "Silver  Bells,"  a  pleasant  little 
Yuletide  tune,  is  the  best  of  the  Jay  Liv- 
ingston-Ray Evans  melodies. 

STORY:  Bob  Hope  touts  gambler 
Moose  Moran  (Fred  Clark)  out  of  a  win- 


ner at  a  Florida  racetrack  and  is  given  23 
days,  until  Christmas,  to  scrape  together' 
$10,000  or  pay  with  his  life.  Back  in  New  I 
York,  the  Lemon  Drop  Kid  is  turned  down)! 
by  another  crook,  Oxford  Charlie  (Lloyd 
Nolan),  and  in  desperation  dons  a  Santa 
Claus  costume,  sets  up  in  business  ona« 
busy  street  corner.  The  police  arrest  him 
and  in  court,  the  judge  explains  the  num- 
erous other  Santas  are  collecting  for  a 
cause.  Hope  gets  permission  to  collect  for 
an  old  folks  home,  dedicated  to  his  friend 
Nellie  Thursday  (Jane  Darwell),  who  is 
waiting  for  her  husband's  release  from 
prison  so  they  can  enter  a  home  together. 
Using  Moran's  gambling  casino  as  the 
Nellie  Thursday  Home  for  Old  Dolls,  the 
Kid  organizes  a  group  of  nondescript 
Broadway  characters,  who  finally  collect 
enough  to  pay  the  Kid's  debt  to  Moran 
and  then  some.  However,  when  Oxford 
Charlie  sees  what  a  profitable  thing  the 
Santa  Claus  racket  is  he  muscles  in  and 
pockets  the  money.  The  Kid  plays  Ox- 
ford Charlie  against  Moose  Moran,  they 
are  both  arrested,  Nellie  Thursday  gets' 
her  Old  Doll's  home  and  the  Kid  is  left 
to  continue  his  touting.  JACKSON. 


"OH!  SUSANNA'  RIPPLES  Wll 

Rates  •  •    r  in  action  houses;  OK  dua 


Republic 
90  minutes 

Rod  Cameron,  Forrest  Tucker.  Adrian 
Booth,  Chill  Wills,  William  Chlng,  Jim 
Davis,  Wally  Cassell,  James  Lydon,  Doug- 
las Kennedy,  William  Haade,  John  Comp- 
ton,  James  I  lav  in,  Charles  Stevens,  Alan 
Bridge,  Marion  Randolph,  Marshall  Reed. 
Directed  by  Joseph  Kane. 


"Oh!  Susanna"  is  a  good,  actionful 
frontier  spectacle  that  runs  true  to  the 
familiar  Indian  warfare  format.  Boasting 
all  the  elements  the  blood-and-thunder 
enthusiasts  could  hope  for,  including  a 
massacre,  a  siege  and  a  gold  rush,  this 
Republic  offering  is  a  satisfactory  entry 
of  its  kind.  Photographed  in  attractive 
Trucolor  with  the  beautiful  Black  Hills 
of  North  Dakota  serving  as  background, 
the  lavish  production  and  intelligent  di- 

I 


H  ACTION 

ler  elsewhere 

rection  by  Joseph  Kane  provides  plenty 
of  excitement  and  suspense,  with  a  few 
songs  tossed  in  for  change  of  pace.  It  all 
adds  up  to  an  acceptable  rough-house 
show  which  will  delight  the  action  with 
good  grosses  also  resulting  in  action 
houses  and  rural  situations.  It  will  serve 
as  a  fairly  strong  dualler  elsewhere. 

Some  able  performances  are  turned  in, 
particularly  by  Rod  Cameron,  as  the 
West  Pointer  who  tries  to  keep  peace 
with  the  Indians;  Chill  Wills,  as  a  tough 
cavalry  sergeant,  and  Wi'l'am  Ching  in 
the  role  of  a  trooper.  Forrest  Tucker 
wrestles  nobly  with  a  part  that  requires 
a  bit  more  characterization  than  he  can 
muster,  while  Adrian  Booth  carries  off 
the  feminine  lead  fairly  well.  Charles 
Marquis  Warren  was  responsible  for  the 
screenplay,  which  is  adequate. 

STORY:  Out  in  North  Dakota,  when 
a  gold-rush  starts,  a  U.  S.  cavalry  patrol 


is  seeking  to  maintain  order  between  the 
miners  and  the  Sioux  Indians.  The  greedy 
gold-seekers  violate  the  treaty  with  the, 
Indians  and  the  Army's  job  is  made  more 
difficult  because  the  patrol  commanding 
officer,  Forrest  Tucker,  is  an  Indian 
hater.  He  is  also  interested  in  Adrian 
Booth,  saloon  singer,  as  is  his  junior 
officer,  Rod  Cameron.  Cameron,  a  West 
Pointer,  is  anxious  to  have  the  treaty 
observed ;  Tucker,  who  has  risen  from  the 
ranks,  wouldn't  mind  if  it  were  scrapped. 
And  Jim  Davis,  the  saloon  operator, , 
doesn't  care  either  way  as  long  as  his  | 
money-bags  are  kept  filled.  The  story, 
therefore,  keeps  rolling  along  with  plenty 
of  steam,  until  the  Sioux  are  provoked  | 
to  attack  the  garrison  in  Fort  Mills. 
Tucker,  leading  a  counter-attack,  is  con-j 
veniently  polished'  off,  leaving  Cameron 
to  clean  up  the  mess  and  save  the  women  | 
and  children.  LEON. 

FILM  BULLETIN 


BIRD  OF  PARADISE'  EXPLOITABLE  SOUTH  SEAS  TECHNICOLOR  FABLE 

ates  •  •  •  —  with  exploitation 


1th  Century-Fox 
,iX)  minutes 

ouis  Jourdan,  Debra  Paget,  Jeff  Chand- 
•r,  Everett  Sloane,   Maurice  Schwartz, 
ack  Elani,  Prince  Lei  Lani,  Otto  WaldLs, 
If  red  Zeisler,  Mary  Ann  Ventura, 
•irected  by  DeLmer  Daves. 


The  lyrical  quality  and  the  wealth  of 
Utriguing  folk  lore  with  which  Delmer 
•aves  endowed  "Broken  Arrow"  have 
een  lavished  even  more  fancifully  on 
Bird  of  Paradise"  by  the  same  writ<?r- 
Irector.  Even  two  of  the  principals, 
x>m  the  previous  film,  Debra  Paget  and 
Bff  Chandler,  have  been  ideally  cast  and 
Drtray  their  roles  beautifully  in  this 
mply-told  fable  of  the  South  Sea  Is- 
.nds.  There  are,  however,  important 
ifferences  in  the  two  films  that  will  re- 
;t  to  the  latter's  detriment  boxoffice- 
ise.  First,  Louis  Jourdan  is  no  James 
tewart.  thesplcally  or  in  a  marquee 
vise;  and  then,  in  rapid  succession,  these 
andicaps:  a  placid  tale,  only  sporadically 
aring  into  action  and  suspense;  an  elab- 
ation  of  Polynesian  customs,  alien  to 
ost  moviegoers,  that  will  (as  was  evi- 
?nced  at  a  sneak  preview)  elicit  snickers 
om  the  audience  and  destroy  the  film's 


mood;  the  ever-threatening  onus  of  fan- 
tasy that  characterizes  the  plot,  and, 
finally,  a  rambling  tale  that  has  been 
filmed  before,  and  enacted  on  the  stage 
perennially  since  its  inception  in  1911 
On  the  credit  side,  however,  are  the  film's 
potent  exploitation  values.  Filmed  in 
Hawaii,  the  screen  offers  visual  delight 
in  the  gorgeous  Technicolor  photogra- 
phy, the  sinuous  native  dances,  and  the 
awe-inspiring  eruption  of  a  volcano  (ac- 
tually filmed  last  year  when  Mauna  Loa 
blew  its  top).  The  fire-walking  ritual,  the 
human  sacrifice  to  halt  the  volcano's  ter- 
ror, the  island  people's  voodoo  —  all 
are  added  exploitation  angles.  With  these 
and  20th-Fox's  tremendous  pre-sellin^ 
campaign  and  the  widespread  merchan- 
dising tie-ins  effected  for  the  film.  "Bird 
of  Paradise"  shapes  up  as  a  potentially 
powerful  piece  of  screen  fare,  with  gross- 
ing possibilities  fluctuating  in  ratio  to 
the  exploitation  effort  behind  it. 

Debra  Paget,  as  rhe  ill-fated  maiden 
who  gives  her  life  to  satisfy  the  fire- 
goddess,  fulfills  the  promise  she  evidenced 
in  "Broken  Arrow."  She  is  breathtak- 
ingly  beautiful  in  the  island  surround- 
ings, and  enacts  her  role  with  poignancy 
and  gentleness.  Louis  Jourdan,  as  a 
Frenchman  who  succumbs  to  the  lure  of 


the  islands  and  Miss  Paget's  beauty,  ap- 
pears to  good  advantage.  In  a  role  remi- 
niscent of  his  "Cochise"  in  "Arrow,"  Jeff 
Chandler  takes  another  step  toward  the 
more   select   group  of  stars. 

STORY:  Louis  Jourdan.  a  Frenchman, 
accompanies  his  friend,  Jeff  Chandler,  a 
Polynesian  chieftain's  son,  to  the  latter's 
South  Pacific  island  home  after  a  sojourn 
in  the  United  States.  With  Chandlers 
aid,  Jourdan  is  welcomed  as  a  friend  and, 
enchanted  with  the  island  paradise  and 
Chandler's  sister,  Debra  Paget,  decides  to 
remain  permanently.  Although  the  is- 
land's holy  man,  Maurice  Schwartz,  op- 
poses his  staying,  Jourdan  wins  the  Poly- 
nesian chief's  approval  and  attempts  to 
accustom  himself  to  the  superstitions  and 
mores  of  the  natives.  He  and  Debra  are 
married  after  she  proves  her  pu-e  love 
to  the  holy  man  by  walking  on  a  bed  of 
fire  without  harm.  They  have  a  brief 
romantic  idyll,  then  the  fire-god  of  the 
island,  a  huge  volcano,  erupts  and  threat- 
ens to  wipe  out  the  village.  Schwartz 
decrees  that  only  the  sacrifice  of  the 
chiefs  daughter  will  save  them  and  as 
Paget  drops  into  the  molten  lava,  the  vol- 
cano subsides.  Jourdan  leaves  the  island 
with  the  memory  of  the  lovely  young  girl 
forever  with  him.  BARN. 


VALENTINO'  ENGROSSING  BIOGRAPHY  OF  SCREEN'S  GREAT  LOVER 

ates  •  •  •  generally 


Mumbia 
»3  minutes 

nthony  Dexter,  Eleanor  Parker,  Rich- 
'•d  Carlson,  Patricia  Medina,  Joseph  Cal- 
ia,  Otto   Kruger,  Dona  Drake, 
irected  by  Lewis  Allen. 


Rudolph  Valentino,  greatest  of  all 
|  ;ovie  lovers,  whose  untimely  death  a 
barter  of  a  century  ago  left  countless 
pken  hearts,  is  "resurrected"  on  the 
Jreen  with  remarkable  fidelity  in  the 
trson  of  Anthony  Dexter.  His  astonish- 
ig  resemblance  to  the  fabulous  silent 
Ireen  star  will  draw  gasps  from  those 
ho  can  recall  Valentino  and  will  pro- 
Ide  an  exciting  new  experience  for  the 
mnger  generation  who  have  never  seen 
|e  original.  In  addition  to  finding  the 
most  perfect  counterpart  to  play  the 
,:le  role,  producer  Edward  Small  has 
^ptured  an  aura  of  authenticity  that 
ves  the  film  surprising  substance,  and 
•?orge  Bruce  has  contributed  a  screen- 
ay  that  sustains  interest  from  begin- 
ng  to  end.  Aided  also  by  Lewis  Allen's 
■T>ert  direction,  the  picture  vividly  re- 
bates many  of  the  gaudy  events  of  the 


Valentino  era  as  it  sketches  his  career 
from  gigolo  to  the  screen  stardom  that 
made  him  the  idol  of  untold  millions. 
There  can  be  little  doubt  that  Columbia 
has  a  boxoffice  winner  in  "Valentino," 
whch  if  adequately  exploited,  will  rank 
with  the  year's  highest  grossers. 

As  in  true  life,  the  character  portrayed 
by  Dexter  is  at  first  a  bit  unsympathetic, 
but  his  fine  performance  unobtrusively 
reverses  that  impression  so  that  Valen- 
tino emerges  finally  as  an  extremely  lik- 
able human  being.  In  the  role  of  the 
woman  whom  he  loved  and  lost,  Eleanor 
Parker  is  very-  good,  as  is  Patricia  Me- 
dina as  the  girl  who  helps  him  get  his 
start  in  pictures.  Richard  Carlson.  Jo- 
seph Calleia  and  Lloyd  Gough  also  per- 
form capably  in  important  supporting 
assignments. 

STORY:  Rudolph  Valentino  (Anthony 
Dexter),  after  working  as  a  dishwasher 
and  a  gigolo,  finally  breaks  into  the 
movies  by  a  ruse,  becoming  an  over- 
night sensation.  He  embarks  on  a  love 
affair  with  movie  star  Eleanor  Parker, 
but  they  break  up  when  he  tells  her  he 
cannot  settle  down  to  married  life.  Elea- 
nor marries   director  Richard  Carlson. 


and  when  producer  Otto  Kruger  cas"> 
her  with  Valentino  in  "The  Sheik."  they 
reluctantly  accept  the  assignment  and 
the  picture  is  a  smash  hit.  Valentino  re- 
fuses to  play  opposite  Eleanor  in  a 
followup  to  avoid  embarrassing  her,  since 
they  are  still  in  love,  and  Kruger  chalks 
his  attitude  up  to  temperment,  but 
keeps  trying.  Finally,  Eleanor  gives  'n 
to  her  love  for  Valentino  and  meets  him 
at  his  beach  cottage,  where  the  pair  de- 
cide to  marry  after  she  gets  a  divorce. 
They  are  surprised  by  columnist  Lloyd 
Gough  and  a  photographer.  Gough,  who 
has  always  disliked  Valentino,  threatens 
to  publish  the  story  with  a  scandalous- 
slant.  Valentino,  suffering  from  a  severe 
attack  of  appendicitis,  calls  his  old  flame, 
actress  Patricia  Medina,  who  agrees  to 
help  him  cover  for  Miss  Parker  by  tell- 
ing Gough  she  and  Valentino  are  elop- 
ing to  New  York.  Gough  kills  the  story, 
realizing  that  Valentino  is  being  gallant 
in  his  efforts  to  protect  Eleanor.  Patricia 
and  Valentino  leave  for  New  York,  where 
the  star  dies.  The  film  ends  with  the 
famous  Woman  in  Black  placing  a  flow- 
er on  Valentino's  grave,  her  identity  still 
a  mystery.  PHIL 


HE  MAGNET'  LEISURELY  BRITISH  ENTRY 


ites  •  •  for  class  houses 


liversal  lnternational  Release 
minutes 

ephen  Murray,  Kay  Walsh,  William 
>x,  Meredith  Edwards,  Gladys  Henson, 
'lora  Hird,  Michael  Brooke.  Jr.,  Wylie 
atson,  Julien  Mitchell,  Anthony  Oliver 
rected  by  Charles  Fiend. 


"The  Magnet"  is  a  leisurely  little  hu- 
an  interest  yarn  done  in  the  familiar 
Irish  tradition  of  moviemaking.  It 
jould  bring  fairly  good  returns  where- 
er  British  films  click,  but  will  have 
mparatively  little  value  at  the  boxoffice 
the  average  American  theatre.  Produc- 
Michael  Balcon.  who  has  been  respon- 
se for  some  of  the  best  English  im- 
rts  in  recent  years,  has  fallen  slightly 


below  his  usual  standard  with  this  Uni- 
versal-International release.  The  unusual 
screenplay  by  T.  E.  B.  Clarke,  concerning 
an  imaginative  youngster  who  runs  away 
when  he  thinks  the  police  are  after  him, 
is  a  good  one,  with  Charles  Frend's  di- 
rection making  the  most  of  what  little 
situation  there  is.  However,  the  slow,  de- 
liberate tempo,  coupled  with  a  cast  that 
has  no  marquee  value  here,  make  "The 
STORY:  Ten  year-old  William  Fox. 
quarantined  from  school  because  of  scar- 
let fever,  meets  another  child  on  the 
beach  at  Birkenhead  and  exchanges  his 
"invisible  watch"  for  a  magnet.  The  other 
child's  nurse  chases  him  with  cries  of 
"Stop  thief!"  Stricken  by  remorse.  Wil- 
liam tries  to  get  rid  of  the  magnet,  and 
finally  gives  it  to  Meredith  Edwards,  or- 
ganizer for  an  Iron  Lung  Appeal  Fund. 


Edwards,  touched  by  what  he  believes  to 
be  a  sacrifice  by  the  lad,  spreads  the 
story  and  the  Fund's  goal  is  quickly  met. 
The  police  set  out  to  find  the  lad  so  that 
he  may  receive  the  Mayor's  Gold  Medal. 
William  thinks  the  police  are  after  him 
because  of  his  "invisible  watch"  confi- 
dence trick.  His  remorse  deepens  when 
he  wrongly  imagines  the  youngster  he 
met  on  the  beach  has  died  as  a  result  of 
having  contact  with  him  during  the  fever 
epidemic.  So  he  runs  away  from  home. 
His  psychologist-  father.  Steohen  Murray, 
knowing  nothing  of  WilMam's  secret  fear, 
bungles  his  diagnosis  of  his  son's  actions. 
William  c^mes  through  in  the  end  by  sav- 
ing the  life  of  an  urchin  who  befriends 
him.  and  in  a  neat  final  twist  he  gets  back 
the  "invisible  watch"  from  the  child  to 
whom  he  had  originally  given.  LEON. 


ARCH   26,  1951 


'THE  SCARF'  SUSPENSE  MELLER  HOLDS  INTEREST 

Rates  *  *  -| -  as  top  dualler 


United  Artists 
93  minutes 

John   Ireland,   Mercedes  McCambridge, 
Emlyn   Williams,  James  Barton,  Lloyd 
Gough,  Basil  Ruysdael,  David  Wolfe. 
Direct ed  by  E.  A.  Dupont 

"The  Scarf  is  a  taut,  well-constructed 
psychological  melodrama  with  a  novel 
theme.  Though  inclined  to  be  wordy, 
which  at  times  slows  down  the  pace  some- 
what, this  I.  G.  Goldsmith  production  for 
United  Artists  release  spins  an  engrossing 
yarn  in  a  convincing  manner,  utilizing  all 
the  elements  of  suspense  and  excitement 
required  to  make  an  interesting  bit  of 
movie  entertainment.  There  is  consider- 
able exploitation  value  in  the  name  of 
Academy  Award-winner  Mercedes  Mr- 
Cambridge,  who,  along  with  John  Ire- 
land, came  into  the  limelight  via  "All  the 
King's  Men."  Although  directed  with  in- 
tegrity and  intelligence  by  E.  A.  Dupont, 


the  substitution  of  talk  for  action  lessens 
the  picture's  prospects  for  anything  bet- 
ter than  fair  business  in  the  average 
situation.  Higher  grosses  may  be  ex- 
pected in  better  class  houses  and 
wherever  suspense  melodramas  are  well 
received. 

Acting  honors  go  to  Mercedes  McCam- 
bridge,  as  the  hardboiled  singing  waitress, 
and  John  Barton,  as  the  grizzled  old  tur- 
key farmer  who  is  instrumental  in  seeing 
justice  done.  John  Ireland  does  a  good 
job  as  the  bewildered  escapee  from  an 
asylum  for  the  criminally  insane  who  is 
trying  to  discover  whether  he  ever  com- 
mitted a  murder.  As  Ireland's  phony 
psychiatrist  friend,  Emlyn  Williams  is 
also  impressive.  Producer  Goldsmith  col- 
laborated with  E.  A.  Rolfe  on  the  original 
screenplay. 

STORY:  Having  been  found  insane 
and  guilty  of  murder,  John  Ireland  es- 
capes from  a  California  institution,  stag- 
gers through  the  Mojave  desert  until  he 
is  befriended  by  turkey  rancher,  James 
Barton.    The  old  man  is  impressed  ny 


Ireland's  story,  and  after  awhile,  whe 
Barton  becomes  ill,  Ireland  drives  int 
town  for  some  turkey  feed  and  meet 
Mercedes  McCambridge,  who  is  wear  in 
a  scarf  which  is  vaguely  familiar  to  bin 
She  passes  up  the  chance  to  pocket  th 
large  reward  for  his  capture  and  goes 
Los  Angeles,  where  she  has  a  job.  In 
land,  anxious  to  discover  whether  he  rea 
ly  did  commit  a  murder  of  which  he 
members  nothing  except  the  pattern 
the  scarf  used  for  the  strangling,  follow 
her  to  Los  Angeles  and  a^ics  her  to  hel 
him.    She  refuses,  and  he  turns  to 
only  other  friend  in  the  city,  Emlyn  Wi 
liams,  a  psychiatrist.   Williams  convince 
Ireland  that  he  really  is  a  murderer  an 
that,  since  he  remembers  nothing  of  th 
crime,  he  must  be  insane.  Meantime 
has  surreptitiously  informed  the  polio 
who  re-arrest  Ireland.    Barton,  howeve 
suspects  Williams  of  foul  play  and  ei 
lists  Mercedes'  aid.    Together,  with  th 
aid  of  the  prison  psychiatrist,  they  tri 
Williams    into    making    a  confessioi 
LEON. 


SWORD  OF  MONTE  CRISTO'  ACTIONFUL  SWASHBUCKLER  IN  SUPERCINECOLOR 


Rates  •  •   r   in  action  houses;  fair  dual 

20th  Century-Fox  (Edward  L.  Alperson) 
81  minutes 

George  Montgomery,  Paula  Corday,  Ber- 
ry Kroeger,  William  Conrad,  Steve  Brodie, 
Khys  Williams,  Robert  Warwick, 
Directed  by  Maurice  Geraghty. 

All  of  the  routine  swashbuckling  in- 
gredients perenially  seen  in  derring-do 
costume  melodramas  have  been  given 
ample  play  in  "Sword  of  Monte  Cristo," 
Edward  L.  Alperson,  Jr,'s  production  ;n 
the  new  Supercinecolor.  Flashing  swords, 
wild  rides,  a  full-chested  heroine  who  is 
more  than  a  match  for  any  bemedalled 
dragoon,  both  in  swordplay  and  wits;  se- 
cret passages,  dungeons  with  torture  in- 
struments, and  all  the  rest  of  it  are 
tossed  hell-for-leather  into  the  proceed- 
ings without  regard  for  ingenuity  or 
credibility  by  writer-director  Maurice 
Geraghty.  The  result  is  hardly  desinted 
to  live  up  to  the  "Better  Than  Ever" 
claim,  but  the  action  fans  and  the  less 
discriminating  should  not  find  it  hard  to 
take.  This  premise  is  bolstered  by  the 
Jane  Russellish  proportions  of  newcom- 


er generally 

er  Paula  Corday  fully  displayed  in  some 
woo-woo  gowns,  plus  an  extra  helping 
supplied  by  Acquanetta. 

Tllegedly  adapted  from  an  Alexandre 
Dumas  novel,  the  story  is  plotted  around 
the  dictator  ambitions  of  Louis  Napo- 
leon's illegitimate  brother  and  an  attempt 
to  uncover  the  lost  treasure  of  Monte 
Cristo.  Before  the  film  is  very  far  gone 
the  story  thread  that  strayed  into  devious 
byroads,  all  of  them  well  larded  witn 
action.  The  new  three  color  process,  Su- 
percinecolor, is  uneven.  At  times,  notably 
in  the  properly-lighted  indoor  scenes,  it 
is  comparable  with  the  finest  color  the . 
screen  has  offered;  too  often,  however, 
there  are  variations  in  the  quality  that 
are  most  noticeable,  like  a  yellow  or 
blue  haze,  particularly  in  the  outdoor 
sequences.  While  Miss  Corday  and  George 
Montgomery,  as  a  dragoon  captain,  regi- 
ster well  superficially,  their  perform- 
ances are  as  standard  as  the  film. 
Maurice  Geraghty's  direction  is  in  keep- 
ing with  the  demands  of  his  own  screen- 
play —  broadbeamed  and  unconcerned 
with  subtleties. 

STORY :    Emperor  Louis  Napoleon,  un- 


happily under  the  influence  of  his  hal 
brother,  Berry  Kroeger,  sends  Dragoo 
captain  George  Montgomery  along  wit 
Kroeger,  to  Normandy  to  search  ov 
members  of  ■  a  rebellious  group.  Paul 
Corday,  a  noblewoman  secretly  headin 
the  dissidents  as  a  masked  cavalier,  hope 
to  use  the  treasure  of  Monte  Cristo,  wi] 
ed  to  her,  to  finance  a  rebellion  in  th 
province.  Her  uncle,  Robert  Warwick, 
wealthy  Marquis,  is  the  only  person  wh 
can  decipher  the  symbols  on  the  swor 
of  Monte  Cristo,  key  to  the  treasure,  an 
objects  to  her  stand  against  the  Empero 
Kroeger  learns  of  the  treasure  and  futiii 
ly  tortures  the  Marquis  to  gain  the  ke 
while  Corday  rides  to  Paris  to  rev& 
Kroeger's  treachery  to  the  Emperor.  TT 
latter  accompanies  her  back  to  Norma 
dy,  but  Kroeger  forces  him  to  extra 
the  treasure's  location  from  the  Marqu 
and  keeps  the  Emperor  prisoner.  Mor, 
gomery,  imprisoned  for  his  opposition 
Kroeger,  escapes,  and  with  his  band 
dragoons  overcomes  Kroeger  and  his  l 
horts,  saving  the  treasure  for  France  ar 
ridding  the  country  of  the  evil  Kroeger 
influence.  BARN. 


'A  YANK  IN  KOREA'  MEDIOCRE  PROGRAMMER  WITH  GIMMICK 

Rates  •  •  —  as  dualler 


Columbia 
73  minutes 

I^>n  McCalister,  William  "Bill"  Phillips, 
Brett  King,  Larry  Stewart,  William  Tan- 
nen.    Tommy   Farrell,    Norman  Wayne, 
Kusty  Westeoatt,  William  Haade. 
Directed  by  Lew  Landers. 

The  gimmick  in  this  Columbia  rehash 
of  countless  other  war  film  nonentities  is 
the  moving  letter,  widely  publicized  in 
the  pi  ess,  from  a  private  in  Korea  to  his 
two  little  daughters  shortly  before  he  was 
killed.  While  it  can  serve  as  an  important 
exploitation  angle  for  "A  Yank  in  Korea," 
it  may  also  boomerang  because  of  the 
presumptuous  attempt  by  a  cheap  little 
film,  full  of  the  usual  phony  heroics,  to 
capitalize  on  a  document  which  has  al- 
ready reached  semi-historical  proportions. 
Kv  cpt  for  the  dedication  at  the  beginning 
ami  the  raiding  of  the  letter  at  the  end. 
little  else  im  ritv  comment  on  the  credit 
side.    With  actual  clips  of  front  fine  ac- 


tion interspersed  periodically,  the  staged 
battle  scenes  seem  even  more  contrived 
by  comparison  and  some  Supermannish 
feats  unreeled  by  the  Yank  soldier-play- 
ers only  heighten  the  artificiality.  How- 
ever, for  those  happy  souls  who  like  their 
screen  action  loud  and  unfettered  by  real- 
ism, "A  Yank  in  Korea"  should  be  a  sat- 
'sfaetory  dualler.  The  letter's  value  plus 
the  timely  aspect  offer  additional  selling 
points. 

Performances  range  from  routine  to 
amateurish,  although  Wi'liam  "Bill"  Phil- 
lips, as  the  writer  of  the  letter,  has  a  few 
effective  moments.  However,  the  slight, 
baby-faced  Lon  McCallister  performing 
some  outlandish  feats  of  derring-do,  is 
uncertain  in  and  unsuited  to  the  key  role 
he  plays. 

STORY:  Because  he  is  mistakenly 
publicized  as  the  first  man  in  his  town  to 
enlist  in  the  current  emergency,  Lon  Mc- 
Callister joins  up  and  is.  soon  shipped  to 
Korea.  He  quickly  becomes  a  hero  when 
he  daringly  hops  aboard  a  stranded  bull- 


dozer and  mows  down  the  enemy  aft 
they  have  surrounded  his  patrol.  Ho1 
ever,  when  he  leaves  a  sentry  post 
help  a  sick  buddy  and  the  North  Koreai 
infiltrate  to  gain  information  that  resui 
in  a  saturation  shelling,  McCallister_ 
ostracized  by  everyone  except  Sgt. 
Phillips,  a  veteran  of  the  last  war. 
Phillips  and  two  others  go  on  a  perilo 
mission  to  blow  up  an  enemy  ammui 
tion  cache  and  after  safely  completii 
the  job,  permit  themselves  to  be  captur 
in  order  that  the  other  two  can  get  awi 
and  report  a  sunken  bridge  due  to  car 
enemy  tanks  across  the  river.  They 
cape  when  the  air  force  bombs  the  ar 
but  McCallister  finds,  upon  returnir 
that  he  is  about  to  be  transferred, 
volunteers  for  a  suicidal  mission,  drivi 
a  stalled  locomotive  through  the  ener 
lines.  He  is  hurt  and  Phillips,  mortal 
wounded,  hands-him  a  letter  to  be  del 
ered  to  the  sergeant's  two  young  childr 
He  returns  to  the  States  and  reads 
moving  missive  to  the  youngsters.  BAR 


FILM  BULLETI 


COLUMBIA 

APRIL 

FURY  OF  THE  CONGO 

VALENTINO— Technicolor 

WHIRLWIND 

SANTA  FE— Technicolor 

MAY 

THE  BRAVE  BULLS 
HER  FIRST  ROMANCE 
WHEN  THE  REDSKINS  RODE 
SMUGGLER'S  GOLD 
SNAKE  RIVER  DESPERADOS 

JUNE 

CHINA  CORSAIR 

LORN  A  DOONE— Technicolor 

TEXAS  RANGERS 

VALLEY  OF  FIRE 

EAGLE  LION  CLASSICS 

APRIL 

SKIPALONG  ROSENBLOOM 

BADMAN'S  GOLD 

THE  LONG  DARK  HALL 

OLIVER  TWIST 

WHEN  I  GROW  UP 

MAY 

VOLCANO 
FIGHTING  REBELS 
CAIRO  ROAD 
HOODLUM 

TWO  GUYS  AND  A  GAL 

LIPPERT 

APRIL 

DANGER  ZONE 
PIER  23 

MAY 

ROARING  CITY 
KENTUCKY  JUBILEE 

JUNE 

LITTLE  BIG  HORN 

M-G-M 

APRIL 

FATHER'S  LITTLE  DIVIDEND 
SOLDIERS  THREE 

THE  GREAT  CARUSO— Technicolor 
MAY 

THE  PAINTED  HILLS— Technicolor 
THE  HEADLINE  STORY 
PANDORA  AND  THE  FLYING  DUTCH- 
MAN— Technicolor 

JUNE 

PEOPLE  IN  LOVE 
MR.  IMPERIUM— Technicolor 
CALLING  BULLDOG  DRUMMOND 
EXCUSE  MY  DUST— Technicolor 

MONOGRAM- 
ALLIED  ARTISTS 

APRIL 

CANYON  RAIDERS 


I  WAS  AN  AMERICAN  SPY 
GHOST  CHASERS 

MAY 
BLAZING  BULLETS 
CAVALRY  SCOUT— Cinecolor 
ACCORDING  TO  MRS.  HOYLE 
NEVADA  B  ADM  EN 

JUNE 
CASA  MANANA 
FATHER  TAKES  THE  AIR 
MONTANA  DESPERADO 

PARAMOUNT 

APRIL 

MOLLY 

QUEBEC — Technicolor 
THE  LEMON  DROP  KID 
MAY 

APPOINTMENT  WITH  DANGER 
THE  LAST  OUTPOST— Technicolor 


JUNE 

DEAR  BRAT 

Two  Reissues: 
STAR  SPANGLED  RHYTHM 
MIRACLE  OF  MORGAN'S  CREEK 

REPUBLIC 

APRIL 

THUNDER  IN  GOD'S  COUNTRY 
BULLFIGHTER  AND  THE  LADY 
FIGHTING  COAST  GUARD 
MAY 

HONEYCHILE— Trucolor 
BUCKAROO  SHERIFF  OF  TEXAS 
IN  OLD  AMARILLO 
FUGITIVE  LADY 
MILLiON  DOLLAR  PURSUIT 

JUNE 
A  LADY  POSSESSED 
SOUTH  OF  CALIENTE 
RODEO  KING  AND  THE  SENORITA 
HAVANA  ROSE 

RKO  RADIO 

APRIL 

KON-TIKI 

THE  THING 

MY  FORBIDDEN  PAST 


MAY 

HARD,  FAST  AND  BEAUTIFUL 
SEALED  CARGO 
TOKYO  FILE  212 

JUNE 

BEST  OF  THE  B  ADM  EN — Technicoloi 
MAD  WITH  MUCH  HEART— 
Title  tentative 

20th  CENTURY-FOX 

APRIL 

YOU'RE  IN  THE  NAVY  NOW 

I  CAN  GET  IT  FOR  YOU  WHO 

SALE 
FOLLOW  THE  SUN 

MAY 

FOURTEEN  HOURS 
RAWHIDE 

ON  THE  RIVIERA— Technicolor 
JUNE 

HALF  ANGEL— Technicolor 
HOUSE  ON  TELEGRAPH  HILL 
JUST  ONE  MORE  CHANCE 

UNITED  ARTISTS 

APRIL 

THE  SCARF 
QUEEN  FOR  A  DAY 
HE  RAN  ALL  THE  WAY 
MAY 

DEEP  IN  YOUR  HEART 
NEW  MEXICO— Anscolor 
THE  PROWLER 
FABIOLA 

JUNE 

THE  MAN  WITH  MY  FACE 
THREE  STEPS  NORTH 


UNIVERSAL 

APRIL 

UP  FRONT 
MA  AND  PA  KETTLE  BACK  ON  Tf 
FARM 

DOUBLE  CROSSBONES— Technicolo 
May 

THE  FAT  MAN 

SMUGGLER'S  ISLAND— Technicoloi 
KATIE  DID  IT 

JUNE 

APACHE  DRUMS— Technicolor 
HOLLYWOOD  STORY 

WARNER  BROS. 

APRIL 

RATON  PASS 
ONLY  THE  VALIANT 
MAY 

I  WAS  A  COMMUNIST  FOR  THE  F.| 
GOODBYE  MY  FANCY 
ALONG  THE  GREAT  DIVIDE 
JUNE 

INSIDE  THE  WALLS  OF  FOLSOM 
SON 

STRANGERS  ON  A  TRAIN 


FILM  BULLET 


£pi*9  PICTURE  PROSPECTUS 


Must  We  'Die'  Every  Summer? 


■o.. 


George  isn't  typical,  thank  goodness, 
>ut  there  is  no  doubt  that  the  movie  in- 
lustry  has  quite  a  few  Georges.  Having 
attained  a  junior  executive's  post  at  a 
Inature,  temple-graying  fifty,  after  being 
Ihrough  the  mill  from  a  start  as  an  up- 
irtate  salesman,  he  had  pretty  well-fixed 
potions  about  what's  what  with  this  in- 
iustry.  Over  the  course  of  those  career- 
'milding  years,  George  had  instinctively 
icquired  a  kind  of  cool,  clear  judgment  on 
jllm  product  and  its  boxoffice  possibilities 
just  by  studying  a  few  office  details:  the 
::heme  of  the  picture,  the  names  of  the 
!;tars,  the  director's  reputation,  how  many 
ip-ups  the  promotion  department  had  on 
tap,  and  the  advertising  budget. 

Armed  with  this  information,  George 
iad  been  able  to  estimate,  without  even 
;eeing  the  picture,  within  a  few  hundred 
lollars  of  how  much  a  given  film  would 
»ross.  And  he  prided  himself  on  his  deep 
nsight  into  mass  psychology.  He  knew 
vhat  the  public  wanted,  even  if  the  public 
iidn't.  He  rather  liked  his  approach  to 
he  question  of  what  kind  of  pictures 
Hollywood  should  make:  "Our  job  is  to 
live  the  American  people  entertainment, 
lot  uplift,  and  to  show  the  stockholders 
)rofit,  not  prestige." 

George  knew  most  of  the  answers.  He 
<new,  for  instance,  that  any  picture  that 
was  to  be  a  money-maker  had  to  have 
Sex,  with  a  capital  S.  And  he  knew  that 
iny  picture  without  a  top-ranking  star 
iad  two  strikes  on  it  and  there  was  no 

jfeense  in  pouring  more  money  down  the 
drain  in  trying  to  exploit  it.  He  knew  this 

|c.jin  spite  of  the  fact  that  some  of  the  big- 
gest money-makers  in  movie  history 
i"made"  stars  rather  than  vice-versa. 

Knows  'Elementally  Facts' 
But  of  all  the  things  George  "knew," 
ne  was  most  certain  that  theatre  business 
.vas  strictly  a  September-to-April  proposi- 
tion, and  we  could  "shut  down"  for  the 
months  in  between.  In  the  executive  con- 
fabs of  ins  company,  he  led  che  argu- 
ments for  withholding  from  release  any 
worthwhile  pictures  that  might  have  been 
Completed  in  the  Spring  and  Summer. 
Nothing  changed  for  George,  and  neither 
'television,  nor  an  ominous  public  apathy 
jiltered  what  he  liked  to  call  the  "elemen- 
tary facts"  of  movie  business. 

I  However,  in  George's  high  blue  heaven 
there  was  one  small  cloud:  his  friends 
^nd  neighbors  would  insist  on  asking  his 
(l)pinions  about  current  movies  and  about 
changes  they  were  noticing  in  theatre 
ousiness.  To  them,  George  was  an  intel- 

MARCH   2  6,  1951 


embarrassing  questions  about  how 
George's  industry  was  coping  with  "the 
new  problems"  they  felt  TV  was  posing 
for  the  industry.  And,  of  course,  it  was 
rather  irksome  when  he  was  expected  to 
dissect  or  analyze  a  film  he'd  never  seen. 
They  were  beginning  to  get  under  his  skin 
just  a  bit. 

It  was  with  no  great  pleasure,  there- 
fore, that  George  found  Harry  and  Jean 
Abbot  stowing  away  the  dry  martinis 
when  he  got  home  from  the  office  a  cou- 
ple of  weeks  ago  intent  on  seeing  the 
Milton  Berle  show  on  Channel  4.  For 
George,  who  hadn't  been  to  the  movies 
for  years,  was  a  TV  fan.  It  wasn't  wise, 
of  course,  to  admit  it.  "No  use  for  the 
damn  thing,"  he'd  say  if  guests  were  pres- 
ent in  the  house.  "Helen  bought  it  for  the 
kids  .  .  .  ."  And  Helen  would  add,  with 
an  indulgent  smile,  "Well,  you  know  how 
it  is  .  .  .  .,"  or  "It's  just  one  of  those 
things  .  ..."  A  wonderful  woman,  Helen. 


TOUGH  COMPETITOR 

Especially  in  the  Jf  inter 


lectual  genius  on  the  subject  of  films  and 
he  did  not  object  to  such  a  reputation;  he 
found  it  rather  refreshing,  to  tell  the 
truth.  But  these  outsiders,  in  their  naive 
bluntness,  were  beginning  to  ask  some 
She  never  committed  herself  where 
George  was  concerned.  Her  conversation 
sparkled  with  brilliant  innocuties. 

Jean  Abbot,  however,  was  not  to  be  di- 
verted this  time.  She  said  suddenly,  apro- 
pos of  nothing,  "George,  what's  the  best 
movie  in  Town?" 

Trapped,  George  played  for  time.  "De- 
pends what  you  and  Harry  are  in  the 
mood  for,  I  guess,"  he  said. 

Helen  said  "Let  me  fix  you  another 
drink,  dear.  How  about  you,  Jean?"  It 
was  a  wasted  effort. 


Jean  nodded  quickly,  gulped  and  said, 
"Harry  and  I  want  to  catch  one  or  two 
good  shows  before  the  warm  weather  sets 


"You  know  how  it  is,  George,  old  boy," 
said  Harry  Abbot.  "Soon  as  the  good 
weather  comes  along,  and  everyone  can- 
get  out  and  about,  all  the  good  pictures 
disappear  and  they  show  a  lot  of  rubbish." 

"It's  certainly  time  we  had  some  decent 
weather,"  Helen  said.  "Have  you  and 
Harry  plannd  your  vacation  yet?" 

Before  Jean  Abbot  could  answer, 
George  said,  "What  do  you  mean  by  'rub- 
bish,' Harry?  What  the  hell's  the  good 
of  a  company  like  mine,  for  instance, 
playing  its  best  pictures  to  summertime 
audiences?  We'd  be  nuts." 

"But  don't  you  see,  George,"  Jean  ar- 
gued, "that  summer  audiences  are  thin 
because  the  films  are  bad 

George  gestured  impatiently.  "Listen," 
he  said,  "I've  been  in  the  business  a  hell- 
uva long  time;  long  enough  to  know  that 
the  average  family  won't  go  to  the  thea- 
tre when  the  sun  is  shining.  They'd  rather 
be  in  the  car,  or  out  on  the  beach.  We've 
got  figures  to  prove  it." 

A  New  Situation 
Helen  made  a  fruitless  effort  to  interest 
Harry  in  the  olives.  He  said,  "No  thanks; 
I  think  you're  wrong,  George.  Of  course, 
you're  not  TV  addicts  like  Jean  and  I,  but 
I  think  that's  changed  the  whole  situa- 
tion in  the  movie  business,  and  you're  not 
making  allowance  for  it." 

"Of  course  we're  making  allowance  for 
it,"  said  George,  who  was  getting  slightly 
rattled.  "How  can  we  help  it,  when  we 
know  that  at  least  ten  per  cent  of  our 
customers  sit  with  their  noses  glued  to  a 
bit  of  glass  for  hours  on  end  watching  a 
lousy  television  program  when  they  could 
be  enjoying  the  best  Hollywood  stuff  with- 
out giving  themselves  myopia." 

"But  that's  just  it,  George,"  insisted 
Jean.  "Don't  you  see  that  in  the  winter- 
time people  don't  bother  to  go  out  unless 
they  have  to.  They  sit  at  home  and  watch 
television  because  it's  so  convenient.  But 
they  don't  stay  home  in  the  summertime." 

"Jean's  right,"  Harry  said.  "Apart  from 
anything  else,  all  the  best  radio  and  tele- 
vision shows  are  taken  off  during  the  sum- 
mer. That  ought  to  be  your  opportunity." 

Helen  forgot  her  traditional  role  for  a 
moment.  She  said,  brightly,  "I  suppose 
they're  taken  off  because  the  radio  peo- 
{Continued  on  Next  Page) 


Spin?  PICTURE  PROSPECTUS 


Must  We  'Die'  Every  Summer? 


(Continued  from  Preceding  Page) 

pie  have  found  out  everyone  goes  to  the 

beach." 

'  "Exactly!"  said  George,  delighted  to 
have  found  an  ally.  "So  why  should  we 
waste  our  best  films  when  the  theatres  are 
half  empty?" 

'  "But  nowadays  they're  half  empty,  any- 
way; even  in  the  wintertime.  You've  ad- 
mitted that  yourself,"  said  Jean. 

George  bridled.  "I  haven't  admitted 
anything  of  the  kind,  Jean,  and  you  know 
it.  I  said  ten  per  cent  of  our  audiences 
had  been  'lost'  to  television,  not  fifty  per 
cent." 

Helen  watched  the  flush  which  had 
mounted  to  George's  cheeks,  and  realized 
she  had  better  change  her  tactics.  "I'll 
make  some  coffee,"  she  said,  and  fluttered 
around,  clearing  up  the  empty  glasses. 

"Here,  let  me  help  you,"  offered  Jean, 
just  as  Helen  had  expected.  They  disap- 
pared  into  the  kitchen. 

George  lit  a  cigar,  rolled  the  smoke 
luxuriously  around  his  tongue  and  nod- 
ded patronizingly.  "You  know,  Harry, 
there's  something  in  what  you  say."  The 
enemy  having  been  neatly  divided  by  Hel- 
en's maneuver,  he  was  feeling  slightly 
more  confident. 

"Well,  as  I  see  it,"  said  Harry,  "your 
movie  audiences  are  down  ten  or  twenty 
per  cent  during  the  winter,  because  of 
TV.  You've  spent  a  lot  of  money  trying 
to  get  them  out  of  their  homes.  You've 
failed.  Surely  it  would  be  easier  and 
cheaper  to  get  them  into  the  theatres 
when  they're  out  of  doors  anyway,  and 
when  there's  no  TV  counter-attraction. 
You  spend  all  your  energies  trying  to  beat 
television,  when  competition  is  at  its 
height.  It  doesn't  make  sense." 

George  shook  his  graying  head.  "You 
don't  understand,"  he  said.  "That's  just 
when  we've  got  to  fight— when  we're  up 
against  it.  In  the  summer  the  enemy  isn't 
there,  so  why  should  we  knock  our  brains 
out?" 

Offer  Better  Pictures 
"But  don't  you  see,"  Harry  persisted, 
"you've  got  a  chance  to  seize  the  initia- 
tive? I  think  that  if  the  film  companies 
Offered  some  of  their  best  pictures  during 
the  hot  weather,  when  the  average  person 
is  more  in  the  mood  for  away-from-home 
entertainment,  they'd  win  back  an  awfui 
lot  of  people  who've  fallen  out  of  the 
habit  of  going  to  the  movies." 

George  settled  back  in  his  chair  and 
blew  a  couple  of  smoke  rings.  "Go  on," 
he  said,  "this  is  interesting.  What  do  we 
use  for  money?" 

"Well,  you've  got  to  take  a  chance. 
.Shif:  the  main  weight  of  your  sales  cam- 
paign from  one  part  of  the  year  to  an- 


SPRING  IS  HERE 

People  in  Circulation 


other.  You  don't  actually  spend  any  more 
on  publicity  or  exploitation,  but  you  spend 
it  at  a  different  time." 

"In  other  words,  the  entire  film  indus- 
try should  take  a  million  dollar  gamble 
to  prove  or  disprove  a  theory?" 

"Certainly,"  Harry  said.  "I  know  it 
would  be  a  gamble,  but  one  with  the  odds 
weighted  in  your  favor.  People  are  out  of 
homes  in  the  summertime.  They're  in  cir- 
culation again,  where  you  can  get  at  them, 
instead  of  being  immobilized  by  TV." 

"What  else?" 

"People's  days  are  longer  in  the  sum- 
mer. They  have  more  leisure.  There  isn't 
so  much  cooking  to  be  done  by  the  aver- 
age housewife.  She  serves  more  salads. 
She  doesn't  have  to  keep  the  kids  indoors, 
tied  to  her  apron  strings,  because  of  bad 
weather." 

"Be  honest,  Harry,"  George  said. 
"Would  you  and  Jean  go  to  the  movies 
in  the  hot  weather  months,  assuming 
there  was  something  you  wanted  to  see?" 

"Yes,"  said  Harry.  "I  think  we  would— 
provided  the  theatre  is  air-conditioned." 


"Now  we're  getting  to  it,"  George  said 
with  a  chuckle.  "It's  not  only  the  film) 
companies  that've  got  to  spend  money, 
but  the  exhibitors,  too.  How  do  you  think 
they're  going  to  feel  about  it  when  they're 
told  they've  got  to  overhaul  and  modern- 
ize their  air-conditioning  plants  because 
some  people  might— might,  mark  you— 
want  to  cool  down  every  now  and  then?" 
Points  To  Drive-Ins 

"But    that    isn't    what    I'm  saying, 
George.  I'm  saying  people  would  go  to 
the  theatre  in  the  summer,  if  it  were  rea- 
sonably cool  inside,  but  only  provided  theyj 
were  being  offered  a  good  picture.  You're 
the  expert.  I'm  just  a  layman,  but  anyonefS 
who  has  seen  the  business  being  done  at  I 
the  new  Drive-ins  knows  perfectly  well  I 
that  movies  can  attract  summer  audi-li 
ences  if  the  conditions  are  comfortable."  I 

Harry  was  warming  up  to  the  subject.  I 
steadily  becoming  more  certain  of  his  ar \M 
guments.  He  continued.  "The  more  ll  J 
think  of  it,  George,  the  surer  I  am  youH 
people  in  the  movie  business  have  gottenj  1 
into  the  habit  of  taking  things  for  grant-W 
ed.  You  have  'traditions'  that  condition!  I 
your  viewpoint  on  things.  But  I  don't  I 
have  to  tell  a  bright  guy  like  you  that  I 
things  change  —  and,  brother,  television}  I 
is  something  that  must  figure  in  youiH 
reasoning  today.  If  the  big  men  in  the'.  J 
movie  industry  open  their  eyes,  they  will  I 
realize  that  your  business  doesn't  have  I 
to  die  as  soon  as  the  warm  weather  sets}  I 
in.  As  a  matter  of  fact,  that's  just  when I  I 
your  business  should  start  living.  Talk'  I 
it  up,  George;  start  'em  thinking.  They 
might  very  well  discover  that  the  Spring!  j 
and  Summer  will  be  the  BIG  seasons  foij  I 
your  business  in  a  year  or  two." 

Helen  and  Jean  emerged  from  the  kitch- 
ed.  Jean  had  her  coat  on.  "It's  too  bad," 
said  Helen.  "Can't  you  persuade  Harry' 
and  Jean  to  stay  for  coffee?" 

"Thanks  all  the  same,"  Harry  said.  "We 
really  must  be  going,  but  I've  enjoyed  our 
chat,  George." 

Helen  added,  "I'm  sure  George  has, 
too  .  .  .  ." 

When  Harry  and  Jean  Abbot  had  gone, 
George  moved  over  to  the  window  and 
stood  there  thoughtfully  for  a  moment 
or  two.  Helen  brought  the  coffee  in.  She 
glanced  at  the  clock.  "Isn't  it  time  you 
switched  the  TV  on?"  she  said.  "It's 
nearly  nine,  dear." 

He  seemed  not  to  have  heard  her.  "Itl  I 
really  is  a  lovely  evening,"  he  said,  over, 
his  shoulder.  "Seems  as  though  summer's, 
almost  here." 

He  drank  his  coffee  slowly,  then  turned  I 
towards  Helen.  "Tell  you  what,"  he  said.j  \ 
"It's  such  a  beautiful  evening,  let's  doj  | 
something  different.  Let's  go  out  and  take 
in  a  movie." 


14 


FILM  BULLETIN! 


gjtriof  PICTURE  PROSPECTUS 


The  10  BIG  ONES  For  Spring! 


The  screen  will  be  busting  out  all  over 
-during  the  next  three  months  with  what 
promises  to  be  a  bumper  boxoffice  crop. 
Comedies,  dramas,  musicals,  tnrilieiS, 
spectacles  —  in  short,  a  fulsome  variety 
of  screen  entertainment  will  be  placed  at 
the  exhibitor's  disposal  for  his  public's 
pleasure.  Sorting  through  the  entire  lot 
of  Spring  releases,  FILM  BULLETIN  has 


FOURTEEN  HOURS 


selected  the  ten  films  that  promise  to 
make  the  strongest  bid  to  grab  the  movie- 
goer's fancy.  The  self-imposed  limit  of 
ten  made  necessary  the  omission  of  some 
pictures  that  could  very  well  be  included 
in  a  "best"  list. 

The  bulk  of  the  top  ten  this  Spring  will 
come  from  the  two  companies  that  share 
the  top  rung  in  the  overall  product  con- 
census, 20th  Century-Fox  and  Metro- 
•Goldwyn-Mayer.  Both  are  represented 
with  three  apiece.  The  balance  is  distri- 
buted singly  among  Paramount,  Univer- 
sal, United  Artists  and  Columbia. 

The  20th-Fox  trio  puts  a  candidate  in 
each  of  the  three  major  categories  cf 
screen  fare:  comedy,  suspense-drama, 
musical. 

Fourteen  Hours,  due  for  May  release 
and  currently  proving  its  mettle  in  a  pre- 
release Broadway  run,  has  Paul  Douglas 
and  Richard  Basehart  in  a  pulse-pounder 


that  has  earned  rare  critical  accolades 
from  the  New  York  critics  for  its  ability 
to  keep  audiences  on  the  edge  of  their 
seats.  A  clever  advertising  campaign,  a 
tremendous  break  in  Life  Magazine  and 
potent  word-of-mouth  should  make  th:s 
one  of  the  likeliest  prospects  for  the  sea- 
son's toppers. 

On  the  lighter  side  from  20th-Fox,  On 
the  Riviera  and  You're  In  The  Navy  Now 
(formerly  "USS  Teakettle")  look  like  jus' 
the  ticket  for  tickling  the  public  lunny- 
bone.  On  the  Kiviera,  May  release,  brings 
back  the  phenDmenal  Danny  Kaye,  with 
Gene  Tierney   and  Corinne  Calvet  co- 


I  ml- J 


V 

• 

1  m 

FATHER'S  LITTLE  DIVIDEND 


starred  in  a  Technicolor  comedy  with  mu- 
sic, giving  Kaye  a  dual  role  to  showcase 
his  lavish  talents.  You're  in  the  Navy 
Now,  starring  Gary  Cooper,  rid  of  the 
unattractive  title  which  hampered  its  re- 
cent openings,  was  withdrawn  for  new 
advertising  and  publicity  material,  and  is 
expected  to  cash  in  on  its  hefty  comedy 
value  when  it  is  released  in  April. 

M-G-M's  high-powered  triumvirate. 
Great  Caruso,  Father's  Little  Dividend, 
and  Mr.  Imperium  lead  that  company's 
imposing  Spring  lineup  of  eleven  releases. 
The  long-awaited  Caruso,  in  Technicolor, 
is  a  natural  for  M-G-M's  sensational  sing- 
ing star,  Mario  Lanza,  and,  if  it  lives  up 


to  anything  approxjmating  expectations, 
can  well  turn  out  to  be  one  of  the  year's 
top  grossers. 

Father's  Little  Dividend  has  already 
been  hailed  in  the  trade  reviews  as  a  fit- 
ting sequel  to  the  eminently  successful 
"Father  of  the  Bride."  With  the  same 
cast  of  principals,  Spencer  Tracy,  Eliza- 
beth Taylor,  Joan  Bennett  and  Don  Tay- 
lor, the  comedy  traces  the  further  tribu- 
lations of  Father,  about  to  become,  and 
as,  a  grandfather. 

."Mr.  Imperium  is  immediately  notable 
for  the  long-awaited  screen  starring  debut 
of  Ezio  Pinza,  Metropolitan  Opera  star 
who  became  a  Broadway  sensation  in 
"South  Pacific,"  will  be  seen  (and  heard, 
of  course),  opposite  Lana  Turner  in  this 
romantic  drama.  Filmed  in  coior,  the 
Pinza-Turner  names,  augmented  by  such 
strong  featured  players  as  Barry  Sulii- 


HE  RAN  ALL  THE  WAY 


van,  Debbie  Reynolds,  Marjorie  Main  and 
Sir  Cedric  Hardwicke,  augur  a  prosper- 
ous potential  Mr.  Imperium. 

He  Ran  AH  the  Way,  starring  John 
Garfield  and  Shelley  Winters,  is  United 
Artists'  entry  among  the  Big  10.  Pro- 
duced by  Bob  Roberts,  who  handled  Gar- 
field's "Body  and  Soul,"  the  film  is  due 
(Continued  on  Next  Page) 


MARCH   26,  1951 


10  BIG  ONES 


(.Continued  from  Preceding  Page) 

for  April  release.  It  is  a  suspense  drama 
done  in  the  realistic,  punchy  style  that 
helped  make  Roberts'  previous  film  a 
boxoffice  winner,  and  with  a  provocative 
starring  team  to  pique  audience  interest, 
He  Kan  seems  to  have  the  stuff  that  will 
give  UA  its  first  real  winner  in  a  long 
time. 

The  boxoffice  lure  of  the  Alan  Ladd 
name,  the  documentary-like  approach 
using  actual  location  settings  and  a  story 
that  seems  tailored  to  the  star's  talents, 
all  make  Paramount's  Appointment  With 
Danger  an  auspicious  candidate  for  the 
Top  Ten.  Spotlighting  the  Postal  In- 
spection Service,  the  screenplay  is  based 
on  true  episodes  from  Government  files. 

Bill  Mauldin's  famous  cartoon  charac- 
ters of  World  War  II,  Willie  and  Joe, 
-known  affectionately  and  amusingly  ap- 
preciated by  millions  of  GI's  in  "Stars 
and  Stripes,"  and  later  a  best  seller  and 


APPOINTMENT  WITH  DANGER 


Uook-of-the-Month  selection,  come  to  the 
screen  in  UniversaPs  Up  Front.  With 
the  inspired  casting  of  David  Wayne  and 
Tnm  Ewell  in  the  top  roles,  the  fame  of 
the  Mauldin  humor,  critical  kudos  that 
are  likely  to  match  the  trade  press  ac- 
colades, and  an  ingenious  ad  campaign 
by  Universal,  there  is  little  doubt  that 
Up  Frail  belongs  in  the  elite  group  of 
Spring  releases. 

Columbia's  Valentino  belongs,  too,  on 
the  basis  of  star  Anthony  Dexter's  re- 
markable resemblance  to  the  late  Great 
Lover  of  the  films,  a  lavish  Technicolor 
production  that  sketches  his  brief  but 
fascinating  career,  and  a  wealth  of  mass 
appeal  elements  in  its  detailing.  This 
entry  rounds  out  the  Big  10  of  the 
Spring  season. 

Others  in  the  well-stocked  list  of 
April-May-June  releases  may  supplant 
cne  or  two  of  the  ten  named  above,  some 
<  f  which  may  fizzle  out  when  put  to  the 
.  '  id  b.o.  lest.  But  from  this  angle,  late 
in  March,  our  select  group  of  10  Big 
Ones  shows  the  greatest  promise. 


UP  FRONT  VALENTINO 
YOU'RE  IN  THE  NAVY  NOW  (formerly  U.S.S.  TEAKETTLE) 


IANK  YOU 
EXHIBITORS 
OF  AMERICA 
FOR  GIVING 
US  A  GREAT 
TITLE  FOR  A 
GREAT  GREAT 
PICTURE!!! 


V.  5.  S.  TEAKETTLE 
becomes 


MR 


v 


CENTURY- FOX 


20th  Century  &  Metro  Le 


Spring  PICTURE  PROSPECTUS 


Not  only  have  20th  Century-Fox  and 
Metro-Goldwyn-Mayer  waltzed  off  with 
major  honors  in  the  Ten  Big  Ones  derby 
for  Spring,  each  placing  three  of  their 
films  in  that  select  circle,  but  these  same 
two  companies  appear  a  cinch  to  lead 
the  film  race  right  through  the  next 
three  months.  Other  distributors,  of 
course,  will  be  coming  up  with  top-flight 
releases  here  and  there,  but  our  handi- 
capping of  the  overall  programs  sched- 
uled by  20th-Fox  and  Metro  for  April, 
May  and  June,  finds  them  destined  to 
pound  down  to  the  wire  almost  in  a  dead 
heat,  a  couple  lengths  ahead  of  their 
nearest  competitor. 

Let  us  look  at  the  20th-Fox  lineup  first. 
In  addition  to  its  three  in  the  Big  Ten, 
You're  In  The  Navy  Now,  14  Hours  and 
On  the  Riviera,  this  company's  Spring 
program  includes  six  other  features  that 
shape  up  as  being  of  better  than  average 
quality.  April  will  see  I  Can  Get  It  For 
You  Wholesale  (Susan  Hayward-Dan 
Dailey-George  Sanders)  and  Follow  the 
Sun  (Glenn  Ford-Anne  Baxter). 

"Wholesale"  is  the  filmization  of  Jer- 
ome Weidman's  best-seller  of  some  years 
back,  and  it  has  been  made  into  an  adult 
drama  describing  the  connivances  of  an 
ambitious  model,  played  by  Miss  Hay- 
ward,  in  her  determined  drive  to  win 
fame  as  a  dress  designer.  One  might 
say  it's  a  garment  industry  version  of 
"All  About  Eve."  It  was  produced  by 
So]  C.  Siegel,  who  gave  us  "14  Hours," 
and  Sam  Jaffe  heads  the  supporting  cast. 
Exploitation  angles  look  strong,  and  they 
will  have  to  be  capitalized. 

Early  reports  on  Follow  the  Sun  in- 
dicate that  this  biographical  drama  about 
the  life  of  golfer  Ben  Hogan  will  be  a 
winner.  Hogan,  one  of  golfdom's  great- 
est, was  front-page  news  for  months 
when  he  was  fighting  for  his  life  after 
an  auto  accident,  and  his  plucky  come- 
back on  the  links  was  one  of  the  great 
human  interest  stories  of  sports.  With 
Glenn  Ford  and  Anne  Baxter  playing 
the  Hogans  for  heart-tugs,  you  can  look 
for  Follow  the  Sun  to  be  one  of  the  sur- 
prises of  the  Spring  Season. 

May  will  be  20th  Century's  big  month. 
Sandwiched  between  the  suspense  thril- 
ler, Fourteen  Hours,  and  the  Danny  Kaye 
musicomedy,  On  the  Riviera,  comes  Raw- 
hide, a  rugged  western  melodrama  with 
more  than  a  modicum  of  suspense. 

Rawhide  is  top-drawer  in  all  its  elem- 
ents. The  screenplay,  an  original,  is  by 
Dudley  Nichols.  It  was  directed  by  Hen- 
ry ("14  Hours")  Hathaway.    And  look 


RAWHIDE 

at  this  cast!  Tyrone  Power,  Susan  Hay- 
ward,  Hugh  Marlowe,  Dean  Jagger,  Ed- 
gar Buchanan,  George  Tobias.  The  scene 
of  the  story  is  an  isolated  stagecoach 
relay  station,  where  Tyrone  and  Susan 
are  held  captives  by  a  band  of  desper- 
adoes waiting  to  rob  the  oncoming  stage- 
coach. 

Fox's  three  June  releases,  naturally, 
must  be  considered  from  a  more  distant 
view.  The  pictures  are:  Half  Angel  (Lo- 
retta Young-Joseph  Cotten),  in  Techni- 
color; House  on  Telegraph  Hill  (Richard 
Basehart-Valentina  Cortesa-William  Lun- 
digan),  and  Just  One  More  Chance  (Paul 
Douglas-Joan  Bennett-Linda  Darnell). 


Half  Angel  is  a  romantic  comedy  with 
a  new  twist.  It's  a  yarn  about  a  young 
woman  with  a  split  personality  —  by 
night,  a  warm,  sensuous  imp  madly 
chasing  the  man  of  her  dreams;  by  day, 
a  cold,  prim  lady.  It  has  every  right  to 
be  a  funny  film,  if  one  may  judge  by 
the  people  associated  with  it 

Loretta  Young  and  Joseph  Cotten  are 
reunited  in  Half  Angel  for  the  first  time 
since  "The  Farmer's  Daughter"  of  three 
years  ago.  The  screenplay  comes  from 
Robert  Riskin,  whose  fame  can  be  traced 
to  such  great  comedy  hits  as  "It  Hap- 
pened One  Night"  and  "Mr.  Deeds  Goes 
To  Town."  among  others.  Richard  Sale 
("I'll  Get  By")  directed  and  Julian  Blau- 
stein  ("Broken  Arrow")  was  the  pro- 
ducer. 

Hauss  on  Telegraph  Hill  is  a  melo- 
drama on  the  heavy  side.  Valentina  Cor- 
tesa,  refugee  from  a  Nazi  concentration 
camp  in  Poland,  uses  a  dead  friend's  iden- 
tification to  win  admittance  to  the  U.  S. 
Here,  she  finds  she  is  the  "mother"  of  a 
young  boy  with  an  inheritance,  whose 
guardian  is  Richard  Basehart,  a  sinister 
character.  With  the  aid  of  William  Lun- 
digan,  Valentina  wards  off  Basehart's  ef- 
forts to  do  away  with  her  and  the  boy. 
Robert  Bassler  ("Snake  Pit",  "Halls  of 
Montezuma")  produced;  Robert  Wise 
("Three  Secrets")  directed.  Basehart's 
standout  performance  in  "14  Hours"  will 
be  a  boxoffice  aid  for  this  picture. 

Just  One  More  Chance  started  out  with 
the  title,  "The  Guy  Who  Sank  the  Navy", 
which  might  have  given  the  impression 
that  it  is  a  sea  story.  No,  this  is  a  yarn 
about  an  egotistical  ex-football  star,  col- 
lege and  pro,  who  realizes  what  a  has- 
been  he  is  when  the  Navy  rejects  him  for 
service.  Played  by  Paul  Douglas  for 
laughs  and  sentiment,  the  big  mug  finally 
wins  over  the  Navy  by  playing  one  last 
game,  and  winning  it.    Joan  Bennett  is 


i 


GO  FOR  BROKE 


le  Spring  Parade  ol  Hits 


is  estranged  wife;  Linda  Darnel  is  the 
ver-loving  girl-friend,  and  young  Billy 
5ray  is  his  hero-worshipping  son. 
Turning  to  the  M-G-M  lineup  for  the 
ext  three  months,  one  is  struck  imme- 
iately  by  the  degree  of  variety  in  the 
pmpany's  total  of  eleven  releases.  The 
jange  of  themes  covers  comedy,  adven- 
ire,  music,  war.,  romance  and  mystery, 
j  Three  of  the  Metro  Spring  releases, 
jather's  Little  Dividend,  The  Great  Ca- 


HALF  ANGEL 

uso  and  Mr.  Imperium,  are  among  the 
i)  Big  Ones  discussed  on  the  preceding 
jages.  The  first  two  are  April  releases 
nd  they  are  joined  in  that  month's 
rhedule  by  Soldiers  Three  (Stewart 
iranger-W  alter  Pidgeon-David  Niven), 
hich  has  received  only  a  lukewarm  cri- 
cal  response.  It  is  slated  for  release 
a  April  20. 

I  Adapted  from  the  famed  Rudyard  Kip- 
rig  story,  Soldiers  Three  tells  in  broad 
rokes  of  comedy  and  action  the  adven- 
pes  of  three  rollicking  soldiers  station- 
1  with  the  King's  Army  in  India.  The 
bisodic  plot  is  unfolded  in  flashback 
lru  the  eyes  of  Walter  Pidgeon,  a  re- 
red  British  general,  who  describes  the 
ild  and  woolly  antics  of  three  adven- 
kesome  privates  in  the  Rutlandshire 
pfantry  under  his  command. 
Metro's  month  of  May  lineup  lists  four 
Matures,  two  that  look  of  average  cali- 
e,  The  Painted  Hills  (Lassie  Paul  Kel- 
)  and  The  Headline  Story  (Donald 
risp-Jeffrey  Lynn),  and  two  that  hold 
gh  promise,  Pandora  and  the  Flying 
atchman  (Ava  Gardner- James  Mason) 
id  Go  For  Broke  (Van  Johnson). 
The  Painted  Hills,  latest  of  the  Lassie 
>g  films  in  Technicolor,  bearing  a  May 
release  date,  tells  another  of  the  fami- 
ir,  though  always  exciting,  tales  of  a 
>g  and  its  devotion  to  a  man.  This  one, 
id  against  the  impressive  background 
the  forbidding  granite  peaks  of  Ore- 
m's  Cascade  Mountains  during  the  gold 
sh  days  of  1870,  finds  the  faithful  col- 
sharing  the  lonely  existence  of  gold 


prospector  Paul  Kelly,  then  turning  re- 
lentless pursuer  when  her  master  is 
pushed  to  his  death  from  a  sheer  cliff. 
The  affection  of  a  boy  and  the  kindness 
of  an  itinerant  parson  help  the  dog 
avenge  her  master's  death. 

Lassie  has  long  enjoyed  a  large  fol- 
lowing (this  is  her  seventh  color  film) 
and  The  Painted  Hills  should  do  hand- 
somely in  the  family  houses. 

The  Headline  Story  has  all  the  ear- 
marks of  a  routine  program  melodrama, 
apparently  having  been  produced  on  an 
abbreviated  shooting  schedule.  It  is 
slated  for  release  on  May  11,  but  little 
information  was  available  as  the  Spring 
Picture  Prospectus  went  to  press. 

With  an  unusual  story  and  an  unusual 
title  (which  we  expect  to  see  changed), 


PANDORA  &  FLYING  DUTCHMAN 

Pandora  and  the  Flying  Dutchman  shapes 
up  as  a  mighty  uncommon  film  that 
could  very  well  be  a  pleasant  surprise. 

Filmed  in  Technicolor  at  the  Shepper- 
ton  Studios  in  England,  this  Albert  Lewin 
production  (he  also  wrote  and  directed) 
unfolds  the  fanciful  tale  of  a  tragic,  fated 
love  between  a  beautiful,  high-spirited 
American  girl  and  a  handsome  Dutch- 
man condemned  to  a  ghostly  existence 
some  four  hundred  years  ago. 

With  Ava  Gardner  in  the  role  of  the 
magnetic,  selfish  beauty,  who  finally  finds 
in  the  Dutchman  a  man  she  can  love, 
and  James  Mason  as  the  tragically  con- 
demned Hendrick  Van  Der  Zee,  Pandora 
and  the  Flying:  Dutchman  is  something 
to  which  -exhibitors  can  look  forward 
with  keen  anticipation.  May  18  is  the 
release  date,  according  to  present  plans. 

As  its  last  May  release,  scheduled  for 
the  25th,  M-G-M  turns  from  the  fanciful 
"Pandora"  to  the  hell  and  humor  of  war 
in  Go  For  Broke!    This  is  the  story  of 


the  442nd  Regimental  Combat  Team, 
composed  of  Americans  of  Japanese  an- 
cestory,  who  wrote  an  amazing  record 
of  glory  during  World  War  II. 

The  "Battleground"  team  of  producer 
Dore  Schary,  author  Robert  Pirosh  <he 
also  directed  this  one)  and  star  Van  John- 
son were  reunited  for  Go  For  Broke. 
Johnson  is  depicted  as  the  recent  O.  C.  S. 
graduate,  a  second  lieutenant,  an  un- 
willing platoon  commander  of  the  newly 
activated  442nd,  whereas  he  had  sought 
assignment  with  his  former  outfit,  the 
36th  Texas  Division.  Through  the  hell 
of  war,  and  whatever  fun  was  to  be 
found,  Johnson  learns  to  admire  and  re- 
spect the  volunteer  corps  under  him.  In 
a  rip-roaring  climax,  his  old  Texas  bud- 
dies are  rescued  from  a  Nazi  trap  by  the 
fighting  Nisei. 

In  case  you  are  puzzled  by  the  title, 
Go  For  Broke!  is  the  Hawaiian  dice- 
shooting  slang  for  "shoot  the  works!"  It 
was  the  Nisei  battle-cry. 

Metro's  four  June  releases  will  be  led 
off  on  the  8th  by  People  in  Love  (Ray 
Milland-John  Hodiak).  Studio  advices 
describe  this  as  a  drama  with  romantic 
and  tragic  overtones,  the  story  of  "a 
love  so  great  it  threatened  the  very 
existence  of  a  man  who  couldn't  forget." 

Following  the  Ezio  Pinza  debut  in  Mr. 
Imperium  on  June  15,  comes  one  of 
Metro's  lesser  attractions  on  the  22nd, 
Calling  Bulldog  Drummond  (Walter  Pid- 
geon). Made  in  England  under  the  di- 
rection of  veteran  Victor  Saville,  this 
mystery-adventure  melodrama  concerns 
itself  with  the  efforts  the  suave  gentle- 
man detective,  Bulldog  Drummond,  to 
aid  blundering,  old  Scotland  Yard  in  its 
futile  efforts  to  track  down  a  shrewd 
band  of  robbers.  You  can  take  our  word 
for  it  that  the  redoubtable  Drummond 
performs  the  task  with  a  pip  pip. 

Leo's  Spring  season  releases  will  wind 


JUST  ONE  MORE  CHANCE 

up  on  June  28th  with  the  arrival  of  the 
latest  Red  Skelton  comedy,  Excuse  My 
Dust,  and  in  Technicolor,  too.  This  time, 
Red  is  seen  as  the  mechanical  genius 
of  Willow  Falls,  Indiana,  inventor  of  the 
horseless  gasamobile  just  before  the 
turn  of  the  century.  In  his  8  miles-per- 
hour  speed  wagon,  Red  scares  the  day- 
lights out  of  most  of  the  townsfolk,  but 
wins  the  hand  of  Sally  Forrest,  daughter 
of  livery  stable  owner  William  Demarest. 
MacDonald  Carey  is  the  town's  young 
Wood,  whom  Red  defeats  for  a  $5000 
prize  in  the  climactic  gas-buggy  race.  It 
could  be  quite  funny. 


ARCH   2  6  ,     1  9  5  1 


19 


SpH*f  PICTURE  PROSPECTUS 


Look  For  UA  To  Blossom  Out 


One  of  the  brightest  notes  of  the  Spring 
season  will  be  the  resurgence  of  United 
Artists  as  an  influential  faco:  ;n  major 
film  ranks.  Under  the  gu  d  nee  of  the 
new  Krim-Benjamin  management,  the 
distribution  know-how  of  Bill  Heineman 
and  the  dynamic  showmanship  of  Max 
Youngstein,  you  can  look  for  UA  to  blos- 
som out  when  the  flowers  bloom,  tra-la. 

While  a  definir-  program  of  release  has 


THE  SCARF 


already  been  set  for  the  rmng  three 
months,  it  is  not  unl'k?  y  hat  dditon; 
will  be  mads.  Indepe  de.u  pr-ducers 
who  had  been  viewing  this  company  with 
a  cold  eye  are  thawing  out  and  new  pro- 
duct will  probably  be  flowing  to  UA 
from  reliab  e  sources  before  long. 

Meanwhile,  eight  features  are  schedul- 
ed for  distribution  during  April,  May  and 
Juno.  One  of  the  April  releases,  He  Ran 
All  the  Way  was  chosen  annrg  FILM 
BULLETIN'S  10  Big  Ones  for  Spring.  On 
the  basis  of  advance  reports,  t  is  shoull 
be  one  of  the  season's  topPi-ht  films. 
With  star  values  like  John  G  r~eld  an  1 
the  rapidly  rising  youn-*  actress,  Shelley 
Winters,  and  bolstered  by  a  h'g  -powered 
You-igstein  campaign,  He  Ban  figures  to 
be  up  among  the  boxoffice  leaders. 

The  month  of  April  will  find  three  UA 
features  in  release.  The  firrt  f  theie, 
The  Scarf  (Mercedes  M -Cambr  dge-John 
Ireland)  is  sl-t~d  fa-  pre-nier^  sh  >w'ngs 
on  April  6.  This  Glorii  Film  production 
might  be  best  described  as  a  p  ychiatric- 


mystery  melodrama.  It  recounts  the 
story  of  a  young  man  (Ireland)  who  es- 
capes from  the  State  Asylum  for  the 
Criminal  Insane  after  five  years  and  sets 
out  to  prove  his  innocence  of  the  sex 
murder  of  a  young  woman  found  strang- 
led near  his  unconscious  body. 

The  Scarf,  in  Miss  McCambridge  and 
Ireland,  reunites  two  of  the  stars  of  the 
Academy  Award  winning  "All  the  King  s 
Men."  It  was  directed  by  E.  A.  Dupont, 
still  famed  for  his  "Variety,"  and  pro- 
duced by  I.  G.  Goldsmith. 

April  13  is  the  scheduled  release  date 
for  Queen  for  a  Day,  the  Robert  Stillman 
production  that  promises  to  be  one  of  the 
exploration  wallops  of  the  season.  Pat- 
terned after  the  successful  Maugham 
short  story  films,  "Quartet"  and  "Trio, ' 
Queen  for  a  Day  is  a  feature  trilogy 
comp  ised  of  three  prize-winning  Ameri- 
can short  stories  from  the  pens  of  Faith 
Baldwin,  John  O.  Ashwo,rth  and  Dorothy 
Parker.    Each  of  these  tales  was  adapted 


wit,  turns  sheer  sentimentalist  in  her  con" 
tribution  to  Queen  for  a  Day.  Her  story, 
"Horsie,''  unfolds  the  touching  experience 
of  a  wealthy,  spoiled  young  couple  who 
learn  what  simple  happ  ness  others  can 
find  in  life. 

Three  more  features  are  listed  for  May 
release.  On  the  4th  of  the  merry  month 
comes  Deep  In  Your  Heart,  starring 
Charles  Boyer  in  a  role  most  uncommon 
for  him.  As  a  priest  stationed  at  a  semi- 
nary in  a  small  western  town,  Boyer 
comes  to  grips  with  a  difficult  prob'em, 
the  perpetration  of  a  hoax  that  brings 
hosts  of  the  faithful  seeking  cures  as  the 
result  of  a  "miracle."  How  one  --tiracl? 
actually  happens  fu'niih.s  a  ru:prs? 
climax. 

The  second  May  release,  on  the  11th 
will  be  New  Mexico,  an  outdoor  period 
(1860)  melodrama  fi!m?d  ii  Anscolor. 
Starring  Lew  Ayres  and  Manlyn  Max- 
well, this  Irving  Allen  Drcducion  dep'cts 
in  bold  action  terms  the  bloody  struggle 
between  the  redmen  and  the  wh'tes  for 
domination  of  the  newly  settled  vestern 
land. 

May  18  will  see  The  Prowler  (Van  Hef- 
lin-Evelyn  Keyes),  a  story  somewhat  in 
the  vein  of  "The  Postman  Alway:  Rinis 
Twice."  Here,  too,  are  two  I'n1  ■.  rs- 
illusioned  people  caught  up  in  m  emo- 
tional tide  that  ^ads  to  murder.  It  was 
produced  by  S.  P.  Eagle. 

Fabiola,  a  spectacle  of  anc  e  t  Rome, 
produced  in  Italy  at  a  cost  reputed  to  ne 
the  equivalent  of  $1,000,003,  v  il1  '  e  UA's 
release  on  May  25.  It  's  sa'd  'o  ""'vidlv 
depict  the  debauchery  of  the  emoi-e  be- 


FABIOLA 

to  the  screen  by  Seton  I.  Miller  and  they 
are  told  within  the  framework  of  the 
popular  radio  and  television  show,  "Queen 
for  a  Day." 

The  Faith  Baldwin  sttry,  titled  "The 
Gossamer  World, '  tells  of  a  child's  dream 
world  and  of  his  parents'  reaction  whe  i 
tragedy  strikes. 

The  Ashworth  nove'ette  is  "TTiTh 
Diver,"  the  tale  of  a  sweet-faced  Polish- 
American  woman  who  c^m^s  to  h? 
"Queen  for  a  Day"  broadcast  i  i  quest  r#f 
an  engineering  school  scholarship  for  her 
r.on.  It  seems  he  has  undertaken  the 
risky  job  of  diving  110  feet  into  a  tiny 
lank  of  water  at  a  carnival  as  the  means 
of  earning  his  board  and  tu't:on. 

The  inimitab'e  Dorothv  Parker,  ac- 
knowledged America's  foremost  feminine 


DEEP  IN  YOUR  HEART 

fare  it  fell  and  to  contain  a  "breath-taking 
sequence  of  the  martyrdom  of  the  faith- 
ful.  Michele  Morgan  is  the  star. 

The  two  June  releases  scheduled  so  far 
both  bear  a  foreign  tinge.  The  Man  witfi 
My  Face  (Barry  Nelson)  is  the  first  fea- 
ture filmed  entirely  in  Puerto  Rico,  k 
murder  story,  it  was  produced  by  com- 
edian Ed  Gardner.  June  1  is  the  date  of 
release.  It  will  be  followed  on  the  8th  by 
Three  Steps  North,  a  W.  Lee  Wilder  pro- 
duction about  a  GI  in  post-war  Italy. 
Lloyd  Bridges  has  the  leading  role. 


FILM  BULLETIN 


If  it's  a  Paramount  picture, 
..it's  the  best  show  in  town  I 


THATS  WHAT  HAPPY 
SHOWMEN  SAY  AS  THEY  GET 
ALL  SET  TO  PLAY 


f  he  ten  best  shows  from  now  thru  August 


CECIL  B.  DeMILLE'S 

Samson  and  Delilah 

Color  by  Technicolor 

The  Greatest  Grosser  of  Our  Time  .  .  . 

DAMON  RUNYON'S 

The  Lemon  Drop  Kid 

Bob  Hope,  Marilyn  Maxwell 

Appointment  with  Danger 

Alan  Ladd,  Phyllis  Calvert 

Ace  In  The  Hole 

Kirk  Douglas,  Jan  Sterling 

HAL  1FALLIS' 

That's  My  Boy 

Dean  Martin  and  Jerry  Lewis 


The  Mating  Season 

Gene  Tierney,  John  Lund  with 
Miriam  Hopkins,  Thelma  Rittfr  (as 
Mother  of  the  Gi  •  m) 

Dear  Brat 

Mona  Freeman,  Billy  De  Wolfe, 
Edward  -  'Did 

Molly 

Starring  Gertrude  Berg 

The  Last  Outpost 

Color  by  Techr.i  olor 
Ronald  Reagan,  Rhonda  Firming 

GEORGE  STEVENS' 

A  Place  In  The  Sun 

Montgomery  Gift,  Elizabeth  Taylor, 
Shellev  Winters 


PICTURE  PROSPECTUS 


ft 


Paramount  Has  Hope  (Boh,  That  Is) 


Paramount  runs  behind  most  of  the 
other  top  majors  in  the  number  of  re- 
leases set  for  the  Spring  season,  listing 
only  six  new  features  and  two  reissues 
for  the  three-month  period.  As  for  qua- 
lity, we  must  enter  a  question  mark,  al- 
though this  company's  program  has  a 
couple  high  spots  and  others  that  rank 
as  fair  possibilities. 

For  the  select  Big  10,  the  choice  be- 
tween the  Alan  Ladd  film,  Appointment 
with  Danger,  and  the  Bop  Hope  comedy, 
The  Lemon  Drop  Kid,  was  a  difficult  one. 
The  Hope  film  had  tremendous  possibili- 
ties, and,  had  the  choice  been  open  before 
its  screening,  might  very  possibly  have 
been  the  selection.  The  FILM  BULLE- 
TIN reviewer,  however,  found  the  film 
somewhat  disappointing  in  the  light  of 
expectations  based  on  the  enviable  Hope 
average  heretofore,  and  his  successful 
appearance  in  a  pervious  Damon  Runyon 
tale,  "Sorrowful  Jones." 

This  should  not  be  taken  to  imply  that 
it  will  not  experience  a  successful  box- 
office  run.  Several  of  the  New  York 
newspaper  critics  found  it  a  funny  film 
in  its  Broadway  Paramount  opening1, 
and,  with  the  Hope  and  Runyon  names 
to  aid  it,  plus  an  extensive  exploitation 
campaign,  it  should  be  one  of  the  Spring 
season's  better  grossers. 

An   April  release,   Lemon   Drop  Kid 


gives  Hope  another  luscious  blonde  in 
the  feminine  lead,  Marilyn  Maxwell,  and 
the  same  producer  and  director  of  "Sor- 
rowful Jones,"  Sidney  Lanfield  and  Ro- 
bert Welch.  The  story  concerns  a  Broad-, 
way  race-track  tout  (Hope)  who  must 
raise  $10,000  in  23  days  —  with  Christ- 
mas Eve  the  deadline  —  or  forfeit  his 
life  to  a  gang  leader. 

Three  songs  by  Jay  Livingston  &  Ray 
Evans,  the  "Buttons  and  Bows"  team, 
are  interspersed  in  the  hectic,  slapstick 
proceedings. 

The  other  April  releases,  Molly  and 
Quebec,  have  only  fair  prospects.  The 
former,  in  its  premiere  debut  as  "The 
Goldbergs,"  did  not  fare  too  well,  despite 
a  strong  exploitation  campaign.  How- 
ever, the  famous  radio-television  family 
series,  has  a  large  pre-sold  audience,  and 
the  film,  a  virtual  duplicate  of  the  TV 
show,  is  a  simple,  heartwarming  come- 
dy drama  that  should  appeal  to  family 
audiences. 

With  Gertrude  Berg,  Philip  Loeb,  and 
the  rest  of  the  video  family  in  the  fea- 
tured spots,  Marquee  strength,  of  course, 
is  limited  only  to  the  followers  of  the 
TV-radio  show. 

Quebec,  Technicolor  period  drama  of 
a  rebellion  in  the  Canadian  province, 
stars  John  Barrymore,  Jr.,  and  Corinne 


r 

THE  LEMON  DROP  KID 

Calvet,  with  Patric  Knowles  and  Barbara 
Rush  in  supporting  roles,  and  introduc- 
ing a  newcomer,  Nikki  Duval,  a  flame 
topped,  green-eyed  hoyden.  With  Miss 
Calvet  as  the  brains  behind  the  uprising 
young  Barrymore  as  her  illegitimate  son 
and  a  script  that  offers  nothing  of  dis 
tinguished  calibre,  its  audience  response 
will  depend  on  action  and  incidental 
touches  by  director  George  Templeton 
Trade  reviews  indicate  that  Quebec  car 
expect  not  much  more  than  fair  returnsi 
generally,  with  a  slightly  higher  rating 
in  the  action  houses. 

Pairing    up    with    Appointment  Wi 
^^nger  in  May,  The  Las*  Outpost  (Ron 

aid  Reagan-Rhonda  Fleming)  marks  the 
tenia  anniversary  release  of  produce: 
William  Pine  and  William  Thomas 
F  'lmod  in  Technicolor,  and  employing 
trie  action  format  which  Pine-Thomas 
have  capitalized  so  well  previously,  it  is 
sot  in  1862,  when  the  Confederate  Arm} 
of  the  Southwest,  being  driven  back  intc 
Texas,  assigns  a  small  band  to  halt  th< 
flow  of  supplies  over  the  Santa  Fe  trail 
Clashes  between  the  Union  Army  an 
the  rebels,  with  both  allied  finally  in 
battle  against  the  Indians,  offer  plent} 
of  dust  and  gore  for  the  Technicolor 
cameras. 

In  support  are  Bruce  Bennett,  Bill  Wil-: 
hams,  Peter  Hanson  and  Noah  Beery 
Jr.    Lewis  R.  Foster  directed. 

Final  new  release  of  the  Spring  seaso: 
is  Dear  Brat,  third  in  the  "Dear  Ruth' 
series.  Producer  Mel  Epstein  has  on 
again  united  Mona  Freeman,  Billy 
Wolfe  and  Edward  Arnold  of  the  original 
and  popular  family  group.  Althougl 
"Dear  Wife,"  second  film  did  not  conr 
up  to  the  popularity  of  "Dear  Ruth," 
entertainment  potential  of  the  wai 
Wilkins  family  remains  an  important  fa< 
tor,  and,  if  Dear  Brat  can  make  capita' 
of  its  possibilities,  it  might  well  turr! 
out  to  be  one  of  Paramount's  best  bo* 
office  bets  of  the  Spring  season. 

Rounding  out  Paramount's  June 
gram  are  a  pair  of  reissues,  the  all-st 
revue,  Star-Spangled  Rhythm  and  Ml 
acle  of  Morgan's  Creek,  Preston  Sturge 
comedy  starring  Betty  Hutton  and  Edd 
Bracken. 

FILM  BULLETI 


£>*fy  PICTURE  PROSPECTUS 


Bond  B.O.  Values  In  Hepublic  Group 


Republic  boasts  one  of  its  strongest 
lineups  in  years  for  the  Spring  season. 
Of  the  13  features  set  for  April.  May  and 
June,  at  least  five  are  films  that  would 
look  good  on  any  major  studio's  roster. 

In  addition,  there  are  two  Roy  Rogers 
films,  a  pair  of  westerns  starring  the  up- 
and-coming  Rex  Allen,  and  the  first  in 
the  new  kid  cowboy  series  starring  Mi- 
chael Chapin  and  Eilene  Janssen. 

Two  of  the  four  April  releases  are  big- 
time  productions.  The  Bullfighter  and 
the  Lady  (Robert  Stack-Gilbert  Roland- 
Joy  Page),  set  for  the  15th,  looks  like 
the  "sleeper"  of  the  season  from  ad- 
vance reports,  and  Fighting  Coast  Guard 
(Brian  Donlevy  -  Ella  Raines  -  Forrest 
Tucker),  with  an  April  'JS  release,  is  one 
of  Republic's  foremost  productions  of 
the  year,  in  the  "Sands  of  Iwo  Jima"  tra- 
dition. 

Although  the  studio's  top  star,  John 
Wayne,  doesn't  appear  in  any  of  the 
Spring  group,  his  name  will  be  associ- 
ated with  Bullfighter  and  the  Lady  as 

producer.  Filmed  largely  in  Mexico  ro 
catch  the  full  flavor  of  the  tempestuous 
excitement  inherent  in  the  blood  and 
sand  arenas,  the  story  revolves  around 


FIGHTING  COAST  GUARD 

the  adventures  of  a  thrill-hungry  young 
American,  played  by  Robert  Stack,  who 
is  drawn  into  the  bull  ring  to  experience 
the  peril  and  acclaim  reserved  for  the 
matadors.  Gilbert  Roland  is  seen  as  Mex- 
ico's greatest  matador,  with  Joy  Page 
and  Virginia  Grey  in  important  roles  to 
supply  the  romantic  element  in  the  film. 

Fourteen  of  the  country's  top  bullring 
artists  play  themselves  to  offer  addition- 
al authenticity  to  the  scenes  in  the  arena. 
Budd  Boetticher,  whose  own  adventures 
as  a  matador  parallel  the  film's  theme, 
is  the  director  and  associate  producer. 

Fighting  Coast  Guard,  an  action-drama 
of  the  nation's  first  sea-going  armed 
force  and  its  exploits  during  World  War 
H,  also  promises  more  of  the  type  of 
action  that  gave  'Two  Jima"  its  bounti- 
ful quota  of  popularity.  Brian  Donlevy. 


anJ  peril  in  * 
dl«t/ 


as  a  Coast  Guard  commander,  and  For- 
rest Tucker  in  the  rote  of  a  shipyard 
foreman  who  prefers  to  stay  here  and 
araw  fat  paychecks  while  the  "other 
suckers"  risk  their  lives  for  their  coun- 
try, vie  for  the  affections  of  Ella  Raines, 
the  admiral's  daughter.  How  Tucker 
changes  his  mind  about  the  war  and  the 
"suckers"  forms  the  story. 

Aided  by  full  Coast  Guard  and  Naval 
cooperation,  this  film  looks  like  a  com- 
bination of  realism  and  popular  fiction 
that  should  meet  with  good  public  re- 
sponse. 

Also  set  for  April  are  two  westerns, 
Thunder  in  God's  Country  (Rex  Allen- 
Mary  Ellen  Kay)  on  the  8th,  and  Wells 
Fargo  Gunmaster  (Allan  "Rocky"  Lane) 
on  the  30th. 

The  important  May  releases  here  are 
Honeychile,  in  Trucolor,  starring  the  hin- 
terland hoyden,  Judy  Canova,  and  Fugi- 
tive Lady  (Janis  Paige-Binnie  Barnes- 
Eduardo  Cianelli). 

In  Honeychile,  a  comedy  with  music, 
Miss  Canova's  comic  and  vocal  talents 
are  put  to  use  in  a  slapstick,  wacky 
story  that  encompasses  such  various  ele- 
ments as  song-writing,  a  phoney  love  af- 
fair, embezzling,  a  hectic  chuck-wagon 
race,  crooked  bookies  and  a  kidnapping, 
among  others. 

Heading  Judy's  support  are  Eddie  Foy. 
Jr.,  Alan  Hale,  Jr.,  and  Walter  Catlett, 
with  R.  G.  Springsteen  in  the  director's 
seat. 

The  melodramatic   end   of   the  May- 


schedule  is  held  up  by  Fugitive  Lady,  a 

suspense  drama  of  a  female  schemer, 
and  the  relentless  probing  by  an  insur- 
ance investigator  to  uncover  the  murder 
of  the  lady's  husband.  Janis  Paige  is 
the  femme  fatale  who  marries  for 
wealth  and  falls  into  a  trap  of  her  own 
making;  Tony  Ce.ita  is  her  nemesis  and 
Eduardo  Cianelli  and  Binnie  Barnes  are 
seen  in  the  other  top  roles.  Sidney  Sal- 
kow  directs  the  M.  J.  Frankovich  pro- 
duction. 

An  innovation  in  westerns,  and  one 
which  seems  to  be  such  a  natural,  it  !s 
surprising  the  idea  hasn't  materialized 
cn  film  before,  is  Buckaroo  Sheriff  of 
Texas,  another  May  release.  A  pet  proj- 
ect of  prexy  Herbert  J.  Yates,  the  film 
marks  the  introduction  of  two  young- 
sters as  western  stars  in  the  first  of  a 
series  that  will  see  the  kids  grow  up  in 
the  roles  over  a  period  of  years.  Michael 
Chapin  is  "Red  White"  and  Eilene  Jans- 
sen is  "Judy  Dawson"  in  the  roles  they 
will  perpetuate  hereafter. 

Also  in  May  are  In  Old  Amarillo  (Roy 
Rogers-Estelita  Rodriguez),  and  Million 
Dollar  Pursuit  (Penny  Edwards-Steve 
Flagg). 


Awl 

LIS 

FUGITIVE  LADY 

Powerful  star  values  and  a  populu- 
novel  combine  to  make  A  Lady  Possessed 
(James  Mason-June  Havoc),  cct  for  June, 
one  of  the  most  promising  entries  in 
this  company's  schedule.  Produced  by 
Mason  at  Republic's  North  Hollywood 
studios  from  the  novel  "Del  Palma"  cy 
Pamela  Kellino  (Mrs.  James  Mason),  the 
story  is  described  as  "one  of  the  strang- 
est love  affairs  that  ever  reached  the 
screen.  Miss  Kellino  also  is  cast  in  the 
top  supporting  role  William  Spier  and 
Roy  Kellino  have  combined  for  the  di- 
rection. 

Also  slated  for  June  release,  are  South 
of  Caliente  (Roy  Rogers-Dale  Evans); 
Havana  Rose  (Estelita  Rodriguez-Hu^h 
Herbert-Bill  Williams)  and  Rodeo  King 
and  the  Senorita  (Rex  Allen). 


MARCH   2  6  .     1  9  5  1 


23 


$pi*9  PICTURE  PROSPECTUS 


Variety  In  U-I's  Spring  Program 


There  is  an  attractive  variety  in  Uni- 
versal-International's Spring  program. 
The  eight  features,  three  of  them  in 
Technicolor,  include  a,  trio  of  comedies,  a 
comedy-spectacle  with  music,  one  melo- 
drama, a  big-scale  color  western  and  a 
pair  of  mysteries.  In  line  with  U-I  pol- 
icy, this  product  offers  little  in  the  way 
of  top-ranking  marquee  names,  ihe  em- 
phasis being,  rather,  on  story  content  and 
exploitation  values. 

Leading  off  the  Spring  lineup,  and  top- 
ping it  in  boxoffice  potential,  is  Up  Front, 
the  enthusiastically  received  filmlzation  of 
Bill  Mauldin's  hilarious  cartoon  charac- 
ters, Willie  and  Joe.  Up  Front  was  a 
natural  for  selection  among  the  10  Bi » 
Ones.  Over  500  openings  have  alre?d  / 
been  set  for  April,  and  it  is  getting  the 
big  nush  exploitation  treatment. 

Those  everlasting  Kettles  are  respon- 
sible for  U-I's  second  April  release.  Ma 
and  Pa  Kettle  Back  on  the  Farm  hardly 
calls  for  any  description,  being  a  continu- 
ation of  the  zany  antics  of  glamorous  Ma 
Marjorie  and  handsome  Pa  Percy  Kil- 
bride, their  brood  of  15,  their  Indian  pals 
and  sundry  other  homely  characters. 


Rounding  out  the  April  group  is  Double 
Crossbones,  a  Technicolor  film  that  com- 
bines comedy,  farce,  aJvemu.e  and  mu- 
sic. With  Donald  O'Cor.nor  cavo,  i  <g  i 
the  role  of  a  swashbuckling  buccaneer, 
breaking  into  song  and  dance  on  ocr.i- 
sions,  this  should  be  good  fare  fo  •  he- 
atres  catering  to  audiences  that  prefer 
comedies  and  musicals.  The  pirate  them? 
gives  it  a  chance  in  action  houses,  as  well. 

O'Connor's  romantic  vis-a-vis  s  I  elem. 
Carter,  one  of  U-I's  young  hopefuls.  There 
are  three  song  numbers,  two  sung  by 
O'Connor,  one  by  a  chorus. 

The  first  May  release  introduces  one  of 
radios  (ABC,  every  Wednesday  ni^ht) 
popular  detectives,  J.  Scott  Smart,  known 
fictionally  as  "The  Fat  Man"  a~d  as  "Bra  :l 
Runyon."  In  h:s  first  film,  titled  The  Fat 
Man,  the  rotund  Scott  essays  the  solution 
of  a  mystery  in  his  usual  u-b-me  ran"pr. 
For  an  odd  twist,  it  develops  th^t  the 
killer  is  none  other  than  mat  sad-eye  1 
circus  clown,  Emmett  Kelly. 

The  Technicolor  item  in  May  will  be 
Smuggler's  Island  (Jeff  Chand^r-Evel  m 
Keyes).  In  this  adventure  mel^d^ama 
played  against  background  cf  the  Portu- 
gese island  of  Macao,  50  nrles  off  the 
South  China  coast,  Chand^r  plays  the 
role  of  a  former  U.  S.  *T?»v-'  ~e ""' 


APACHE  DRUMS 


MA  &  PA  KETTLE  BACK  ON  THE  FARM 

who  becomes  involved  in  smuggling  op- 
erations. The  plot  reads  like  it  contains 
all  the  necessary  elements  of  intrigue, 
romance  and  action,  so  Smuggler's  Island 
can  be  expected  to  achieve  reasonable 
success  in  situations  where  such  films  are 
accepted. 

Katie  Did  It  (Ann  Blyth-Mark  Stevens), 
third  May  release,  is  a  romantic  comedy 
revolving  around  the  pursuit  by  a  boy  of 
a  girl.  Mark  Stevens,  boy,  is  a  New 
York  commercial  artist  who  goes  to  a 
staid  little  New  England  viUage  for  a 
vacation.  There  he  encounters  Miss 
Blyth,  girl,  member  of  the  town's  puri- 
tanical leading  family.  After  assorted 
high-jinks  and  romantic  clashes,  boy  gets 
girl. 

The  two  June  releases  promise  a  sharp 
pick-up  in  the  strength  of  the  U-I  pro- 
duct. Apache  Drums,  Technicolor  west- 
ern produced  by  Val  Lewton,  boasts  a 
script  that  reads  like  a  humdinger. 

Stephen  McNally,  a  gambler,  is  ban- 
ished from  the  Southwestern  frontier 
mining  town  of  Spanish  Boot  and,  on  the 
outskirts  encounters  grisly  evidence  that 
the  Apaches  are  on  a  rampage.    He  re- 


HOLLYWOOD  STORY 

turns  to  issue  warning  and  to  rescue  1 
sweetheart,   Coleen   Gray.    But  by  t 
time  he  can  convince  Willard  Parker,  t, 
mayor,  and  McNally's  rival  for  Cole* 
it  is  too  late;  the  town  is  already 
leaguered  by  the  Indians,  the  water  si 
ply  poisoned.    During  the  siege  that 
sues.     McNally   wins   redemption,  i 
Parken  an  amateur  veterinarian,  is  giv 
an  opportunity  to  win  freedom  for 
townspeople   by   treating   the  wound 
Indian  chief.   The  penalty  if  he  fails  is 
be  a  massacre.   Delivery  of  Parker's  de 
body  heralds  the  wild  Indian  outbref 
but  the  arrival  of  an  army  continge 
saves  the  town.    Apache  Drum  shooi 
be  brimming  over  with  action  and  arro*[ 
Hollywood  Story  (Richard  Conte-J"' 
Adams-Henry  Hull)  relates  the  tale  o 
film  producer  with  a  yen  for  sleuthl 
Conte  rents  an  old,  historic  Hollyw; 
studio,  scene  of  a  strange,  unsolved  m 
der  20  years  before.  Determined  to 
?  movie   based  on  the   crime,  he 
about  reassembling    all  the  people 
volved.    Intrigued  by  the   odd  ci 
stances  he  encounters,  the  producer 
detective  and  eventually  traps  the  k 


FILM  BULLET 


IN  TRADE  REVIEWS 


"Excitement  and  suspense. 
Should  do  well!" 

—FILM  DAILY 

"First  rate.  Unusually 
fine  performances!" 

-M.P.  HERALD 

"Action,  suspense!" 

-M.P.  DAILY 


'Absorbing  with  suspense 
to  keep  any  audience  well 
entertained.  Splendid,  top 
drawer.  Should  draw  well 
at  boxoffice!" 

—SHOWMEN'S  TRADE  REVIEW 

'Fine  production!" 

-FILM  BULLETIN 

'Engrossing.  Filled  with 
selling  angles!"-EXHiBiTOR 


Not  since 
SPELLBOUND" 

a  picture  like  this  . 


WOMAN 


HARRY  M.  POPKIN  presents 

ROBERT  YOUNG  and  BETSY  DRAKE 

THE  Second  WOMAN 


with  JOHN  SUTTON  •  HENRY  O'NEILL  •  FLORENCE  BATES  •  MORRIS  CARNOVSKY 
Produced  by  MORT  BRISKIN  and  ROBERT  SMITH  •  Directed  by  JAMES  V.  KERN 
Original  Screenplay  by  ROBERT  SMITH  •  Musical  Direction  by  NAT  W.  FINSTON 
A  HARRY  M.  POPKIN  Production  •  Released  thru  UNITED  ARTISTS 


CHEERS  FOR  TEST 

ENGAGEMENT 

RESULTS!!! 

SMASH  BUSINESS  MIAMI,  MINNEAPOLIS, 
HOUSTON  AND  WATCH  THE  DOUGH  ROLL 
IN  IN  ST.  LOUIS,  CINCINNATI, 
MILWAUKEE,  TOLEDO,  SYRACUSE  AND 
OTHER  TOP  STATIONS! 


The  first  of  the  great  ■  -  a 
HEW  ones  thru  UA 


£pm9  PICTURE  PROSPECTUS 


Action  Predominates  WB  Lineup 


Warner  Bros.  Spring  product  is  heavy 
with  action.  No  less  than  six  of  the 
seven  features  on  the  WB  agenda  for 
the  next  three  months  are  primarily  of 
an  action  type.  Three  are  westerns,  one 
is  a  social  problem  melodrama,  another 
is  a  prison  story,  and  there  is  a  Hitch- 
cock suspense  meller.  The  only  non- 
action film  in  the  season's  program  is  a 
romantic  comedy  for  Joan  Crawford. 

What  must  be  regarded  as  a  commen- 
tary on  the  economy  mood  of  Warners 
is  the  fact  that  not  one  of  their  Spring 
films  has  been  made  in  color.  This, 
despite  the  fact  that  the  three  outdoor 
pictures  are  the  type  fans  have  come  to 
expect  in  color. 

Both  of  the  April  releases  are  westerns, 
one  below  par,  the  other  somewhat  above. 
The  weaker  one  is  Raton  Pass.  With  a 
goood  cast  featuring  Dennis  Morgan,  Pa- 


GOCD-BYE,  MY  FANCY 


tricia  Ncal  and  Steve  Cochran,  this  one 
bogs  down  badly  because  of  a  mudddled, 
sometimes  ridiculous,  script  involving  a 
catt'e  baron  and  his  son,  the  latter's  rath- 
less  wife  and  some  of  the  hammiest  her- 
oics of  recent  months. 

Only  the  Valiant  is  considerably  better 
and  should  enjoy  a  fairly  good  boxoffice. 
Produced  for  Warners  by  William  Cag- 
ney  with  a  top-value  name  in  Gregory 
Peck,  this  has  a  story  that  makes  sense 
and  provides  enough  suspense  to  hold 
the  attention  of  all  classes  of  moviegoers. 
There  is  no  doubt  that  its  boxoffice  value 
would  have  been  increased  a  great  deal 
had  it  been  filmed  in  color. 

The  plot  of  Only  the  Valiant,  laid  in 
the  post-civil  War  period,  relates  the  ex- 
perience of  a  patrol  of  U.  S.  cavalrymen 
chof.en  by  their  commander  (Peck)  to 
accompany  on  a  virtual  suicide  mission 
against  the  Apaches  surrounding  their 
fort.  A  strict  disciplinarian,  Peck  is  hated 
by  his  men  and  each  would  like  to  do 
him  in.  However,  he  accomplishes  his 
mission,  despite  the  loss  of  most  of  his 
detail. 

Three  features  are  scheduled  for  May 
and  this  trio  will  be  led  off  by  I  Was  a 
Communist  for  the  F.B.I.  A  Bryan  Foy 
production,  also  directed  by  Gordon 
Douglas,  this  topical  melodrama  offers 
little  in  cast  values,  but  it  unquestion- 


ably has  a  strong  exploitation  potential — 
which  undoubtedly  will  be  fully  capital- 
ized by  Warners  ad  chief,  Mort  Blumen- 
stock.  He  and  his  crew  of  exploiteers  have 
made  much  of  such  films  in  the  past. 

I  Was  A  Communist  reputedly  exposes 
the  inner  workings  of  the  commies  and 
the  methods  they  employ  through  vari- 
ous "fronts"  to  foment  discontent  and 
disorder.  The  players  include  Frank 
Lcvejoy,  Dorothy  Hart,  James  Millican. 

Goodbye  My  Fancy  is  immediately 
noteworthy  because  it  affords  a  switch 
for  Joan  Crawford.  After  five  straight 
dramatic  roles  for  Warner  Bros,  (this  is 
her  sixth  filmi  since  she  started  a  fresh 
career  with  this  company  in  1944),  Miss 
Crawford  now  essays  a  comedy.  Robert 
Young  appears  as  her  leading  man,  with 
Frank  Lovejoy  in  the  secondary  male 
lead. 

Based  on  the  play  by  Fay  Kanin  and 
directed  by  the  usually  reliable  Vincent 
Sherman,  Goodbye  My  Fancy  has  the 
odds  in  its  favor.  Joan  plays  a  Congress- 
woman  who  returns  to  her  alma  mater 
to  receive  an  honorary  degree,  and  dis- 
covers that  the  college  president  is  the 
boyfriend  of  her  school  days,  the  same 
young  man  who  helped  get  her  expelled 
some  18  years  before.  While  basically  a 
romantic   comedy,  it    is  said    to  have 


enough  overtones  of  drama  to  keep  the 
Crawford  faithful  content. 

Last  of  the  May  group,  Along  the 
Great  Divide,  is  another  western.  In  this 
one,  Kirk  Douglas  makes  his  debut  in 
the  saddle,  playing  the  role  of  a  stern 
frontier  marshal  who  never  allows  jus- 
tice to  temper  his  administration  of  the 
hard  law.  Virginia  Mayo  is  seen  as  a, 
cattle  rustler's  daughter,  to  whom,  the 
law  means  the  violent  death  ~  of  her 
father. 

June  will  see  the  arrival  of  a  pair  of 
melodramas  from  the  Warner  studio. 
They  are  Inside  the  Walls  of  Folsom 
Prison  (Steve  Cochran-David  Brian)  and 
Strangers  on  a  Train  (Farley  Granger- 
Ruth  Roman-Robert  Walker). 

The  former  release,  another  Bryan  Foy 
production,  depicts  events  in  the  famous 
California  prison  during  the  mid-1920's 
when  attempts  were  made  to  change 
from  the  old  harsh  methods  of  handling 
criminals  to  the  modern  system  of  re- 
form and  rehabilitation. 

Strangers  on  a  Train,  Alfred  Hitch- 
cock's latest  suspense  chiller,  will  close 
out  Warner  Bros.  Spring  program  late 
in  June,  when  a  chill  will  be  appreciated! 
by  movie  fans.  According  to  the  dew 
criptive  matter,  it  is  typical  Hitchcock,  j 
"casually"  exciting  with  odd  incidents 
employed  to  build  the  suspense. 


MO  Will  Have  Mellers 


Melodrama  and  the  plunging  neckline 
have  been  RKO's  principal  stock  in  trade 
of  late,  and  the  product  lined  up  for  the 
Sprmg  season  appears  to  offer  more  of 
the  same,  although  the  program  of  eight 
features  starts  off  with  a  travelogue. 

Kon-Tiki  is  reputed  to  be  an  authentic 
photographic  account  of  an  expedition 
by  six  Scandinavian  scientists,  headed 
by  Thor  Heyerdahl,  who  sailed  in  a  log 
raft  from  Peru  to  the  Polynesian  Islands. 
Heyerdahl,  author  of  a  book  on  the  ex- 
pedition, narrates  the  film. 

Howard  Hawks'  The  Thing  is  being 
treated  by  RKO  in  an  aura  of  deep  mys- 
tery. While  the  plot  is  one  of  those 
pseudo-scientific  melodramas  dealing  with 
the  arrival  of  some  strange  monster  from 
another  world,  the  title  might  cause  it 
to  run  the  risk  of  being  mistaken  for  a 
comedy  based  on  the  novelty  song  that 
swept  the  airwaves  a  few  months  back. 
"Boom!  Boom!"  Remember? 

The  scene  of  The  Thing  is  the  North 
Pole.  The  cast  is  devoid  of  known  names. 

Third  of  the  April  releases  will  be  My 
Forbidden  Past  (Robert  Mitchum-Ava 
Gardnor-Melvyn  Douglas),  from  Polan 
Banks'  novel,  "Carriage  Entrance."  This 
is  a  rather  lurid  period  melodrama  with 
the  emphasis  on  sex  and  infidelity. 

The  trio  of  May  releases  will  be  led 
off  by  a  Collier  Young-Ida  Lupino  pro- 
duction, Hard,  Fast  and  Beautiful  (Claire 
Trevor-Sally  Forrest).  Miss  Lupino  di- 
rected this  tale  of  a  greedy  mother  who 
promotes  her  daughter  into  fame  as  the 
amateur  tennis  star  of  the  world,  but 
loses  her  love. 

Sealed  Cargo  (Dana  Andrews-Carla  Ba- 
lenda-Claude  Rains)  is  the  filmization  of 
the  Satevepost  serial,  "The  Gaunt  Wom- 


an," a  1942  story  about  an  attempt  by 
Nazi  U-boats  to  harbor  at  Newfound- 
land. Andrews  plays  the  role  of  a  fish- 
ing boat  skipper,  who  thwarts  the  plan. 
Rains  is  the  Nazi  captain. 

Filmed  entirely  in  Japan,  Tokyo  File 
212  spins  a  melodramatic  little  yarn 
about  espionage  and  communist  machina- 
tions to  sabotage  supplies  for  the  Korean 
front.  Robert  Peyton  is  seen  as  a  U.  S. 
Army  Intelligence  officer.  Florence  Mar- 
ly as  a  mysterious  beauty  who  turns 
against  the  commies  when  her  sister  is 
murdered.  Other  "stars"  are  Katsuhaiko 
Haida,  Reiko  Otani  and  Tatsuo  Saito. 
One  of  these  may  be  the  Nipponese  Clark 
Gable. 

First  of  the  June  releases  from  RKO 
will  be  this  company's  only  Technicolor 
entry  for  the  Spring  season.  Best  of  the 
Badmen  is  the  title,  which  leads  one  to 
suspect  immediately  that  it  might  be  a 
western. 

With  a  well  balanced  cast  composed 
of  Robert  Ryan,  Claire  Trevor,  Jack  Bue- 
tel,  Robert  Preston,  Walter  Brennan. 
Barton  MacLane,  Bruce  Cabot  and  Law- 
rence Tierney,  Best  of  the  Badmen  seems 
to  offer  much  promise  for  the  action 
houses,  at  least. 

RKO's  recurrent  preoccupation  with 
the  outlaws  of  the  old  west  (James  Bros., 
Younger  Bros.,  et  al.)  crops  up  again  as 
this  story  recounts  the  experiences  of 
Union  Army  major  Ryan  after  he  frees 
them,  according  to  post-Civil  War  law. « 

The  RKO  Spring  group  winds  up  with 
a  drama  tentatively  titled  Mad  with  Much 
Heart,  a  John  Houseman  production, 
starring  Robert  Ryan  and  Ida  Lupino. 

This  is  the  story  of  a  tough,  two-fisted 
detective,  who  learns  the  meaning  of 
compassion  from  a  blind  girl. 


FILM  BULLETIN 


*  *  S  of  Broad -way 

"  .-^  /  -The 

show  worlds 

Spring 

song! 

'more 
happy 
snappy 
box-office  music 
from 

WARNER  BROS. 


fri*9  PICTURE  PROSPECTUS 


Columbia,  ELC  Products  Sparse 


Except  for  Valentino,  Columbia  offers 
no  positive  evidence  of  a  strong  line- 
up, although  a  few  of  the  Spring  releases 
may  rise  above  the  routine,  once  their 
possibilities  are  revealed  on  the  screen. 
Two  of  these  are  filmizations  of  novels, 
Hie  Brave  Bulls  (Mel  Ferrer-Miraslava), 
a  May  release,  and  Lorna  Doone  (Bar- 
bara Hale-Richard  Greene),  Technicolor 
production  of  the  famous  classic  due  in 
June. 

Also  rating  as  b.  o.  possibilities  are 
Santa  Fe  (Randolph  Scott- Janis  Carter), 
Technicolor  outdoor  drama  set  for  April, 
and  Her  First  Romance  (Margaret 
O'Brien- Allen  Martin),  a  May  release. 
The  latter  marks  the  former  child  star's 
debut  as  an  adolescent,  and,  if  the  rule 
of  child  star  "comebacks"  holds  up,  Miss 
O'Brien  has  a  tough  handicap  to  over- 
come. 

The  balance  of  this  outfit's  Spring 
schedule  can  pretty  well  be  called  with- 
out too  much  analysis.  Two  Gene  Autry 
films,  Whirlwind  in  April,  and  Valley  of 
lire  in  June;  two  Jon  Hall  action  mel- 


lers,  When  the  Redskins  Rode,  in  May, 
and  China  Corsair,  in  June;  a  Jungle  Jim 
film,  Fury  of  the  Congo  (Johnny  Weiss- 
muller-Lyle  Talbot)  in  April;  a  George 
Montgomery  western  in  June,  Texas 
Rangers;  an  action  programmer,  Smug- 
gler's Gold  (Cameron  Mitchell- Amanda 
Blake)  in  May,  and  a  Charles  Starrett 
western,  Snake  River  Desperados,  also  in 
May. 


Eagle  Lion  Classics  has  named  its  re- 
leases only  for  April  and  May.  The 
lineup  is  a  mixture  of  some  good-looking 
foreign  product  and  unimpressive  domes- 
tic films  among  the  ten  pictures  set  for 
the  two  months. 

April  in  the  Hollywood-made  films  has 
the  novelty  comedy,  Skipalong  Rosen- 
bloom  (Max  Rosenbloom-Max  Baer- Jackie 
Coogan)  on  the  3rd;  When  I  Grow  Up 
(Robert  Preston-Martha  Scott),  on  the 
20th  and  a  western,  Badman's  Gold,  for 
the  3rd. 

The  middle  of  the  month  sees  two 
British-made  films:  The  long  Dark  Hall 


(Rex  Harrison-Lilli  Palmer),  on  the  10th, 
is  a  melodrama  that  is  enhanced  in  big 
cities  by  the  American  popularity  of  the 
two  stars,  currently  playing  Broadway 
in  "Bell,  Book  and  Candle";  for  the  week 
of  the  17th,  the  long-delayed,  contro- 
versial Oliver  Twist  will  have  its  Amer- 
ican debut. 

Outlook  for  May  is  not  as  favorable. 
Only  Two  Guys  and  a  Gal  (Janis  Paige- 
Robert  Alda)  on  the  15th  gives  any  prom- 
ise for  the  domestic  product.  The  Italian- 
made  Volcano,  with  Anna  Magnani  in  the 
top  role,  can  expect  a  certain  amount  of 
boxofnce  in  the  art  spots  and  from  the, 
publicity  accorded  the  star  in  conjunction 
with  the  title  accruing  from  the  unsavory 
Bergman-Rosselini  affair,  but,  unless  its 
entertainment  quota  is  abundant  enough' 
to  overcome  the  foreign  label,  it  doesn't 
shape  up  favorably.  The  rest  of  the  May 
output  is  routine. 

On  the  8th,  the  British-made  Cairo 
Road  (Eric  Portman),  and  Fighting  Reb- 
els (cast  not  listed),  and  on  the  15th,' 
Hoodlum  (Lawrence  Tierney-Allene  Rob- 
erts). 


Good  Prospects  In  Monogram, 


Lippert 

Monogram  has  a  promising  exploita- 
tion spy  melodrama  coming  up  from 
Allied  Artists,  and  a  fair  run  of  program 
pictures  to  make  up  this  company's 
Spring  release  schedule  of  ten  films. 

The  AA  feature,  I  Was  an  American 
Spy,  with  an  April  15  release  date,  is  the 
big  one  for  Spring  from  this  company 
and  has  been  given  topflight  treatment 
by  producer  David  Diamond.  With  Ann 
Dvorak  and  Gene  (Steel  Helmet") 
Evans  in  the  top  roles,  the  film  details 
the  perils  of  a  night  club  singer  in  Ma- 
nila, after  the  fall  of  Bataan,  who  poses 
as  a  friend  of  the  Japanese  in  order  to 
obtain  secret  information  to  send  to  the 
Americans. 

Miss  Dvorak  as  the  spy,  and  Evans,  as 
an  American  guerilla,  are  participants  in 
.such  heart-stoppers  as  the  Bataan  death 
March,  the  attempts  to  get  couriers 
through  to  the  American  lines,  and  in- 
human Japanese  tortures,  American  Spy 
offers  a  most  promising  piece  of  action- 
.suspense  entertainment.  Lesley  Selander 
directs  the  Sam  Roeca  screen  play,  taken 
from  the  book,  "Manila  Espionage,"  by 
Myron  Goldsmith  and  Claire  Philips. 

Of  the  Monogram  releases,  the  Cine- 
color  Cavalry  Scout  (Rod  Cameron-Au- 
drey Long),  produced  by  Walter  Mirisch 
and  also  directed  by  Selander,  and  Ac- 
cording to  Mrs.  Hoyle  (Spring  Byington- 
Brett  King-Tanis  Chandler),  a  Barney 
Gerard  production  directed  by  Jean  Yar- 
brough,  appear  the  best  prospects  for  the 
Spring  season. 

Cavalry  Scout,  due  May  13,  has  the 
popuplar  Rod  Cameron  involved  in  the 
Indian  wars  and  details  his  ultimately 


Lineups  for 

successful  efforts  to  uncover  white  rene- 
gades bent  on  prolonging  the  redskin  con- 
flict. 

According  to  Mrs.  Hoyle,  on  the  20th, 
appears  to  be  the  sort  of  entertainment 
that  family  audiences  will  enjoy.  Spring 
Byington,  as  a  retired  school  teacher  who 
exerts  her  beneficial  influence  on  a  band 
of  gangsters,  eventually  becoming  in- 
volved in  stolen  jewels  herself  before  she 
can  see  the  effects  of  her  treatment.  A 
pair  of  promising  newcomers,  Brett  King 
and  Tanis  Chandler,  are  the  chief  support 
in  romantic  roles. 

Monogram's  other  April  releases  are 
Ghost  Chasers  (Leo  Gorcey-Huntz  Hall), 
on  the  29th,  another  in  the  Bowery  Boys 
series,  and  Canyon  Raiders,  a  Whip  Wil- 
son-Fuzzy Knight  western,  on  the  8th. 

Two  more  westerns  round  out  the  May 
releases:  Blazing  Bullets  (Johnny  Mack 
Brown-Lois  Hall),  on  the  6th,  and  Nevada 
Badmen  (Whip  Wilson-Fuzzy  Knight)  on 
the  27th. 

The  June  schedule  has  a  Lindsley  Par- 
sons comedy  with  music,  Casa  Manana, 
on  the  10th;  another  entry  in  the  Ray- 
mond Walburn  "Father"  series,  "Father 
Takes  the  Air,  on  the  17th,  and  a  Johnny 
Mack  Brown  western,  Montana  Desper- 
ado, on  the  24th. 

Robert  L.  Lippert,  who  pulled  some 
unknowns  with  dramatic  talent  out  of 
a  hat  to  forge  one  of  the  better  war 
films,  "The  Steel  Helmet,"  offers  a  quin- 
tet of  releases  for  the  April-May-June 
period,  wih  one,  The  Little  Big  Horn, 
giving  promise  of  rising  above  the  run- 


Spring 

of-the-mill  as  did  "Helmet."  Three  of  the'] 
group  are  the  Spartan  Productions  series, 
of  action  films  starring  Hugh  Beaumont,  I 
Ed  Brophy  and  Richard  Travis  in  per-l, 
petual  roles  as  adventurer,  comic  pal.lj 
and  police  lieutenant,  respectively.  The! 
fifth  in  the  Spring  group  is  a  varietji 
musical  comedy. 

Little  Big  Horn,  due  for  release  June  181 
has  two  of  Hollywood's  most  talented 
young  character  actors,  John  Ireland  and' 
Lloyd  Bridges,  in  the  top  roles.  Ireland, 
who  has  made  a  lasting  impression  in 
several  recent  films,  including  "All  The 
King's  Men,"  is  seen  as  the  leader  of  a 
ragged,  little  U.  S.  Cavalry  band,  given 
a  dangerous  assignment  in  Indian  coun- 
try. Bridges,  as  his  aide,  and  the  seduc- 
tive Marie  Windsor  head  the  deftly  chos- 
en supporting  cast. 

Charles  Marquis  Warren  doubled  as 
writer  and  director,  with  Carl  K.  Hittle- 
man  in  charge  of  production  and  ace 
cameraman  Ernest  W.  Miller  handling 
the  photography. 

Kentucky  Jubilee  (Jerry  Colonna-Jean  > 
Porter),  on  the  18th,  hangs  a  large  quota 
of  specialty  acts  and  musical  numbers 
on  the  story  thread  of  a  talent  search 
in  the  Blue  Grass  country.  Producer-di- 
rector Ron  Ormond,  who  also  collaborat- 
ed on  the  script,  has  included  13  songs 
and  several  specialties.  The  supporting 
cast  is  headed  by  James  Ellison,  Fritz  j 
Feld,  Vince  Barnett  and  Raymond  Hatton.i 

Two  of  the  Beaumont-Brophy-Travis 
films,  Danger  Zone  and  Pier  23,  will  be 
released  in  April,  the  former  on  the  20th, 
and  the  latter  on  the  27th.  On  May  4,  one 
week  later,  the  third,  Roaring  City,  will  I 
go  into  circulation. 


FILM  BULLETIN 


SpHnf  PICTURE  PROSPECTUS 


SPHIIVG  SELLIIVC  CAMPAIGNS 


I  Recognizing  the  necessity  for  mer- 
handi&ing  their  product  today  more  than 
Iver,  the  film  companies  have  set  some 
lowciful  selling  campaigns,  some  old. 
jome  new,  but  all  intent  on  titillating 
he  public's  interest  in  the  new  films, 
he-ups  to  insert  the  film's  name  into  the 
fioviegoer's  consciousness,  personal  ap- 
Jearances  by  stars,  national  magazine 
Idvcrtismg,  exploitation  stunts,  kleig- 
Igrhted  premieres,  and  all  the  other  time- 
bsted  ballyhoo  tricks  are  being  pulled 
kit  of  the  hat  by  the  publicity-exploita- 
|on  departments  to  excite  public  en- 
husiasm  for  the  important  films  slated 
pr  release  these  next  three  months. 

An  acknowledged  leader  in  showman- 
nip,  20th  Century-Fox  has  set  an  im- 
iosing  list  of  selling  aids  for  its  Spring 
pleases.  After  an  epic  series  of  mer- 
nandising  tie-ups  to  kick  off  the  Easter 
please,  Bird  of  Paradise,  ad-publicity 
pief  Charles  Einfeld  and  his  boxofficers 
lunged  right  into  topflight  promotions 
pr  the  next  three  months.  Fourteen 
Jours  was  teed  off  with  an  "All  Celeb- 
ity"  world  premiere  at  the  Astor  in 
lew  York  and  a  word,  "Acrophobia." 

Tfce  Screen  Brings  Tow. .A  New  Element  in  Suspense 

ACROPHOBIA! 

torn 


'as  cleverly  used  as  a  gimmick  to  pique 
ublic  curiosity.  (Look  it  up  yourself. 
7e  did.)  On  the  one  day  after  the  un- 
gual approach  was  used  in  an  ad,  the 
ord  tripped  over  an  aroused  public's 
mgue  more,  probably,  than  it  ever  did 
1  the  years  since  it  was  Websterized. 
A  firm  believer  in  tie-ups  to  make  their 
lms'  titles  and  stars  known  in  advance, 
ox  has  arranged  tit-for-tatters  on  vir- 
■tally  its  entire  Spring  lineup.  I  Can 
ret  It  for  You  Wholesale  has  been  ap- 
rooriately  tied  in  with  the  famous  "Cah- 
Jrnia  Girl"  dresses.  Follow  the  Sun 
e-ups  include  the  popular  MacGregor 
ne  of  sportswear,  the  Catalina  bathing 
Jit  manufacturers,  Love  Joy  shoes, 
porting  magazines  and  golf  publications 
nd  Ben  Hogan's  book,  "Power  Golf."  • 
Half  Angel,  with  a  special  Student 
urse  Recruiting  Drive  and  fashion  mag 
overage;  On  the  Riviera,  with  a  tre- 
mendous music  promotion,  Lux  Flakes 
nd  V-8  Vegetable  Juice;  Just  One  More 
nance  with  Bell  &  Howell  cooperating, 
ave  also  been  set  up  for  nationwide 
e-ups. 

IARCH   26,  1951 


At  M-G-M,  Father's  Little  Dividend  has 

been  getting  a  double  barreled  ad  cam- 
paign that  bids  to  recoup  every  movie- 


goer who  saw  "Father  of  the  Bride,"  as 
well  as  a  brand  new  batch  of  want-to- 
seers.  No  less  than  32  national  maga- 
zines will  be  carrying  ingenious  adver- 
tising copy  that  practically  propels  the 
reader  into  the  movie  house.  In  addi- 
tion, a  clever  group  of  teaser  ads,  with 
the  title  on  the  "Little  Dividend's"  dia- 
per, is  a  sure  attention-grabber  for  the 
new&papcr  ads. 

A  usual  approach  for  the  trailer 
campaign  on  The  Great  Caruso  is  note- 
worthy. Three  separate  trailers,  designed 
for  a  four-week  campaign,  have  been 
made  up;  the  first  two  are  teasers,  one 
offering  Mario  Lanza  singing  the  Hit 
Parade  topper,  "Be  My  Love,"  and  the 
third,  the  regular  trailer. 

Two  of  United  Artists'  early  Spring 
releases  are  getting  the  high-powered 
exploitation  treatment.  Vice-president 
Max  E.  Youngstein  has  plunged  head- 
long into  the  task  of  re-establishing  UA 
as  a  front  line  factor  in  the  industry. 
Strong  campaigns  are  already  under 
way  on  Queen  For  A  Day  and  The  Scarf. 

The  Robert  Stillman  trilogy  will  be 
kicked  off  with  a  world  premiere  in  the 
town  of  Waycross,  Ga..  which  was  named 
"Queen  City"  via  a  nationwide  contest 
conducted  by  the  Mutual  network.  The 


W///eoHdJoe 

are  on  the  Screen! 

Wt Vie am 'Joe  1 

are  on  the  Screen!  | 

"Nonsense.  S-2  reported  thir  nuctuoe 
gun  silenced  hours  igo.  Stop  wig- 
gling your  angers  «  me." 

-Why  th'  -  -  •  •  oouWn't  you 
hare  been  bom  a  beautiful  woman?" 

Upfront 

SHI  Maulc(t'n'6 

Upfront 

popular  radio-television  show  will  be  used 
extensively  to  promote  this  film. 
Personal  appearances  by  star  Mercedes 


McCambridge  and  James  Barton  are  be- 
ing utilized  to  plug  The  Scarf.  Miss  Mc- 
Cambridge is  just  winding  up  an  inten- 
sive two  weeks  in  New  York  where  she 
has  made  numerous  TV  appearances  and 
garnered  reams  of  space  in  the  news- 
papers \ia  interviews. 

Universal's  tip  Front  is  getting  full- 
scale  treatment  by  David  Lipton  and  his 
ad-publicity  staff.  Using  the  film  to  in- 
augurate the  new  policy  of  listing,  in 
national  ads,  theatres  in  key  cities  to 
play  the  picture.  Universal  has  capital- 
sic  promotions  and  other  merchandising 
aids  aimed  at  building  up  the  film's  inv 
poitance.  A  series  of  striking  news- 
paper ads,  one  of  which  is  illustrated  on 
this  page,  have  been  worked  up  under 
the  direction  of  Republic  advertising 
ized  thoroughly  on  the  Bill  Mauldin  car- 
toons and  the  book  which  has  enjoyed 
millions  of  readers.  A  three-way  network 
and  local  radio  and  TV  promotion  has 
been  going  on,  involving  appearances  by 
Tom  Ewc-11,  the  "Willie"  of  the  film,  on 
the  airwaves  and  video,  newspaper  inter- 
views; promotions  on  nine  network 
"giveaway"  shows,  a  cheesecake  bally  by 


"The  Up  Front  Girl,"  important  men- 
tions in  columns  after  distribution  of  an 
effective  booklet  on  the  film,  and  a  sat- 
uration booking  campaign  which  has  set 
more  than  500  dates  for  its  April  release. 

Republic,  visualizing  a  high-grossing 
"sleeper"  in  Bullfighter  and  the  Lady,  has 
enlarged  the  scope  of  its  campaign  on 
the  film.  In  preparation  are  an  ex- 
panded advertising  campaign,  tie-ins,  mu- 
chief  Steve  Edwards.  They  play  up  the 
passion  and  peril  of  this  bullring  story. 

Paramount  has  lined  up  special  tie-ups 
for  five  of  its  six  new  releases.  Co-ops 
with  CBS  radio  and  TV  networks  and 
Sanka  Coffee  have  been  arranged  for 
Molly.  Quebec  has  been  linked  with 
Seven  Test  Hosiery;  Lemon  Drop  Kid 
with  Marlboro  Shirts,  the  Lusk  Lemon 
Drop  Co..  Royal  Desserts  and  the  S.  H. 
Kress  chain;  Dear  Brat  and  Appointment 
with  Danger  will  be  featured  in  Rollfast 
Bicycles  ads.  Danger  also  has  a  special 
Post  Office  Department  tie-up  which  car- 
ries the  endorsement  of  Postmaster 
General  Donaldson. 


29 


20th-FOX'S  "14  HOURS' 
WINS  CRITICAL  PLAUDITS 

Once  again,  20th.  Century-Fox  has  ef- 
fectively adopted  a  New  Yorker  maga- 
zine article  about  an  actual  incident,  and 
the  screen  translation  has  won  the  plaud- 
its of  the  New  York  newspaper  critics. 
They  are  agreed  that  "Fourteen  Hours' 
builds  tremendous  tension,  but  are  also 
of  the  opinion  that  it  is  not  a  picture  for 
the  squeamish  or  the  faint-hearted. 

In  the  World  Telegram,  Alton  Cook 
calls  it  "a  fascinating  picture"  whose 
name  is  "likely  to  be  hanging  over  the 
front  of  the  Astor  for  many  weeks  to 
come." 

Bosley  Crowther,  in  the  Times,  says  it 
is  a  "remarkably  compact"  picture  in 
which  viewers  "will  find  gripping  sus- 
pense, absorbing  drama  and  stinging  so- 
cial comment."  It  has,  he  adds,  "acceler- 
ating power  .  .  .  accumulating  drama 
.  .  .  that  makes  for  the  real  emo- 
tional upsweep  and  the  hard,  stag- 
gering sh->cks  in  this  .  .  .  superior  Amer- 
ican film." 

Disappointed  that  it  did  not  explore 
more  ciOsely  "why  he  is  there"  on  the 
ledge,  poised  to  jump,  the  Compass'  Sey- 
mour Peck  finds  it  "tense,  emotionally 
harrowing  and  gripping,"  conc'udi^g: 
"you  might  like  to  see  'Fourteen  Hours,' 
but  hold  on  to  your  seats  when  you  do; 
16  ffoors  is  a  long  way  to  drop." 

The  Herald  Tribune's  Otis  L.  Guern- 
sey, Jr.  describes  "  a  film  of  almost  ex- 
hausting suspense  .  .  .  seems  almost  too 
real  for  comfort."  A  picture  not  for  "the 
sensitive  seekers  after  vicarious  escapist 
thrills,"  he  says  "it  offers,  quite  simply, 
a  front-row  seat  at  a  horror  show." 

In  the  Post,  Archer  Winsten  is  not 
completely  satisfied  with  "a  realistic  re- 
production of  a  suicide  incident  of  a  few 
years  back."  As  a  characterization  of  an 
American  "circussing  of  a  potentially 
tragic  spectacle,"  he  admits,  "it's  a  pret- 
ty darn  good  picture."  But,  as  a  picture 
trying  to  add  something  to  this  spectacle, 
he  concludes,  "it's  not  very  exciting." 

'THE  13TH  LETTER" 

20th  Century-Fox 

"Melodrama  from  far  off  the  beaten 
path  .  .  .  Has  enough  suspense  to  keep 
an  audience  alert."— CREELMAN,  N.  Y. 
WORLD  TELEGRAM. 

"Nothing  of  the  conventional  whodunit 
.  .  .  Basically  a  melodrama  of  moods  and 
atmosphere,  of  hidden  motives  and  psy- 
chological quirks  .  .  .  Unusual  and  inter- 
esting drama  despite  its  rather  gloomy 
plot."  —  PELSWICK,  N.  Y.  JOURNAL 
AMERICAN. 

"Moderately  intriguing  mvstery  picture 
.  .  .  Straight  who-does-it  film."— CROW- 
THER, N.  Y.  TIMES. 

"Thriller  that  doesn't  quite  thrill  .  .  . 
Reasonably  well  made  and  acted  with 
conviction  .  .  .  What  is  missing  is  that 
elusive  quality  known  as  mood." — PECK, 
N.  Y.  COMPASS. 

"Suspense  is  not  sustained  and  interest 
tends  to  lag  .  .  .  "Sort  of  soap  opera. 
Tears,  misunderstanding  and  injustices 
are  blended  as  nicely  as  any  radio  fan 
could  wish."— PIHODNA,  N.  Y.  HERALD 
TRIBUNE. 

'UNDER  THE  GUN' 

Universal-International 

"Can't  for  the  life  of  us  figure  any  rea- 
son for  such  an  aimless  tale,  except  to 
indulge  in  bleak  sadism.  The  marksman- 
ship is  infinitely  better  than  the  film." — 
CROWTHER,  N.  Y.  TIMES. 

"Conventional  gangster  film  .  .  .  Stand- 
ard crime-chase  action  .  .  .  Neither  an  in- 
teresting study  of  an  archaic  penal  sys- 


QUOT6S" 


What  the  Newspaper  Critics  Sag  Ahout  New  Fill 


tern  nor  a  particularly  exciting  melo- 
drama." —  BARSTON,  N.  Y.  HERALD 
TRIBUNE. 

"Starts  by  being  a  fairly  obvious  gang- 
ster story  and  works  its  way  backwards." 
WINSTEN,  N.  Y.  POST. 

"Grim  melodrama  .  .  .  Well  made  and 
acted  if  something  less  than  cheerful  in 
theme  .  .  .  Unrelievedly  violent  in  its 
action."— PELSWICK,  N.  Y.  JOURNAL 
AMERICAN. 

■TOMAHAWK' 

UNIVERSAL-INTERNATIONAL 

"Broadway  has  had  an  overdose  of 
Westerns  lately  but  this  is  the  liveliest 
of  the  lot."— COOK  (  N.  Y.  WORLD  TEL- 
EGRAM. 

"Large-scale,  imp.essively  Technicolor- 
ed  outdoor  melodrama  .  .  .  Concerns  itself 
less  with  story  than  with  action.  Ana 
once  it  gets  into  its  stride  it  s  a  lively  and 
colorful  spectacle."— PELSWICK,  N.  Y. 
JOURNAL  AMERICAN. 

"Nothing  exceptional  in  the  cavalry- 
and-Indians  line  .  .  .  Stnctly  two-dimen- 
sional .  .  .  Nothing  to  take  away  your 
breath."— CROWTHER,  N.  Y.  TIMES. 

"Part  study  in  sociological  morality  and 
part  blood-and-thunder  melodrama  with 
arrows  and  bullets  whipping  through  the 
air  .  .  ..  Another  Western  primer  with  a 
few  modern  touches  added." — GUERN- 
SEY, N.  Y.  HERALD  TRIBUNE. 

"Breathes  there  a  man  with  soul  so 
dead  he  can  no  longer  thrill  to  the  war 
whoops  and  smoke  signals  and  tomtoms 
of  Indians  on  the  warpath?  If  there  be 
such  a  man,  let  him  stay  away." — PECK, 
N.  Y.  COMPASS. 

TH«=  STEEL  HELMET' 

LIPPERT 

"Purports  to  dramatize  the  fighting  in 
Korea  ...  A  grim  recital." — PELSWICK, 
N.  Y.  JOURNAL  AMERICAN. 

"For  an  obviously  low-budget  picture 
.  .  .  has  some  surprisingly  good  points 
.  .  .  Unfortunately,  the  texture  ...  is 
patently  artificial  .  .  .  Tangible  make- 
believe."— CROWTHER,  N.  Y.  TIMES. 

"Often  exciting,  but  its  exaggerated 
mannerisms  of  personality  and  bravado 
rob  it  of  any  claim  to  true  distinction." 
—GUERNSEY,  N.  Y.  HERALD  TRI- 
BUNE. 

"Considerably  better  than  the  quickie 
you  might  have  been  expecting  .  .  . 
Possesses  marks  of  reality  frequently 
missing  in  more  expensive  productions 
.  .  .  Eventually  .  .  .  melodramaticizes 
itself  out  of  top  competition."  WIN- 
STEN, N.  Y.  POST. 

"Misses  out  on  the  real  look  and  the 
real  stature  of  the  war  In  Korea." — 
PECK,  N.  Y.  COMPASS. 

"Glum,  tough  drama  of  glum,  tougn 
fighters  .  .  .  Depressing  rather  than 
inspiring  or  even  entertaining." — CREEL 
MAN,  N.  Y.  WORLD  TELEGRAM. 

'ROGUE  RIVER' 

ELC 

"Story  .  .  .  not  nearly  as  impressive  or 
simple  (as)  choice  of  locale  .  .  .  Some- 
thing less  than  meets  the  eye." — A.  W., 
N.  Y.  TIMES. 

"Handsome  color  photography  ...  all 
there  is  to  recommend  ...  an  exasper- 
ating collection  of  incredible  character- 
izations and  contrived  situations." — 
J.  S.  B.  N.  Y.  HERALD  TRIBUNE. 

"Westerns  are  granted  free,  and  easy 
liberties  with  credibility  and  logic  .  .  . 
Sure  does  take  full  advantage  of  this 


license."— A.  C,  N.  Y.  WORLD  TEL  ' 
GRAM. 

"Rarest  of  movie  demonstrations,  tl  I 
fundamentally  sound  plot  that  conquel 
production  weaknesses  .  .  .  Handicaps  j 
by  color  that  seems  washed  out,  pel 
formers  lacking  notable  talent,  and  <  | 
rection  worthie  of  a  quickie  .  .  .  Yi 
inter  est  is  sustained  at  a  decent  lev  j 
throughout."— WINSTEN,  N.  Y.  POST 

CALL  ME  MISTER' 

20TH  CENTURY-FOX 

"Exuberance  of  the  original  revue  I 
wanting  in  many  of  the  scenes  .  .  .  Sha 
satirical  revue  has  become  a  big,  boun 
ing  musical  comedy  .  .  .  Engaging  mu; 
cal  of  its  special  sort."— BARNES,  N. 
HERALD  TRIBUNE. 

"Bounce  and  freshness  and  youthf 
snap  .  .  .  have  gone  out  of  the  mov 
version  ...  All  a  bit  too  blaring,  a  U 
too  overproduced  and  over-orchestratec 
—PECK,  N.  Y.  COMPASS. 

"Ragtag-and-bobtail  show,  thrown  I 
gether  around  Miss  Grable  and  her  I 
now  well  seasoned  allures." — CRO\, 
THER,  N.  Y.  TIMES. 

"Mostly  a  Betty  Grable-Dan  Dailey  m  j 
sical  .  .  .  not  to  be  confused  with  t 
Broadway  musical."— WINSTEN,  N.  | 
POST. 

"Slick  entertainment  .  .  .  Handsome' 
done  up  in  Technicolor  .  .  .  This  one 
fun."— PELSWICK,    N.    Y.  JOURN/ 
AMERICAN. 

'VENGEANCE  VALLEY' 

M-G-M 

"Since  the  men  in  this  picture  are 
turally  men  who  do  not  hesitate  to  fig 
the  entertainment  quotent  is  high  a 
handsome."— WINSTEN,  N  Y.  POST. 

"Western  built  for  adults,  and  for  adu 
only  .  .  .  Deceptively  easygoing  m 
drama,  acted  and  directed  with  a  nati 
alness  rare  in  outdoor  films  .  .  .  Story 
not  for  kiddies,  although  the  kiddies  w 
probably  flock  to  see  it  .  .  .  Strong  aj 
dramatic  tale  of  adventure  set  in  tit 
magnificent  West.  These  are  cowboys  ] 
which  even  a  grownup  can  believe.'1 ; 
CREELMAN,    N.    Y.    WORLD  TEL 
GRAM. 

"Burt  Lancaster  .  .  .  gives  an  exc.1 
lent  account  of  himself  as  a  sagebru. 
stalwart  .  .  .  Bang-up  outdoor  yarn 
Technicolor."— PELSWICK,  N.  Y.  JOUf- 
NAL  AMERICAN. 

"Well-made  but  routine  Western  . 
No  Western  fan  could  ask  for  more,  ■ 
cept  possibly  a  reasonable  story." — I 
HODNA,  N.  Y.  HERALD  TRIBUNE. 

'MAD  WEDNESDAY' 

RKO 

"Harold  (Lloyd)  returned  to  the  scru 
with  all  his  comic  zest  and  artful  a- 
ning  with  a  gag  .  .  .  Harold  and  PresU 
(Sturges)  have  caught  one  another  I 
too  form,  glory  be  for  all  good  oeo, 
who  love  laughter."— A.C.,  N.  Y.  WORj> 
TELEGRAM. 

"Script  offers  no  surprises  and  hi? 
freshness  or  wit  .  .  .  Comedy  rar/ 
comes  off."— RAYFIELD,  N.  Y.  CO 
PASS. 

"Has  enough  of  the  old  Sturges  .  U 
to  give  your  laughing  lungs  a  work* 
.  .  .  Wears  itself  a  little  thin  towards  p 
finale  .  .  .  This  picture  you  should  w.f 
to  see."— WINSTEN,  N.  Y.  POST. 

"Fast  and  funny  and  engagin 
wacky."— PELSWICK,  N.  Y.  JOURN 
AMERICAN. 


31 


FILM  bullet;!' 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 

Cxclu^ifie  ^BULLETIN  Jeatun 


■ 

COLUMBIA 

CRAMER  TO  DELIVER  30  AT 
125,000,000  IN  5-YEAR  PACT 

POLUMBIA    received    a  much-needed 
:  r  shot  in  the  arm  with  the  long-talked- 
jbout  signing  of  Stanley  Kramer's  inde- 
pndent  Droduction  organization  to  a  five- 
:  tear  deal.  While  the  effect  of  the  hypo 
:  rill  require  time  to  make  itself  felt,  since 
\  pe  agreement  is  a  long  term  matter, 
Resident  Harry  Cohn's  statement  that 
rhis  is  the  most  important  deal  we  have 
ver  made"  is  undoubtedly  more  than  a 
lere  blurb. 

I  Under  the  terms  of  the  pact,  Kramer 
fls  apreed  to  deliver  30  pictures  over  the 
ext  five  years,  at  a  cost  approximating 
25.000.000.  The  entire  Kramer  production 
init.  including  board  chairman  Sam  Katz. 
.  kploitation  chief  George  Glass,  writer 
'.  jarl  Foreman  and  production  specialists 
.udolph  Sternad,  Dmitri  Timokin,  Harry 
erstad  and  Clem  Beauchamo.  will  move 
ver  intact  to  the  Columbia  lot  as  a  com- 
letely  self-operating  independent  organi- 
ition.  Columbia  will  finance  the  produc- 
ons  and  share  in  the  profits,  but  Kramer 
;  expected  to  have  unparalleled  freedom 
pd  autonomy  in  the  actual  production. 
Dur  operation  will  be  the  same,"  Kramer 
nnounced  following  the  inking,  "basing 
s  striking  power  on  new  ideas  plus 
,iorough  preparation  and  rehearsal.  We 
Bve  the  same  team  of  creative  man- 
(ower  to  carry  through  and  will  step  up 
ur  pace  by  extending  preparational  ac- 
vities." 

The  Kramer  unit  comes  to  Columbia 
ith  12  properties,  estimated  at  a  S3.000.- 
X)  value,  under  his  wing  and  being 
■adied  for  various  phases  of  production, 
t  the  rate  of  six  films  per  year,  the  ini- 
ial  group  will  be  "My  Six  Convicts," 
Death  of  a  Salesman."  "The  Cyclist 
aid."  "Happy  Time,"  "Four  Poster"  and 
Member  of  the  Wedding."  Other  proper- 
es  owned  by  Kramer  include  Taylor 
aldwell's  novel.  "The  Wide  House" ;  Carl 
oreman's  original,  "High  Noon"  and  an- 
her  untitled  script;  Irvine;  Reis'  "Four 
lades  in  Blue";  Robert  Louis  Steven- 
>n's  "Markheim,"  and  a  childrens'  tale 
/  Ted  Geisel,  "Dr.  Suess"  of  cartoon 
ime. 

As  reported  last  issue,  there  was  a  two- 
eek  hiatus  at  the  studio  earlier  this 
onth  and  to  date,  there's  no  appreciable 
ick-up  in  activity  in  sight.  On  March  13, 
ene  Aurrv  Productions  launched  shoot- 
is;  on  "Silver  Canyon,"  with  Gail  Davis 
ist  as  Autrv's  leading  lady,  and  John 
ng-lish  handling  the  megging  for  Pro- 
Jcer  Armand  Schaefer.  The  only  other 
-oduction  to  roll  thus  far  this  month  is 
Son  of  Dr.  Jekyll"  (Louis  Hayward— 
)dy  Lawrence),  with  Seymour  Friedman 
recting.  Rounding  out  the  unimpressive 
arch  slate  will  be  Norma  Productions' 
Ten  Tall  Men,"  starring  Burt  Lancaster, 
ith  Walter  Goldberg  directing  for  Pro- 

.   icer  Harold  Hecht,  slated  to  roll  on  the 

t  'th. 

Negotiations  are  reported  to  be  pro- 


gressing smoothly  between  Columbia  and 
Humphrey  Bogart's  Santana  company  for 
a  new  contract  calling  for  the  latter  group 
to  make  a  new  group  of  pictures  for 
Columbia  release.  Santana,  which  recently 
completed  its  six  picture  commitment  with 
the  studio,  now  has  in  preparation  "The 
Butcher  Bird"  and  "Canela." 

EAGLE  -  LION  -  CLASSICS 

ECONOMIES,  NEW  INDE  DEALS 
BOLSTER  ELC'S  PROSPECTS 

WfTTH  sixteen  pictures  lined  up  for 
release  during  the  next  four  months, 
overhead  operating  expenses  pared  to  a 
point  where  the  company  is  operating  in 
the  black,  and  numerous  new  deals  with 
independent  producers  either  ready  for 
signing  or  in  the  final  discussion  stages, 
ELC  is  making  a  hearty  recuperation, 
following  some  very  shaky  experiences 
a  few  months  past. 

James  Woolcott,  vice  president  of  Pathe 
Industries,  has  been  winding  up  talks  in 
Hollywood  with  several  indes  which  should 
boost  the  rapidly  growing  release  slate 
even  higher.  Woolcott  arrived  on  the 
Hollywood  scene  with  the  hot  news  that 
ELC  has  now  set  up  two  separate  produc- 
tion funds  totalling  $1,600,000.  Needless 
to  say,  this  disclosure  had  most  of  the 
inde  producers  not  previously  under  con- 
tract, beating  a  path  to  his  door.  How- 
ever, he  is  withholding  any  information 
on  possible  new  contracts,  pending  ap- 
proval of  ELC  prexy  William  C.  Mac- 
Millen,  Jr.,  when  he  returns  to  New  York. 

Only  one  new  picture  destined  for  ELC 
release  has  gone  before  the  camera  in  the 
past  two  weeks,  although  the  Alex  Paal 
production  of  "Cloudburst"  (Robert  Pres- 
ton) which  has  been  shooting  since  Janu- 
ary 8,  finally  wound  up  on  March  8. 

The  lone  new  feature  shooting  is  Jack 
Schwarz*  production,  "The  Hoodlum" 
(Lawrence  Tierney,  Alene  Roberts — Ed 
ward  Tierney),  which  got  away  on  March 
14.  Max  Nosseck  is  directing  for  active 
producer  Maurice  Kosloff,  on  a  24-day 
schedule. 

LIPPERT 

UPSURGE  IN  PRODUCTION 
FIRES  STUDIO  TO  NEW  PEAK 

T  IPPERT  production  activities  hit  a  new 
peak  during  the  past  two  weeks,  with 
one  picture  shooting,  four  in  the  cutting 
rooms,  four  set  to  go  before  the  end  of 
Marrh.  and  two  more  scheduled  for  early 
April  starts. 

Currentlv  shooting  is  William  Berke's 
"Savage  Drums"  (Sabu-Lita  Baron), 
which  rolled  March  9.  and  is  scheduled 


HOLLYWOOD  EDITORIAL 

Indcs'  Ulcurs 

That  expression  "movie  producer,"  has 
a  Mighty  important  ring  when  heard  by 
out  landers — but  to  Hollywoodites  it's  be- 
ginning to  have  a  rather  hollow  sound — 
and  not  without  due  cause.  Consider,  for 
example,  the  case  of  a  oertain  prominent 
independent  producer  whose  name  has 
long  been  synononKHH  with  success  in 
the  Industry. 

Almost  two  years  ago.  he  resigned  the 
general  managership  of  an  important 
studio  to  head  his  own  independent  pro- 
duction company.  In  order  to  secure 
needed  financing,  he  had  to  have  big  stars; 
in  order  to  get  big  stars  he  had  to  offer, 
not  only  tremendous  salaries,  but  also 
percentage  cuts  in  the  picture's  potential 
profits.  To  satisfy  the  financiers,  he  also 
had  to  defer  a  large  portion  of  his  own 
salary  as  producer. 

He  made  the  picture  for  a  fraction  of 
(he  amount  that  it  would  have  cost  had 
it  been  produced  by  a  major  studio,  but 
even  so,  it  will  probably  be  more  than  a 
year  from  its  release  date  before  it  can 
possibly  get  out  of  the  red. 

The  producer,  drawing  only  a  few 
thousand  dollars  in  cash,  has  spent  over 
a  year  getting  that  film  on  the  screen— 
and  his  interest  in  the  property,  whittled 
down  by  desperation  deal  after  despera- 
tion deal,  now  amounts  to  only  eleven 
percent.  He'll  be  lucky  if  his  total  take 
equals  one-half  of  the  salary  he  sacri- 
ficed in  order  to  be  a  producer. 

All  of  which  goes  to  prove  there  may 
be  more  truth  than  fiction  in  the  current 
gag  making  the  rounds  in  movie  town, 
to  wit:  "For  every  star  who  wishes  she 
could  regain  her  schoolgirl  complexion, 
there's  a  producer  who  wishes  he  could 
regain  his  schoolboy  digestion." 

But,  more  important,  it  proves  that  the 
days  for  all  but  the  very  shrewdest  of 
independent  producers  may  well  be  num- 
bered unless  the  major  releasing  outlets 
can  lend  greater  financial  aid,  and/or 
unless  the  industry  as  a  whole  does  some- 
thing about  cutting  down  the  exorbitant 
wage  scale  of  stellar  talent. 

JAY  ALLEN. 


to  wind  during  the  closing  days  of  this 
month  on  a  21-day  schedule.  Pictures  in 
the  cutting  room  are:  "The  Little  Big 
Horn,"  (John  Ireland — Lloyd  Bridges), 
directed  by  Charles  Marquis  Warren  and 
produced  by  Carl  Hittelman;  "Kentucky 
Jubilee"  (Jerry  Colonna — Jean  Porter), 
produced  and  directed  by  Ron  Ormond; 
"Roaring  City"  (Richard  Travis),  another 
Ron  Ormond  production,  and  "Danger 
Zone,"  also  starring  Travis. 

Scheduled  to  roll  before  the  end  of  this 
month  are  two  more  Ron  Ormond  produc- 
tions 'That's  Show  Business"  and  "Yes 
Sir.  Mr.  Bones."  and  two  Sid  Melton 
comedies.  "Leave  It  to  the  Marines''  and 
"Off  We  Go."  Early  April  will  see  two 
top  features  go  into  production:  "The 
Lost  Continent,'  to  be  produced  bv  Sig- 
mund  Neufeld  and  directed  by  Samuel 
Newfield,  and  "G.I.  Jane."  a  Murray 
Lerner  production  with  music.  Reginald 
LeBorg.  who  recently  directed  Universal- 
International's  "  Wyoming  Mail,"  comes 
to  Lippert's  to  meg  "Jane." 

(Continued  on  Next  Page) 


ARCH   26,  1951 


31 


STUDIO  SIZ6-UPS 

{Continued  from  Preceding  Page) 

METRO-GOLDWYN-MAYER 

PRE-SCHEDULE  SHOOTING 
INDICATES  50-PICTURE  YEAR 

AN  AUGMENTED  spring  production 
program  was  mapped  by  company 
toppers  around  the  middle  of  the  month, 
which,  FILM  BULLETIN  hears,  may  re- 
sult in  a  step-up  of  activity  to  a  .rate  of 
about  50  pictures  for  the  year.  All  details 
of  the  meeting  were  kept  a  closely  guard- 
-ed  secret. 

On  the  heels  of  the  meeting,  three  new 
pictures  were  rushed  into  production, 
.several  days  ahead  of  schedule.  They 
were:  "The  People  Against  O'Hara" 
(Spencer  Tracy-Pat  O'Brien-John  Hodi- 
ak),  produced  by  W.  H.  Wright  and  direct- 
ed by  John  Sturges;  "Bannerline"  (Sally 
Forrest-Keefe  Braselle),  with  Donald 
Weis  directing  for  Pandro  Berman;  and 
"Too  Young  To  Kiss"  (June  Allyson-Van 
Johnson)  which  R.  Z.  Leonard  is  direct- 
ing for  Producer  Sam  Zimbalist. 

In  addition,  three  other  films  got  off  on 
schedule:  "The  North  Country"  (Stewart 
■Granger-Wendell  Corey),  which  Andrew 
Marton  is  directing  for  Producer  Steph- 
en Ames;  "Angels  In  the  Outfield"  (Paul 
Douglas-Janet  Leigh),  with  Clarance 
Brown  doubling  as  producer-director,  and 
"Rain,  Rain,  Go  Away"  (James  Whit- 
more-Nancy  Davis-Jean  Hagen),  with 
Fred  M.  Wilcox  directing  for  William  H. 
Wright. 

Thus,  though  two  pictures  were  com- 
pleted in  the  last  fortnight,  the  total  num- 
ber of  productions  before  the  camera  at 
Metro  has  been  raised  to  six.  The  newly- 
canned  product  is  "Strictly  Dishonorable" 
(Ezio  Pinza- Janet  Leigh),  which  started 
on  January  18  and  was  brought  in  on 
schedule  on  March  18,  and  "The  Law  and 
Ladv  Loverly"  (Greer  Garson-Michael 
Wilding),  started  January  29  and  com- 
pleted March  12. 

Scheduled  to  roll  in  the  next  two  weeks 
are:  the  Z.  Wayne  Griffin-Clark  Gable 
production  of  "Lone  Star,"  with  Victor 
Sherman  directing  Gable  and  a  cast  as 
yet  unannounced,  and  "Westward  the 
Women"  (Robert  Taylor-Denise  Darcel), 
a  Dore  Schary  production  to  be  directed 
by  William  Wellman. 

Gene  Kelly  and  Kathryn  Grayson  will 
co-star  in  Metro's  film  version  of  the 
Broadway  hit  musical,  "Brigadoon"  Ar- 
thur Freed  will  produce  in  Technicolor. 

George  Well's  production,  "Everybody 
Swims"  has — who  else?  —  Esther  Wil- 
liams starred  as  the  channel  swimmer. 
Mariorie  Main  plays  her  mother  and  the 
bright  newcomer  Debbie  Reynolds  will 
also  have  a  featured  role. 

MONOGRAM  -  AA 

MONOGRAM  PROFIT  SIGNALS 
BIG  PRODUCTION  UPSWING 

TN  a  letter  to  all  stockholders  circulated 
A  last  week,  prexy  Steve  Broidy  reported 
a  26-week  profit  for  Monogram  of  $163,- 
312 — the  first  time  in  more  than  two 
years  that  the  company  has  shown  a 
profit. 

The  report  stated  that  the  gross  in- 
come from  film  rentals,  the  sale  of  ac- 
cessories, etc.,  totaled  $3,937,810,  for  the 


period,  ending  December  26,  as  against 
total  costs  and  expenses  of  $3,774,498. 

Although  this  good  news  came  at  the 
exact  time  when  the  studio  was  in  the 
midst  of  a  brief  production  lull,  it  never- 
theless preceded  by  only  a  few  days  one 
of  the  biggest  upswings  in  production 
which  the  company  has  shown  in  many 
months.  On  March  24,  producer  Peter 
Scully  puts  his  newest  Raymond  Wal- 
burn  starrer,  "Father  Takes  the  Air,"  be- 
fore the  cameras,  with  Frank  McDonald, 
directing.  On  April  1,  Producer  Walter 
Mirisch  and  Director  William  Beaudine 
will  launch  Cinecolor  production,  "Rodeo" 
(Jane  Nigh),  and,  on  April  5,  Walter 
Mirisch  launches  a  new  exploitation  fea- 
ture, "Flight  to  Mars,"  also  to  be  filmed 
in  Cinecolor.  During  this  same  period, 
Allied  Artists  will  also  be  busy  with  a 
pair  of  high  budgeters  shooting.  On  April 
2,  producer  Paul  Short  will  give  the  go- 
signal  to  "Frog  Men,"  with  a  cast  still  to 
be  announced,  and  on  April  9,  his  long 
awaited  "Police  Story"  will  roll,  with  Ben 
Schwalb  handling  the  production  duties. 

Two  pictures  have  been  sent  to  the 
cutting  rooms:  "The  Highwayman" 
(Wanda  Hendrix-Charles  Coburn),  a 
Technicolor  feature  in  the  high  budget 
brackets,  directed  by  Lesley  Selander  for 
Producer  Hal  Chester,  and  "Casa  Man- 
ana"  Li"d-ley  Parsons'  musical  starring 
Scott  Forbes  and  Eileen  O'Herlihy. 
"Highwayman"  rolled  February  19,  and 
came  in  on  a  20-day  schedule,  March  14. 
"Manana"  filmed  on  a  much  less  spect- 
acular budget,  was  before  the  cameras 
only  from  March  5  to  March  12. 

PARAMOUNT 

NEW  PEAK  REGISTERED  AS 
STUDIO  WORKS  ON  32  FILMS 

PRODUCTION  activity  at  Paramount 
*■  hit  a  post-war  peak  last  week,  putting 
the  studio's  Operations  Desk,  where  all 
production  orders  are  cleared,  on  a  24- 
hour  basis,  seven  days  a  week.  Twelve 
first  and  second  units  are  in  work,  plus 
33  pictures  in  various  stages  of  editing, 
and  seven  more  preparing  for  starts 
within  the  next  four  to  five  weeks. 

Films  shooting  at  the  present  time  in- 
clude: "Peking  Express"  (Joseph  Cotten- 
Corinne  Calvet),  "Rhubarb"  (Ray  Mil- 
land-Ann  Sterling),  "My  Favorite  Spy" 
(Bob  Hope-Hedy  Lamarr),  "Detective 
Story"  (Kirk  Douglas-Eleanor  Parker), 
"The  Stooge"  (Martin  and  Lewis), 
"Greatest  Show  On  Earth"  (Betty  Hut- 
ton-James  Stewart),  and  "My  Son  John" 
(Helen  Hayes-Robert  Walker-Van  Hef- 
lin).  Of  that  number,  only  the  latter  one 
has  started  in  the  past  two  weeks— all 
others  carrying  over  from  January  and 
February  starts.  "John,"  which  is  being 
produced  and  directed  by  Leo  McCarey, 
is  now  on  location  in  Washington  and  is 
not  scheduled  to  return  to  the  studio 
until  next  month. 

In  addition  to  this  heavy  schedule  al- 
ready before  the  cameras,  the  most  ambi- 
tious original  musical  in  years  is  being 
readied  to  go  on  the  soundstages  next 
week.  Titled,  "Aaron  Slick  From  Punkin 
Crick",  the  musical  will  be  shot  in  Tech- 
nicolor, with  a  cast  headed  by  Dinah 
Shore,  Alan  Young  and  Robert  Merrill. 
Bill  Perlberg  and  George  Seaton  are  pro- 
ducing, and  Claude  Binyon  directing.  The 
original  music  is  by  ace  Paramount  tune- 
smiths  Jay  Livingston  and  Ray  Evans. 

Charles  Boyer  has  been  signed  to  ap- 
pear in  "Rage  of  the  Vulture,"  joining  a 
stellar  lineup  which  also  includes  Alan 
Ladd,  Deborah  Kerr  and  Corinne  Calvet, 
with  Charles  Vidor  directing. 


The  two  Bills,  Pine  and  Thomas  hav.| 
announced  the  starting  date  of  their  nexi 
production,  "Hong  Kong,"  in  Technicolor 
for  April  23,  with  Lewis  R.  Foster  direct* 
ing. 

Other  important  new  developments  a 
the  studio  during  the  past  fortnight  inl 
elude  the  termination  15  months  hence I 
by  mutual  consent,  of  Alan  Ladd's  assol 
ciation  with  the  studio;  the  addition  t< 
the  staff  of  author-playwright-critic  Laur 
ene  Stallings  to  analyze  properties,  boti 
new  and  used,  with  a  view  toward  dis 
covering  possible  new  ideas;  and  ttu 
signing  of  Pat  Duggan  to  a  new  long 
term  producer  contract. 

REPUBLIC 

YATES  BACK,  READIES  10 
TOP-BUDGETERS  AT  REPUBLIC 

PRESIDENT  HERBERT  YATES  lost  nc 

time  following  his  return  from  Europe 
in  hurrying  up  the  start  of  production  on 
ten  top  budget  Republic  films.  Topping 
the  group  is  the  John  Ford-Merrian  C 
Cooper  production  of  "The  Quiet  Man,'! 
starring  John  Wayne,  who  accompanied 
Yates  to  Ireland  to  scout  locations  for  thd 
picture.  Wayne  will  also  serve  as  produc- 
er-star in  "The  Alamo,"  another  of  Repub 
lie's  top  priority  films. 

First  to  roll,  however,  will  be  "Wings! 
Across  the  Pacific,"  set  for  an  April  i 
start  with  Alan  Dwan  doubling  as  director 
and  associate  producer.  Stars  of  the  Air 
Corps  feature  are  Wendell  Corey,  Forresl 
Tucker  and  Vera  Ralston.  The  $100,00( 
salary  which  the  company  is  paying  Corey 
for  the  loan-out  indicates  that  the  produc- 
tion will  be  the  most  expensive  under 
taken  by  the  studio  thus  far  this  year. 

Joseph  Kane  is  also  rushing  four  high 
budgeters  for  early  spring  filming:  "The 
Iron  Master,"  "Hoodlum  Empire,"  "The 
Sea  Hornet,"  and  an  untitled  South  Ses 
adventure.  No  casts  have  been  set  for 
any  of  the  quartet  of  pictures,  however 
In  addition,  John  H.  Auer  is  preparing 

Pictures  completed  during  the  past  fortl 
night  are:  "Million  Dollar  Pursuit"  (Penl 
ny  Edwards-Stephen  Flagg),  produced  bj 
Stephen  Auer  and  directed  by  R.  G 
Springsteen,  and  "Havana  Rose"  (Estelita 
Rodriguez-Fortunio  Bononova),  with  Sid- 
ney Picker  megging  for  William  Beau- 
dine.  "Pursuit"  went  before  the  cameras 
February  19,  and  wound  up  March  2;  "Ha 
vana  Rose"  started  a  week  later,  on  Feb- 
ruary 26,  went  to  the  cutting  rooms 
March  7. 

New  pictures  starting  during  the  same 
period  were:  "South  of  Caliente"  (Ro> 
Rogers-Dale  Evans),  William  Witney  di- 
recting and  E.  J.  White  producing ;  "Rodec 
King  and  the  Lady"  (Rex  Allen-Mary  El 
len  Kay),  a  Melville  Tucker  production 
directed  by  Phil  Ford,  and  Portland  Pro- 
ductions' "Lady  Possessed"  (James  Ma- 
son-June Havoc). 

RKO 

MARCH  LULL  OVER,  HUGHES 
SETS  7  FOR  APRIL  SHOOTING 

l^lARCH  came  in  and  went  out  like  £ 
iV1  lamb  at  RKO,  insofar  as  any  activity 
around  the  soundstages  was  concerned! 
But  it  appears  that  this  was  only  the  luL 
before  the  storm,  as  Howard  Hughes  pre 
pared  to  roll  seven  new  pictures  within 
a  four  week  period.  This  will  be  RKCh'| 
(Continued  on  Page  34.\ 


32 


FILM  BULLETI! 


Screenplay  by  ROBERT  LEES.  FREDERIC  I.  RINAIOO  and  JOHN  GRANT  ■  S«egested  h  I  i.  Mi  "THE  invisible  Ml"  •  Directed  by  CHARLES  LAMONT  •  Produced  by  HOWARD  CHRISTIE 


STUDIO  SIZ6-UPS 

(.Continued  from  Page  32) 

production  high-water  mark  since  he  as- 
sumed control  of  the  studio,  and,  judging 
from  the  question-mark  calibre  of  the 
majority  of  films  in  the  backlog,  it's  high 
time  the  cameras  started  grinding  at  top 
speed  on  some  features  which  can  com- 
pete with  the  generally  improved  quality 
of  pictures  on  the  present  market. 

First  to  roll  on  the  accelerated  produc- 
tion program  are:  "Behave  Yourself,"  the 
initial  film  from  the  new  Wald-Krasna 
unit.  George  Beck  is  directing  for  asso- 
ciate producer  Stanley  Rubin,  with  Shel- 
ley Winters  and  Fraley  Granger  heading 
up  an  imposing  cast.  In  addition,  "The 
Half  Breed,"  which  rolled  earlier  in  the 
month  on  location  at  Sedona,  Arizona,  re- 
turns to  the  lot  for  several  days  of  inter- 
iors. It  stars  Robert  Young,  Jack  Beutel 
and  Janis  Carter,  and' is  directed  by  Ed- 
ward Ludwig,  produced  by  Irving  Starr. 

"The  Las  Vegas  Story"  tees  off  on  loca- 
tion, with  Robert  Stevenson  directing  for 
Producer  Robert  Sparks,  to  follow  "Be- 
have Yourself."  And  during  the  first  week 
in  April,  Wald-Krasna  will  launch  their 
million  dollar  dramatic  feature,  "The  Blue 
Veil,"  a  Jane  Wyman  starrer  to  be  di- 
rected by  Curtis  Bernhardt. 

The  Edmund  Grainger  inde  unit 
launches  "The  Racket"  on  April  2,  also 
with  John  Cromwell  directing,  and  Robert 
Milchum,  Lizabeth  Scott  and  Robert  Ryan 
starring.  Also  slated  for  an  early  April 
start  are:  "High  Frontier,"  with  Robert 
Sparks  producing  and'H.  C.  Potter  direct- 
ing, and  "Return  of  Zorro,"  in  which  Pro- 
ducer Irving  Starr  has  set  Robert  Dolenz 
to  star.  Both  "Zorro"  and-  "Frontier"  are 
under  the  wing  of  executive  producer 
Samuel  Bischoff.      '»  * 

Winding  up  the  group  of  pictures  sched- 
uled to  start  withintthe  aiext  30  days  is 
Gabriel  Pascal's  production  of  "Androcles 
and  the  Lion,"  which  already  has  Alan 
Young,  Jean  Simmons,  George  Sanders, 
Robert  Newton  and  James  Donald  in  top 
spots.  No  director  has  as  yet  been  set. 

20th  CENTURY-FOX 

FOX  SOLE  STUDIO  MAKING 
'A'  PICTURES  EXCLUSIVELY 

AN  EXCLUSIVE  FILM  BULLETIN  sur- 
vey of  all  productions  placed  be- 
fore the  cameras  since  the  first  of 
the  year,  reveals  that  20th  Century-Fox 
is  the  only  studio  in  town  which  has 
not  gone  in  for  the  making  of  at  least 
a  minimum  of  low-budgeted  pictures,  in- 
terspersed with  the  strictly  Class  A  fare. 
The  studio  consistantly  filmed  all  pic- 
tures on  the  longest  shooting  schedules 
in  town,  has  budgeted  all  productions  in 
excess  of  $350,000,  and  has  assigned  top 
writing,  directing,  producing  and  acting 
talent  right  down  the  line.  This  'A'  men- 
tality undoubtedly  largely  accounts  for 
the  many  awards  accorded  the  studio 
this  year  -among  them,  the  coveted  cita- 
tion as  "Studio  of  the  Year."  Darryl  F. 
Zanuck,  the  company's  production  chief, 
declares  that  Fox  will  have  no  run-of- 
the-mill  pictures  this  year — and  it's  be- 
ginning to  look  like  he  will  make  good 
that  promise,  at  least  insofar  as  its  own- 
made  products' is  concerned.  The  few  indo 
films  on  the  release  scheduled,  however, 
may  fall  into  the  programmer  category. 

In  the  last  fortnight  two  pictures  have 
been  placed  in  the  cans  following  pro- 
longed periods  before  the  camera.  On 
March  3,  producer  Robert  Bressle.r  and 
director  Lewis  Milestone  brought  in  their 


Technicolor  picture,  "Kangaroo,"  which 
first  went  before  the  cameras  on  No- 
vember 10,  with  Maureen  O'Hara  and 
Peter  Lawford  in  the  starring  roles.  Two 
days  later  producer  Frank  P.  Rosenberg 
and  director  Michael  Gordon  delivered 
the  final  scenes  for  "The  Secret  of  Con- 
vict Lake'  (Glenn  Ford-Gene  Tiernev-. 
Ethel  Barrymore),  after  32  days  of  shoot- 
ing. 

During  the  same  period,  two  more  high 
budgeters  were  put  into  work  on  the 
soundstages.  The  first  was  Darryl  F. 
Zanuck's  personal  production,  "The  Dr. 
Praetorius  Story,"  which  Joseph  L.  Manc- 
kiewicz  wrote  and  will  direct.  Cary 
Grant  and  Jeanne  Grain  are  starred  in 
the  film.  The  second  new  entry'  is  a 
Clifton  Wedd  comedy,  "Mr.  Belvedere 
Blows  His  Whistle,"  which  Henry  Kos- 
ter  is  directing  for  producer  Andre  Hak- 
im. 

Coming  up  in  the  next  ten  days  is 
"The  Dessert  Fox,"  film  biog  of  Gen. 
Rommell,  which  will  bring  the  total  num- 
ber of  films  shooting  to  six,  in  addition 
to  Fidelity  Pictures  production  of  "Chuck- 
A-Luck"  (Marlene  Dietrich)  which  pro- 
ducer Milton  Kosloffis  filming  for  Fox 
release,  "Desert  Fox"  is  being  produced 
by  Nunnally  Johnson  and  directed  by 
Henry  Hathaway  on  a  46  day  schedule, 
and  stars  James  Mason. 

UNITED  ARTISTS 

MORE  BIG-TIME  INDIES  SEEN 
HOPPING  ON  UA  BANDWAGON 

TF  CURRENT  rumors  making  the  rounds 
A  prm  out,  Arthur  Krim's  arrival  in  Hol- 
lywood bodes  some  surprising  announce- 
ments concerning  new  and  important  in- 
pendent  production  units  swinging  over 
to  UA.  One  reason  that  the  independents 
are  suddenly  looking  upon  UA  with  such 
favor  is  the  company's  new  financial  set- 
up which  makes  production  money  avail- 
able to  the  producers,  and  thereby  elim- 
inates one  of  their  biggest  headaches. 

Although  Krim  was  not  available  for 
a  statement  at  this  writing,  there  are  re- 
ports that  UA  is  planning  to  boost  dis- 
tribution rates.  But  even  this  doesn't 
seem  to  chill  the  producers'  new  enthusi- 
asm for  the  reorganized  company.  Ac- 
cording, to  the  best  available  information, 
the  boost  in  distribution  rates  would 
range  up  to  35%  domestic  and  40  to 
50%  foreign.  This  compares  with  UA's 
previous  rate  of  25  to  27%  domestic,  and 
up  to  40%  foreign.  The  increase  would 
not  affect  pictures  to  be  delivered  under 
contracts  made  by  the  old  management. 
This  latter  group  includes:  Stanley  Kra- 
mer, who  still  has  one  more  picture  to 
deliver  under  his  old  pact;  Sam  Spiegel, 
Cagney  Productions,  Harrv  Popkin,  Ro- 
bert Stillman  and  Robert  Steifel. 

Local  representatives  of  the  new  com- 
pany have  been  informed  by  the  New 
York  offices  that  10  releases  have  been 
set  for  the  next  three  months  —  a  fact 
which  surprises  many  Hollywoodites,  in 
view  of  the  prolonged  tie-up  of  produc- 
tion under  the  old  management.  Harrv 
Popkin's  "The  Second  Woman"  tees  off 
the  schedule  this  week,  to  be  followed  by 
I.  G.  Goldsmith's  "The,.  Scarf,"  April  6; 
Robert  Sti'lman's  "Ouee/i  For  A  Day," 
April  13,  and  Bob  Roberts'  ,"He  Ran  All 
the  Way,"  on  April -27.  r  May  releases  in- 
clude: Douglas  Sirk's  "The  F^rst  Legion"; 
Irving  Allen's  "New  Mexico";  S.  P. 
Eagle's  "The  Prowler";  and  "Fabiola, ' 
produced  bv  Jul^s  Levev  overseas.  June 
releases  are:  Ed  Gardner's  "The  Man 
With   My  Face,"   which   was  switched 


from  ELC  to  UA  release  in  one  of  the 
surprise  developments  of  recent  weeks, 
and  W.  Lee  Wilder's  "Three  Steps  North." 


UNIVERSAL-INTERNAT'L 

FIVE  BIGGIES,  TWO  HUED 
SET  FOR  MONTH'S  SHOOTING 

TTHE  next  two  weeks  will  find  Universal- 
x  International  plunging  into  one  of  its 
heaviest  production  upsurges  in  many 
months  —  ending  a  four  week  lull,  dur- 
ing which  only  one  picture  was  before 
the  cameras.  Within  a  ten  day  period, 
no  less  than  five  top  budget  productions 
—  two  of  them  in  Technicolor  —  get  the 
go-signal,  with  at  least  three  more  to 
follow  during  April,  all  of  them  filled 
with  more  than  ordinary  promise. 

Casts  on  the  five  new  pictures  about  to 
roll  include  such  "name"'  stellar  talent 
as:  Ethel  Barrymore,  Linda  Darnell,  Dick 
Powell,  Alexis  Smith,  Macdonald  Carey, 
Josephine  Hull  and  Ronald  Reagan.  The 
scripts,  by  and  large,  have  fresh,  new 
story  twists  that  lift  them  above  the  av- 
erage. 

First  of  the  new  starters  is  "You  Never 
Know"  a  light  comedy  based  on  reincar- 
nation, starring  Dick  Powell  and  Peggy 
Dow,  written  and  directed  by  Lew  Bres- 
low,  and  produced  by  Leonard  Goldstein. 
Following  two  days  later  is  another  Gold- 
stein production,  "Fine  Day,"  (Josephine 
Hull-Ronald  Reagan)  a  Technicolor  com- 
edy which  Joseph  Pevney  is  directing; 
Walter  Castle  is  directing  "The  Cave." 
(Alexis  Smith-Macdonald  Carey),  another 
Technicolor  production,  with  a  western 
background.  On  April  2,  two  new  fea- 
tures are  to  be  launched:  "The  Ladv  Pays 
Off"  (Linda  Darnell-Stephen  McNally) 
and  "Oh!  Baby,"  (Ethel  Barrymore-Tom 
Ewell-Julia  Adams).  Frederick  de  Cor- 
dova will  direct  "Baby"  for  Leonard  Gold- 
stein, but  no  director  has  yet  been  set 
for  Albert  J.  Cohen's  production  of 
"Lady,"  his  first  for  U-I.  All  of  the  new 
starters  are  to  be  shot  on  schedules 
ranging  from  24  to  40  days. 


WARNER  BROS. 

SHOOTING  PACE  STEADY 
BUT  PRODUCT  LOOKS  SPOTTY 

PRODUCTION  continues  to  hold  the 
*■  level  it  has  maintained  here  for  the 
past  several  weeks,  with  two  to  three 
pictures  shooting  simultaneously.  And, 
as  has  also  been  the  case  for  quite  some 
time  at  Warner  Brothers,  the  potential 
of  the  productions  varies  greatly  — 
ranging  from  glowing  promise  to  some 
strictly  routine  programmers. 

The  most  recent  starter,  and  one  which 
augurs  well  for  the  studio,  is  "Force  of 
Arms,"  an  Anthony  Veiler  production, 
directed  by  Michael  Curtiz,  and  starring 
William  Holden  and  Nancy  Holden.  The 
picture  is  budgeted  in  excess  of  a  half 
million  dollars,  and  is  scheduled  to  con- 
tinue filming  through  the  month  of  April. 

"Painting  the  Clouds  with  Sunshine, 
(Virginia  Mayo-Dennis  Morgan),  the  only 
other  picture  shooting  at  the  present 
time,  has  been  split  into  three  units  in 
preparation  for  filming  three  of  the  ma- 
jor musical  sequences  in  the  Technicolor 
film.  The  musical,  which  has  been  be- 
fore the  cameras  since  January  26,  is 
being  directed  by  David  Butler  for  pro- 
ducer William  Jacobs. 


FILM  BULLETIN 


TAINTED  HILLS'  OKAY  LAS! 

Rates  •  •  -j-  as  dualler  generally;  more 
MGM 

68  minutes 

•Paul  Kelly,  Bruce  Cowling:,  Gary  Gray, 
Art  Smith,  Ann  Doran,  Chief  Yowlachie, 
Andrea    Virginia    Lester,   "Brown  Jug" 
[Reynolds  and  Lassie. 
Directed  by  Harold  F.  Kress. 


This  Technicolor  version  of  Alexander 
Hu.ls  'Shep  of  the  Painted  Hills"  is  a 
(pleasant,  well-fashioned  dualler  in  the 
(tried  and  true  Lassie  tradition.  It  con- 
tains all  those  elements  of  action,  re- 
venge and  human  interest  that  are  typi- 
cal of  previous  Lassie  tales.   Grosses  will 


IE  ENTRY 

in  rural  areas 

be  strongest,  of  course,  in  the  rural  areas 
and  in  urban  action  hou  :es.  Llscvhere, 
it  measures  up  as  a  good  dualler.  "Painted 
Hills"  is  distinguished  by  the  effective 
photography  by  Alfred  G.Iks  and  Harold 
Lipstein,  plus  some  good  performances 
by  a  talented  cast.  Production  for  Metro 
by  Chester  M.  Franklin,  though  not  gilt- 
edged,  is  adequate,  and  director  Harold 
F.  Kress  successfully  avoids  most  of  the 
cliches  inherent  in  the  general  run  of 
dog  stories,  in  which  sentiment  must  nec- 
essarily play  a  major  part. 

STORY:  Prospector  Paul  Kelly  finally 
strikes  it  rich,  only  to  It-am  that  during 
his  absence  in  the  hills  his  partner  has 


died.  His  young  widow,  Ann  Doran,  and 
her  son,  Gary  Gray,  introduce  Kelly  to 
Bruce  Cowling,  who  had 'been  given  an 
interest  in  the  claim  by  the  dead  man. 
Kelly  takes  Bruce  into  partnership  and 
they  and  the  boy  go  out  to  the  mountains 
and  begin  work.  As  their  store  of  gold 
grows,  Cowling  becomes  greedy,  and 
finally  pushes  Kelly  over  a  precipice  to 
his  death.  He  reckons  without  Lassie, 
Kelly's  faithful  dog,  who  discovers  his 
master's  body  and  leads  Gary  to  the 
grave.  Cowling  tries  to  destroy  the  ani- 
mal, but  Lassie  is  befriended  by  Indians 
and  recovers,  finally  killing  Cowling  after 
a  grisly  struggle  in  the  snow.  YORK. 


CUBAN  FIREBALL1  MILDLY  DIVERTING  FARCE 

Rates  •  •  as  dualler 


Republic 
78  minutes 

Estelita  Rodriguez,  Warren  Douglas,  Mimi 
Vguglia,  Leon  Belasco,  Donald  MacBride, 
Rosa  Turich,  John  Litel,  Tim  Ryan. 
Directed  by  William  Beaudine. 

|  "Cuban  Fireball"  is  an  ordinary  little 
farce -that  succeeds  in  measuring  up  to 
he  usual  standard  for  such  movie  fare, 
fn  its  proper  dualler  slot,  this  lightweight 
Republic  comedy  should  fare  best  when 
paired  with  an  action  or  suspense  melo- 
drama. Generally  speaking,  however,  the 
business  prospects  for  this  minor  "offering 
lA'ill  be  little  more  than  fair.  Sidney 


Picker's  production  is  much  better  than 
average,  providing  a  pleasant  touch  of 
farcical  humor  and  a  few  musical  se- 
quences which  result  in  a  mildly  divert- 
ing bit  of  movie  entertainment. 

The  role  Estelita  Rodriguez  portrays 
is  admirably  suited  to  her  languorous 
charms,  which  she  alternates  with  a  bub- 
bling vivacity  as  she  sings  and  gags  her 
way  through  the  picture  in  fine  style. 
She  is  ably  assisted  by  Mimi  Aguglia  and 
Rosa  Turich,  and  good  masculine  sup- 
port is  provided  by  John  Litel,  Russ  Vin- 
cent and  Warren  Douglas. 

STORY:  Estelita  Rodriguez,  a  cigar 
worker  in  Havana,  inherits  twenty  mil- 
lion dollars.  Afraid  that  she  will  be 
courted  only  because  of  her  great  wealth 


when  she  goes  to  California  to  claim  her 
inhe  itance,  Estelita  disguises  herself  as 
a  homely  older  woman,  posing  as  a  poor 
relation  of  the  heiress  when  she  leaves 
off  her  disguise.  At  the  airport  irl  Los 
Angeles,  Warren  Douglas  meets'  the 
plane.  When  he  sees  Estelita  as  the  heir- 
ess, he  gets  his  father,  John  Litel.  to 
greet  her.  Later,  when  Douglas  meets 
the  undisguised  Estelita,  he  falls  for  her. 
Complications  result  from  her  dual  act, 
and  before  they  are  straightened  out,  Es- 
telita is  chased  by  the  homicide  bureau, 
ihe  immigration  department,  a;  hotel  de- 
tective and  an  irate  hotel  manager.  Doug- 
las finally  clears  her  of  all  the  wild 
charges  made  against  her,  leaving  a  clear 
field  for  romance.  YORK. 


ABBOTT  &  COSTELLO  MEET  THE  INVISIBLE  MAN*  BETTER  THAN  USUAL 

^ates  *  *  -|-  as  dualler,  except  for  class  houses 
Universal-International 

B2  minutes  ■ 
Bud  Abbott,  Lou  Costello,  Nancy  Guild,  WSBKBSBSBK/SSKSi 
Arthur  Franz,  Adele  Jergens,  William 
Pauley,  Sheldon  Leonard,  Gavin  Muir. 
Directed  by  Charles  Lamont. 


Theichuckles  come  easily  in  this  better- 
han-average  Abbott  and  Costello  funfest. 
Klthough  many  of  the  gags  are  vintage, 
'Abbott  and  Costello  Meet  the  Invisible 
Man"  has  everything  needed  to  draw  the 
Ufughs,  including  a  full  inventory  of  slap- 
stick props  and  the  old,  always  reliable 
loubletakes.  This  Howard  Christie  pro- 
duction for  Universal-International  re- 
lease looms  as  a  special  treat  for  the 


youngsters  and  fans  of  the  zany  comedy 
earn.  Obviously,  not  for  discriminating 
ludiences,  but  the  easier-to-p'ease  masses 
:hould  find  it  rewarding  enough  to  make 
his  latest  A  &  C  entry  a  fair-plus  at- 
raction  in  the  general  run  of  theatres. 

The  comic  duo  clown  and  gag  in  their 
isua!  hilarious,  though  corny  fashion, 
[he  best  laughs  in  the  picture  come  from 
rostello's  antics  with  Arthur  Franz,  as 
he  Invisible  Man.  Adele  Jergens  is  effec- 
tive as  the  lusty  lure  for  the  would-be 
ixers  of  important  boxing  matches,  with 
^ancy  Guild  adding  a  contrasting  gentle 
lote  of  demureness  to  the  scene. 

STORY'  Abbott  and  Costello,  a  pair  of 
letective-school  graduates,  are  hired  by 
Arthur  Franz,  who  has  escaped  from 
>rison  where  he  was  being  held  on  a 
nurder  charge.  Franz  gets  himself  an 
njection  of  invisibility  serum  and,  re'nd- 
'red  unseen,  accompanies  Bud  and  Lou 
>n  their  hunt  for  the  real  killer,  Sheldon 
-eonard,  a  big  fight  racketeer.  The  In- 
visible Man  gives  the  pair  their  instruc- 
10ns  from  time  to  time,  touching  off  a 
eries  of  explosive  laughs  until  Leonard 
ind  his  mob  are  finally  rounded  up  and 
'ranz  cleared.  YORK. 


WHAT  DO  YOU  KNOW  ABOUT  IT? 

WHAT  DOES  SCIENCE  KNOW  ABOUT  IT? 

WHAT  DOES  ANYONE  KNOW  ABOUT. 


from  Another  World! 


HOWARD  HAWKS' 


'"tg  MOTION  PICTURE 


Ads  like  this  are  appearing  in  58  National  Magazines  and  93  Sunday  Newspaper  Supplements  totaling  185,761,000  circulation. 


•ARCH   2  6,     1  9  5  1 


35 


Short  Subjects 


By  BARN 


PRETTY  POTENT  argument  for  the 
increased  quality  of  pictures  was  of- 
fered in  the  MPAA  analysis  of  a  com- 
pilation of  21  lists  of  the  year's  outstand- 
ing films  as  selected  and  published  by 
movie  critics,  reviewing  groups  and  peri- 
odicals. Of  all  the  465  feature  films  shown 
in  the  nation's  theatres  last  year,  includ- 
ing foreign  films,  66—50  of  them  Ameri- 
can— won  citations  in  the  "best  films" 
ratings.  The  total  represents  an  increase 
in  the  number  that  made  the  "best"  grade 
in  1949,  when,  from  approximately  the 
same  number  of  releases,  the  composite 
"jury"  placed  57  films — 48  from  Holly- 
wood— in  the  "best"  category.  In  addition, 
a  number  of  the  critics  and  pollsters 
noted  that  they  would  have  included 
others  if  they  had  not  been  limited  to  the 
traditional  "ten  best."  Arthur  H.  DeBra, 
MPAA  director  of  Community  Relations, 
who  is  to  be  congratulated  for  making 
the  survey,  points  out  that  the  large  num- 


LOEW  &  RODGERS 

Thirty  Year  Tribute 


ber  of  different  films  named  "reflects 
in  part  the  extensive  difference  in  tastes 
even  among  the  relatively  few  critics  and 
groups  whose  selections  were  published." 

increase  in  the  number  of  "best" 
flni  last  year,  he  added,  "would  also  in- 
dicate that  American  motion  picture  audi- 
ences are  being  treated  to  a  constantly 
increasing  variety  of  fine  movies.  Accord- 
ing to  the  composite  selections,  there  was 
at  least  one  'best'  film  for  every  week  of 
the  year — with  14  added  for  good  mea- 
sure." 


•THIRTY  YEARS  ago,  Arthur  M.  Loew 
joined  his  father's  movie  company. 
He  was  given  a  desk  and  a  title  which 
placed  him  in  charge  of  a  practically  non- 
existent "foreign"  department.  Today, 
under  his  direction,  Loew's  International 
has  51  main  offices  and  72  branches  all 
over  the  world  as  well  as  a  circuit  of 
more  than  40  showcase  theatres  in  the 
most  important  foreign  cities.  To  mark 
Arthur  Loew's  thirtieth  year  in  the  in- 
dustry, M-G-M's  domestic  and  inter- 
national   distribution    departments  will 


join  hands  in  the  promotion  and  mer- 
chandising of  "Teresa",  which  Loew  pro- 
duced in  New  York  and  Italy.  There  will 
be  an  overseas  competition  among  the 
various  branches  for  the  best  campaign 
on  the  film,  according  to  Morton  A. 
Spring,  first  vice-president  of  Loew's  In- 
ternational. Here,  sales  chief  Bill  Rodgers 
has  personally  asked  the  field  salesmen 
for  a  concrete  show  of  appreciation  to 
Loew  through  an  intensified  sales  effort 
on  behalf  of  the  film. 


J_JOW  SOME  theatre  employes  are  cut- 
ting the  industry's— and  their  own- 
throat  was  pointed  up  in  a  letter  by 
COMPO  executive  vice-president  Arthur 
L.  Mayer  to  the  Council's  executive  com- 
mittee. "Loose  talk  among  theatre  em- 
ployes is  contributing  to  the  public's  be- 
lief that  there  is  something  seriously 
wrong  with  the  picture  business  and  is 
thus  hurting  theatre  attendance,"  Mayer 
stated.  "Thoughtless  remarks  by  ushers, 
cashiers  and  other  theatre  staff  members, 
to  the  effect  that  business  in  their  houses 
is  bad,  spread  the  impression  the  public; 
has  already  gained  from  newspapers  that 
our  business  is  on  the  downgrade.  Since 
nobody  likes  to  be  associated  with  failure, 
■rumors  of  this  nature,  which  always 
grow  as  they  are  repeated,  hurt  our  busi- 
ness." To  correct  this  situation,  Mayer 
advises  theatre  operators  to  point  out  to 
his  staff  that  "their  own  welfare  is  bound 
up  in  the  general  welfare  of  this  indus- 
try and  that  remarks  damaging  to  the 
business  can  only  be  harmful  to  them- 
selves." He  cited  New  York  City's  Cen- 
tury chain  which  has  inaugurated  an  edu- 
cational program  among  its  employees, 
acquainting  them  with  the  "real  facts"  of 
our  business.  The  characteristic  optimism 
of  the  industry  must  be  revived,  Mayer 
concludes.  "Let  s  see  to  it  that  everyone 
in  this  business  from  top  executives  to 
the  youngest  ushers  becomes  an  ardent 
booster  for  movies  both  in  his  working 
hours  and  in  his  personal  life." 


HTHE  PINKERTONS  of  the  movie  in- 
A  dustry — Sargoy  &  Stein — are  on  the 
trail  of  a  person,  posing  as  a  priest,  who 
has  been  disappearing  with  16mm  prints 
of  films.  The  report  has  it  that  the  im- 
personator goes  to  established  dealers  for 
the  claimed  purpose  of  exhibiting  the 
films  before  religious  youth  organizations 
and  is  never  heard  from  again  by  the 
victimized  distributor.  Subsequent  in- 
quiry at  a  religious  institution  with  which 
the  youth  organization  was  supposedly 
connected  revealed  the  fraud.  Sargoy  & 
Stein  have  turned  over  the  matter  to  the 
gendarmerie,  noting  that  if  any  such 
films  are  exhibited  or  sold,  the  copyright 
infringements  involved  may  make  it  a 
matter  for  the  F.  B.  I. 


TJ770NDERFUL  NEWS  from  the  Gold- 
^*  wyn  girls  will  be  back  on  the  screen 
in  the  producer's  forthcoming  "That 
Great  American  Pastime."  There  will  be 
no  less  than  14  of  the  lovelies  in  the  film, 
a  comedy  about  a  girls'  Softball  team. 
Selection  of  the  new  Goldwyn  Girls  will 
be  made  via  a  publicized  talent  search 
in  the  14  states  where  feminine  softball 


enjoys  greatest  popularity,  thus  giving  j 
the  film  a  fast  start  in  preproduction 
publicity. 


^NOTHER  OF  the  entertaining  booklets  | 
Universal-International  has  been  con- 
cocting to  plug  individual  films  has  gone 
out  to  exhibitors,  the  press  and  column- U 
ists.  This  one  is  on  "Up  Front"  andl 
cleverly  combines  the  famous  Bill  Maul- 
din  cartoons  with  scenes  from  the  pic-  • 
ture.  The  U-I  special  pieces  dreamed  up 
by  David  Lipton's  boys  are  the  sort  the! 
reader  likes  to  take  home  and  show  to 
his  friends  or  to  talk  about  and  is  goodi 
for  plenty  of  mentions  in  the  columns. 


QF  MEN  AND  THINGS:   A.  E.  Bol- 
lengier  has  been  named  treasurer  off 
United  Artists  by  president  Arthur  B.j 
Krim.   He  moves  to  UA  from  Hal  Roach, 


SAMUEL  GOLDWYN 

Brings  Back  the  Girls 


Studios  where  he  was  secretary- treasur1 
er.  Since  the  Roach  studios  are  exclusive 
ly  devoted  to  television  film  production 
this  is  a  promising  switch — moving  from! 
TV  to  the  movies  .  .  .  Also  at  UA,  Jack 
Rothenberg  has  been  appointed  compj 
troller  of  advertising  and  business  man' 
ager  of  Max  Youngstein's  ad-publicity 
exploitation  department  .  .  .  Samuel  Gold 
wyn  has  signed  William  Dozier,  formei; 
Universal  executive,  as  his  assistant  anc 
story  editor  for  the  company  .  .  .  Rarelj 
has  the  death  of  any  member  of  th(] 
industry  been  received  with  greater  shocl- 
and  sorrow  than  the  recent  demise  o:, 
Monogram's  popular  ad-publicity  direct i 
or,  Louis  S.  Lifton  ...  A  "Grad  Sean 
Drive"  honoring  the  UA  vice-president  is 
set  for  nine  weeks  beginning  April  1st  ■ 
the  U.  S.  and  Canada.  Ten  thousand  dol, 
lars  in  prizes  will  be  distributed  amonf 
the  winners  of  the  sales  push  .  .  .  B.  G 
Kranze,  ELC  distribution  v.p.,  has  apl 
pointed  Joseph  M.  Sugar  as  his  assistant| 
Kranze  has  also  named  Clayton  Eastmai 
Eastern  division  manager  for  the  com 
pany. 


36 


FILM  BULLETIN 


ANDY  W.  SMITH,  JR. 

Sets  Hot  Summer  Pace 


OLLYWOOD  RED  PROBE  ON 
GAIN,  FRONT  PAGES  SCREAM 

The  House  Un-American  Activities 
>mmittee  last  week  resumed  where  it 
]  id  left  off  in  1947  to  probe  Communist 
Jtivity  in  Hollywood.  And  despite  the 
jmpetition  furnished  by  the  Kefauver 
jmmittee,  the  Korean  situation  and  sun- 
\\y  other  news  fit  to  print,  the  front 
iges  once  again  were  plastered  with  pic- 
lres  and  scareheads  of  film  players  ac- 
Jsed  of  Red  affiliations. 
[The  Committee  heard  three  Hollywood 
lures  testify  during  the  one  day,  then 
tessed  until  April  10.  Larry  Parks,  who 
pn  screen  fame  for  his  role  in  the  "Jol- 
an"  films,  freely  admitted  membership  in 
i|e  Communist  Party  from  1941  to  1945. 
t  just  "petered"  in  when  he  felt  the 
Irty  was  the  answer  to  his  quest  for  a 
lleral  group,  he  said,  and  "drifted"  out 
ater  its  complexion  had  changed.  A1-. 
kugh  he  pleaded  with  the  Committee 
»t  to  "force"  him  to  become  an  "infor- 
mer," Committee  chairman  Wood  said 
irks  ultimately  named  five  other  Holly- 
tK>d  players  in  a  closed  doors  session. 
fThe  other  two  screen  figures,  Gale  Son- 
jrgaard  and  Howard  da  Silva,  refused 
}  answer  questions  about  Red  affiliation 
<  the  grounds  that  it  might  incriminate 
jem.  Contempt  citations  against  both 
i?re  being  considered,  the  Committee 
»d. 

OX  MAINTAINS  RELEASE 
ACE,  SETS  20  THRU  AUGUST 

]20th-Fox's  Andy  W.  Smith  continued 
i|e  company's  pace  of  three  top  films  per 
lpnth  into  the  summer  with  a  disclosure 
fl  the  Fox  release  schedule  through  Au- 
»st.  Of  the  20  named  by  Smith  for  the 
V  month  period  beginning  this  month, 
ire  will  be  in  Technicolor  and  one  in 
J|  percinecolor.  The  list  also  includes  the 
Zanuck  personal  production,  "David 
■id  Bathsheba,"  which  will  play  its  first 
<gagements  in  late  August, 
iln  addition  to  the  nine  from  April 
rough  June  earlier  announced,  the  July 
peases  were  named  as  "Will  You  Love 
]?  in  December?",  "No  Highway"  and 
The  Frogmen."  August  will  have  "The 
t|cret  of  Convict  Lake,"  "Take  Care  of 
\v  Little  Girl"  and  "Decision  Before 
liwn."  as  well  as  the  aforementioned 
fecial,  "David  and  Bathsheba." 


BULLETIN 

Volume  19,  Number  7 
March  26,  1951 


News 
and 
Opinion 


COLOSSEUM  SEEKS  SALES 
WAGE  HIKE  AS  TALKS  BEGIN 

Colosseum  of  Motion  Picture  Salesmen 
representatives  faced  the  distributor's 
negotiating  committee  last  week  to  bar- 
gain for  a  modification  of  the  present  con- 
tract which  expires  next  month.  Heading 
the  Colosseum  group  was  David  Beznor, 
the  salesmen's  general  counsel;  Bernard 
Goodman  of  Warner  Bros,  is  chairman  for 
the  industry  negotiating  committee. 

While  no  specific  proposals  were  reveal- 
ed, it  is  known  that  the  Colosseum's  pro- 
posals for  wage  and  expense  boosts  have 
been  in  the  distributor's  hands  for  some 
time.  Preceding  the  meeting,  Beznor  told 
the  committee  he  would  present  specific 
cost  of  living  data  and  expenditures  made 
by  the  salesmen  on  behalf  of  the  com- 
panies, and  asked  the  distributors  to  pro- 
vide data  substantiating  the  companies' 
plea  concerning  the  "economic  problems 
facing  the  industry,"  and  how  they  would 
be  affected  by  granting  the  salesmen's 
demands. 

Colosseum  negotiators  included  Harris 
B.  Winn,  president;  N.  Provencher,  Floyd 
Kingensmith,  Grady  James,  Reville  Knif- 
fin,  Paul  Fine  and  Harold  Zeltner.  For 
the  distributors,  in  addition  to  Goodman, 
Clarence  Hill,  20th-Fox;  Harry  Kaufman, 
Columbia;  Charles  O'Brien,  Loew's;  A.  A. 
Schubart,  RKO;  Arthur  Israel,  Jr.,  Para- 
mount; F.  T.  Murray,  U-I,  and  Joseph 
McMahon,  Republic. 

RISE  IN  U  PROFIT  SEEN; 
BLUMBERG  5-YEAR  PACT  OK'D 

An  increase  in  Universal  profits  was 
forecast  at  the  company's  annual  stock- 
holders meeting.  An  announcement  at 
the  meeting  revealed  that  though  final 
figures  are  not  yet  available  for  the  first 


DEPINET  DENIES 
HE'S  QUITTING 

Ned  E.  Depinet,  president  of  RKO 
Radio  Pictures,  emphatically  denied 
a  rumor  that  he  would  resign  his 
RKO  post  within  30  days.  The  re- 
port had  Depinet  moving  over  to 
one  of  the  other  major  distributor 
companies. 

Reached  in  Phoenix,  Arizona, 
where  he  was  vacationing,  Depinet 
told  FILM  BULLETIN  there  is 
"absolutely  no  truth  in  the  report." 


N.  J.  BLUMBERG 

//is  Contract  Approved 


quarter  of  the  current  fiscal  year,  it  was 
estimated  that  U  will  show  a  profit  great- 
er than  that  registered  in  the  initial  per- 
iod last  year. 

Stockholders  also  approved  the  five- 
year  contract  with  president  N.  J.  Blum- 
berg,  negotiated  last  year  and  which  took 
effect  Jan.  1,  1951. 

Thirteen  members  of  the  company's 
board  of  directors  were  re-elected  at  the 
meeting:  Robert  S.  Benjamin,  Blumberg, 
Preston  Davie,  John  G.  Eidell,  Albert  A. 
Garthwaite,  William  J.  German,  Leon 
Goldberg,  R.  W.  Lea,  John  J.  O'Connor, 
J.  Arthur  Rank,  Budd  Rogers,  Daniel  M. 
Sheaffer  and  G.  I.  Woodham-Smith. 

N.  Y.  EXHIBS  PLANS  FOR 
B.  0.  DRIVE  MAY  SET  PATTERN 

What  may  become  a  blueprint  for 
COMPO's  projected  boxoffice  drive  be- 
gan to  take  shape  as  a  group  of  promi- 
nent New  York  theatremen  and  other 
industry  figures  met  in  the  Paramount' 
Board  room  to  discuss  an  extensive  pub- 
lic relations  plan. 

Specific  proposals  encompassing  the 
most  ambitious  program  ever  attempted 
by  the  industry  were  divided  into  three 
categories:  (1)  a  drive  to  overcome  un- 
justly adverse  comments;  (2)  a  "dyna- 
mic" campaign  of  PR  to  encourage  in- 
formation and  communications  media,  as 
well  as  the  public,  to  realize  the  value  of 
motion  picture  entertainment;  (3)  Spe- 
cific projects  to  stimulate  boxoffice. 

Officers  and  committees  tentatively 
agreed  upon  as  necessary  to  carry  out 
phases  of  an  industry  exposition  next 
Fall  were  to  be  appointed. 

Fred  Schwartz,  of  Century  Circuit,  act- 
ed as  chairman  of  the  meeting. 

ZENITH  DROPS  PV  MATINEE, 
TESTS  MIDNIGHT  SHOWINGS 

After  averaging  less  than  five  viewers 
for  the  weekday  matinee  performance,  and 
once  drawing  a  complete  blank,  Phone- 
vision  dropped  its  afternoon  showing  and 
decided  to  see  how  the  midnight  audience 
would  respond  to  the  Chicago  test  show- 
ings. Weekend  matinees  will  continue. 
The  \iewerless  matinee  was  registered  on 

(Continued  on  Next  Page) 


ARCH   2  6  ,     1  9  5  1 


37 


lYetvs  and  Opinion 


^Continued  from  Preceding  Page) 

^feejfirst  day  of  the  test's  10th  week,  which 
Viewed  a  drop  in  orders  to  21.8%,  after  the 
Ttnnth  week  had  risen  to  23.4%  of  the 
possible  audience.  Primarily  responsible 
for  the  dip  were  two  fight  telecasts  dur- 
ing the  week,  which  ate  into  the  most 
popular  showing  time  the  late  evening 
performance. 

Broadening  of  the  Phonevision  system 
to  Canada  also  loomed  as  Zenith  president 
E.  F.  McDonald,  Jr.,  conferred  with  Cana- 
dian government  and  CBC  officials.  The 
CBC  executive  evinced  enthusiasm  for  the 
system,  said  he  could  find  no  technical 
difficulties  standing  in  the  way  of  PV  in 
Canada. 

McDonald  also  revealed  plans  to  bring 
sporting  events  to  subscription  viewers 
exclusively.  Specifically  mentioned  were 
the  Kentucky  Derby,  hockey's  Stanley 
Cup  play-offs  and  championship  prize 
fights. 

WOOD  CALLS  OHIO  MEETING 
TO  PROTEST  FILM  'GOUGING' 

A  call  to  arms  against  the  "relentless" 
distributors  "who  don't  give  a  damn  what 


OHIO'S  WOOD 

Call  To  Arms 


happens  to  the  exhibition  end  of  this  in- 
dustry" was  heralded  by  Ohio's  P.  J. 
Wood,  secretary  of  the  ITO  of  Ohio,  in  a 
bulletin.  The  Columbus  firebrand  invited 
all  Ohio  exhibitors  to  a  protest  luncheon 
meeting  at  the  Deshler  Wallick  Hotel  in 
Columbus,  March  29,  "to  lodge  a  protest 
that  will  carry  weight,  and  perhaps  to 
inform  the  general  public  of  what  is  ac- 
tually happening  in  this  business." 

As  a  prelude  to  his  alarum  trumpet, 
Wood  cited  figures  which  he  said  were 
evidence  that  the  boxoffice  decline  "con- 
tinues unabated"  threatening  scores  of 
theatres  with  shutdowns  In  contrast,  thf 
ITO  leader  gave  profit  figures  of  the  film 
companies  indicating  increases  in  distri- 
bution profits  over  last  year. 

Wood  emphasized  that  the  protest 
meeting  would  be  limited  strictly  to  ex- 
hibitors —  "no  popcorn  salesmen,  film 
peddlers  or  branch  managers"  —  and 
urged  exhibitors  to  turn  out  in  full  force, 
adding,  "a  small  attendance  at  this  meet- 
ing will  encourage  the  distributors  to  en- 
large their  present  gouging  methods." 


WB  SALES  MEETING  PLANS 
NEW  SPRING-SUMMER  LINEUP 

Ten  Warner  releases  for  the  Spring  and 
Summer  months  will  be  the  major  topic 
of  a  two-day  meeting  of  the  company's 
district  managers  called  by  distribution  _ 
vice-president  Ben  Kalmenson  for  Mar. 
28-29. 

In  addition  to  the  division  and  district 
managers  and  Kalmenson,  top-echelon 
executives  Albert  Warner,  Samuel  Schnei- 
der, Mort  Blumenstock,  Norman  H.  Mo- 
ray, Ed  Hinchy,  I.  F.  Dolid  and  Bernard 
Goodman  will  attend  to  outline  the  distri- 
bution and  merchanising  plans. 

The  warm-weather  ten  have  "Only  the 
Valiant,"  "I  Was  a  Communist  for  the 
F.B.I. ,"  "Goodbye  My  Fancy,"  "Along  the 
Great  Divide,"  "Inside  the  Walls  of  Fol- 
som  Prison,"  "Strangers  On  a  Train," 
"Fort  Worth,"  "Captain  Horatio  Horn- 
blower,"  "Jim  Thorpe-All  American,"  "A 
Streetcar  Named  Desire." 

PA.  ALLIED  BACKS  SUIT  VS. 
NSS;  ATOI  -  'FREE  TRAILERS' 

Eastern  Pa.  Allied  threw  its  weight  be- 
hind the  exhibitor  anti-trust  suit  against 
National  Screen  Service,  the  first  exhibi- 
tor organization  to  voice  its  formal  en- 
dorsement of  the  theatremen's  lawsuit. 
The  action  was  backed  by  a  resolution, 
drawn  up  by  Sidney  E.  Samuelson,  presi- 
dent and  general  manager,  and  approved 
by  an  "overwhelming"  vote,  stating  that 
ihe  Pa.  A1TO  "goes  on  record  as  approv- 
ing and  morally  supporting  the  action 
which  has  already  been  instituted  by  two 
of  its  own  members  (Korr  Bros,  of  Allen- 
town)." 

The  resolution  stated  that  independent 
exhibitors  "have  attempted  unsuccessful- 
ly to  alleviate  the  conditions  created  by 
National  Screen  Service  and  about  which 
the  exhibitors  have  complained.''  It  also 
noted  "as  a  matter  of  court  record"  that 
the  film  companies  receive  "substantial" 
sums  from  NSS  out  of  its  earnings  which 
"are  necessarily  derived  from  the  exhibi- 
tors." 

In  a  different  vein,  Indiana  Allied's 
board  of  directors  advocated  free  trailers, 
or,  at  least,  that  the  film  companies 
should  not  demand  royalty  payments 
from  NSS  since  they  had  turned  trailers 
over  to  National  Screen  "to  relieve  them- 
selves of  a  department  that  was  a  con- 
tinual loss."  Without  these  royalties,  it 
was  reasoned,  trailer  puces  could  be  re- 
duced considerably. 

The  gratis  trailer  argument  held  that 
"in  most  other  fields,  the  manufacturer's 
representative  is  credited  with  a  good  iob 
if  he  secures  permission  of  the  retailer 
to  set  up  his  advertising  displays  in  a 
good  location  and  he  would  certainly  not 
ask  the  merchant  to  pay  for  this  display 
material  which  has  the  purpose  of  pro- 
moting the  manufacturer's  product." 

To  the  argument  that  exhibitor  also 
benefitted  and  should  properly  pay  for 
his  share  of  advertising  a  picture,  the 
proponents  of  free  trailers  answered 
that  the  prevue  was  "only  a  small  part 
of  the  ad  program  and  that  the  exhibitor 
paid  for  newspaper  space,  lobby  display 
material,  heralds,  window  cards  and 
other  advertising.  If  the  distributor  only 
paid  for  the  trailer  he  would  still  be  con- 
tributing only  a  minor  share  of  the  ad 
expense  involved  in  selling  the  distribu- 
tor's merchandise." 


MONOGRAM  BACK  IN  BLACK 
AFTER  2  YEARS  OF  RED  INK 

It  wasn't  the  seven-figure  kind,  but 
was  black.  And  after  two  years  of  re 
ink,  Monogram  president  Steve  Broid! 
could  hardly  be  blamed  for  noting  wit: 
pride  the  profit  of  $163,312  shown  by  th  j 
company  for  the  second  half  of  1950. 

Gross  for  the  period,  which  ended  De ! 
30,  1950,  came  to  $3,937,810.  Expenditun  j 
and  costs  totaled  $3,774,498.  No  provisio  I 
for  Federal  income  taxes  was  necessai! 
because  of  the  loss  for  the  preceding  tw 1 
years.  Under  Federal  law  such  loss  ca 
be  utilized  in  reduction  of  taxable  incoir  > 
for  the  current  year. 

Under  a  delayed  action  provision,  tli 
loss  of  $263,341  reported  for  the  year  en 
ed  July  1,  1950,  was  deepened  to  $663,34 
and  the  deficit  account  from  $704,826  I 
$1,104,826  because  of  special  amortizatk 
of  $400,000  on  two  pictures  made  by  Mo 
ogram  but  released  by  United  Artist! 
The  inventory  of  released  productions  wi  i 
reduced,  of  course,  by  a  like  amount. 


7 


MONOGRAM'S  BROIDY 

From  Red  To  Black 

$239,000,000  NET  FOR 
LOEWS  IN  27-YEAR  PERIOD 

A  total  of  $239,000,000  has  been  netij 
by  Loew's  since  it  was  founded  27  ye;» 
ago,  with  never  a  year  that  failed  to  sh  I 
a  profit.  This  proud  news  was  deliveijl 
to  the  company's  annual  stockholdi* 
meeting  by  vice-president  J.  Robert  If 
bin.  He  also  boasted  that  quarterly  dij- 
dends  were  paid  without  interruption  df- 
ing  Loew's  existence. 

In  a  more  sombre  tone,  Rubin  called  I 
tention  to  several  conditions  adversely  j; 
fecting  earnings  in  the  most  recent  *5 
weeks  which  ended  March  15,  specifid- 
ly,  reduced  theatre  attendance,  hurric<g 
loss  suffered  by  radio  station  WMGM,  <p 
inability  thus  far  to  convert  the  equival  t 
of  about  $1,000,000  of  restricted  Italn 
lira. 

With  more  than  75  per  cent  of  st«K 
represented  in  person  or  by  proxy,  stfjs 
options  to  six  key  executives  were  r 
roved,  and  all  directors  were  reelected 


FILM  BULLET" 


6XHIBITORS  FORUfTl 

Opinions  Culled  from  Organization  Bulletins 


BAD  PRINTS 

ATO  of  Indiana 
Motion  picture  contracts  are  filled  with 
3very  conceivable  clause  for  the  protec- 
tion of  the  distributor,  but  it  is  certainly 
also  a  part  of  that  agreement  that  after 
in  exhibitor  contracts  for  a  picture  he 
is  to  receive  a  copy  of  a  print  "suitable 
for  exhibition."  Suitable  for  exhibition 
•Joes  not  mean  after  the  theatre  projec- 
tionist has  done  a  certain  amount  of 
preparatory  work  at  the  theatre.  At 
present,  exhibitors  are  receiving  their 
orints  in  every  sort  of  way  —  heads  out, 
ails  out,  emulsion  up  and  emulsion 
liown. 

The  reason  for  this  is  that  some  "effi- 
:iency  expert"  has  figured  out  that  the 
ilm  companies  could  cut  down  on  the 
riumber  of  people  employed  in  the  in- 
spection rooms  if  reels  were  never  re- 
wound more  than  once  in  the  inspection 
process. 

i  Making  projectionists  do  exchange 
work  is  creating  a  complicated  problem 
vith  many  theatre  owners.  Some  prints 
lave  to  be  rewound  twice  and  the  auto- 
natic  rewind  can  not  be  used  for  the 
ob,  and  it  is  building  up  booth  overtime 
md  adding  to  ever-mounting  and  uncon- 
rollable  theatre  expenses. 

Certainly,  an  exhibitor  is  entitled  to 
eceive  his  prints  in  a  uniform  condition 
vithout  regard  to  how  some  earlier  run 
xhibitor  may  have  returned  it  to  the 
xchange  (the  film  companies  explain  it 
s  shipped  out  just  the  opposite  of  how 

is  received  because  they  can  only  re- 
rind  once).  All  film  should  be  shipped 
o  exhibitors  heads  out  and  ready  to  run 
nd  the  theatre  should  stop  being  forced 
o  assume  part  of  the  inspection  job  that 
5  the  responsibility  of  the  film  exchange. 


PROFITS  VS.  B.  O. 

North  Central  AUied 
One  of  the  strangest  phenomena  of  our 
msiness,  is  the  poor  business  at  the  box- 
ffice  while  the  film  companies  make 
igger  money  than  ever  before.  The 
WALL  STREET  JOURNAL  states  that 
business  at  the  box-office  in  Detroit  is  off 
110%;  in  Cleveland  from  25-40%;  in  Chi- 
cago, 25%;  and  in  New  England  25-30%. 
Compare  this  with  the  VARIETY  head- 
mes  on  the  annual  reports  of  the  film 
•ompanies:  "WB  NETS  $10,271,000  IN 
f EAR" ;  "20th  PREZ  SAYS  1950  TAKE 
rOPS";  "PAR  PICS  WILL  NET  $7,- 
K)0,0OC  —  TO  DOUBLE  LAST  YEAR'S 
3,261,000." 

I  Even  the  little  fellows  are  awfully 
|iush  financially:  "COL'S  BIZ  AT  ALL- 
'ITME  PEAK";  "$979,171  UNIV  39-WEEK 
NET  AGAINST  $775,018  LOSS  YEAR 
^O. '  Metro  increased  its  dividends 
iver  last  year's  and  BUI  Goetz  of  Univer- 
sal got  his  pay  cut  back  —  up  to  five 
?rand  a  week,  from  two  grand.  For  this 
iUly  contradictory  state  of  affairs,  the 
exhibitor  has  only  himself  to  blame. 
Knowing  the  facts,  and  having  the  fig- 
ures, no  exhibitor  should  give  an  in- 
crease; no  exhibitor  should  pay  as  much 
155 »Ae  paid  last  year;  he  should  buy  for 
substantially  less  than  he  did  last  year, 
ind  if  he  does  not,  he  wiU  not  be  in  busi- 
ness long.  You  can  buy  for  substantial- 
y  less,  and  the  film  companies  will  be 
lust  as  weU  off  as  they  were  a  year  ago. 
Remember,  these  terrific  increases  m 
production  and  distribution  are  not  the 


result  of  brains  on  that  side  of  the  fence, 
but  only  proof  of  no  brains  on  our  side. 


LEO  &  LIPPERT 

ITO  of  Ohio 
In  the  February  19th  issue  of  TIME 
(page  98)  are  two  very  interesting 
stories  depicting  what  can  be  character- 
ized as  the  "alpha"  and  "omega"  —  per- 
haps the  "Palm  Springs"  and  the  "Skid 
Row"  —  of  the  production  end  of  the 
industry. 

The  "Alpha-Palm  Springs"  part  of  the 
story  has  to  do  with  what  Dore  Schary 
has  accomplished  since  he  came  to  the 
Metro  studios  in  July,  1948,  and  to  ex- 
hibitors it  is  very  interesting  to  note 
that  Mr.  Schary  has  cut  picture  costs 
in  half  by  shortening  shooting  schedules 
and  reducing  the  average  number  of 
writers  per  script  from  7.3  to  1.2.  In 
other  words,  Mr  Schary  has  gotten  rid 
of  a  lot  of  lead  from  places  where  it 
does  the  most  harm  to  any  business. 

Last  week  in  appreciation  for  what  he 
has  accomplished,  the  board  of  directors 
of  his  company  extended  his  contract  to 
1958  at  $3,846.  per  week  and  also  gave 
him  an  option  to  purchase  100,000  shares 
of  the  company's  stock  at  $16.00  per 
share. 

We  are  happy  for  all  concerned  — 
Mr.  Schary,  Loew's,  Inc.,  the  exhibitors 
and  movie  patrons,  but  we  hope  eventu- 
ally that  the  company  will  pass  on  to 
exhibitors,  in  the  way  of  lower  rentals, 
some  of  the  production  savings  made  by 
Mr.  Schary. 

The  "Omega-Skid  Row"  angle  is  set 
forth  in  the  story  regarding  Robert  Lip- 
pert,  guiding  genius  of  Lippert  Produc- 
tions, who  has  the  brains  and  ability  to 
be  able  to  turn  out,  in  ten  days,  a  money- 
making  seventy-seven  minute  feature, 
ROCKET  SHIP  XM,  for  less  than  the 
studio  overhead  on  a  Pete  Smith  short — 
$91,000. 

We  sincerely  hope  that  both  Metro  and 
Lippert  will  continue  to  make  money  be- 
cause if  it  had  not  been  for  the  former 
this  industry  would  have  been  in  a  lot 
worse  shape  than  it  is  today.  In  movie- 
dom,  "Leo"  symbolizes  top  quality  screen 
entertainment  but  we  also  need  the 
"Lipperts"  to  produce  that  type  of  en- 
tertainment for  which  there  is  a  vast 
audience. 

SAMSON  TERMS 

ITO  of  Ohio 

Our  survey  indicates  that  Paramount 
notwithstanding  our  declining  box-office, 
is  demanding  50  percent  for  SAMSON 
AND  DELILAH. 

If  we  published  in  this  bulletin  some 
of  the  comments  made  by  exhibitors  on 
the  post  cards  received  back  from  them 
regarding  this  matter,  we  would  un- 
doubtedly be  sent  to  the  "cooler"  for 
sending  obscene  matter  through  the 
mails. 

We  have  figures  from  a  substantial 
number  of  Ohio  cities  showing  that  the 
box-office  during  January,  1951,  was  con- 
siderably below  that  of  January,  1950. 
Paramount  is  fully  aware  of  this  because 
of  the  returns  from  percentage  pictures, 
which  are  checked  by  them. 

However,  this  means  absolutely  nothing 
to  Paramount  and  they  are  insisting  that 
exhibitors  pay  them  50  percent  of  the 
gross,   which  under  today's  conditions 


qualifies  them  as  the  super-bloodsucker 
of  the  industry. 

When  we  consider  conditions  now  pre- 
vailing ai  the  box-office,  in  our  humble 
opinion,  it  is  sheer  folly  for  exhibitors 
to  subscribe  to  terms  of  this  nature,  and 
while  we  are  not  advocating  a  boycott 
we  make  the  observation  that  no  one 
picture  is  indispensable  to  any  theatre 
owner,  especially  if  the  terms  are  unfair 
and  will  result  in  a  loss  to  the  exhibitor. 


ATO  of  Indiana 

This  office  has  learned  from  usually 
reliable  sources  that  Paramount  is  plan 
ning  to  sell  SAMSON  AND  DELILAH 
on  the  regular  top  terms.  This  is  cer- 
tainly a  fine  gesture  on  their  part  and  is 
proof  of  the  company's  sincerity  in  main- 
taining good  relations  with  their  cus- 
tomers. One  exhibitor  membsr  express- 
ed the  fear  some  weeks  ago  that  Para- 
mount would  demand  terms  of  confisca- 
tory nature  and  that  if  such  were  the 
case  Paramount  would  once  more  cause 
a  rash  of  the  fifty  and  sixty  percent  sales 
policy  pictures  to  spring  up  as  was  the 
case  some  five  years  ago.  Confiscatory 
sales  policies  on  pictures  make  for  bad 
intra-industry  relations  and  in  the  long 
run  the  distributor  suffers  because  a 
majority  of  exhibitors  do  not  buy  the 
picture. 


'SECURITY'  PACTS 

Allied  Theatres  of  Michigan 
This  office  has  received  many  calls 
relative  to  the  Paramount  Security  Serv- 
ice Contracts.  This  is  the  type  of  con- 
tract that  Al  Schwalberg,  General  Sales 
Manager  of  Paramount,  agreed  to  sell  to 
exhibitors  at  the  national  meeting  re- 
cently in  Pittsburgh.  It  was  a  result  of 
a  request  on  the  part  of  small  town  ex- 
hibitors for  a  means  to  buy  early  a  num- 
ber of  pictures  at  a  time  rather  than 
wait  until  they  have  been  trade  shown. 

Mr.  Schwalberg  claims  that  the  con- 
tract will  permit  certain  type  of  exhibi- 
tors as  well  as  the  smaller  drive-in  thea- 
tres to  contract  for  all  of  their  announced 
releases  which  at  the  present  time  runs 
to  May  1st.  Whether  a  picture  has  been 
trade  shown  or  not,  you  are  permitted 
a  20%  cancellation  of  any  picture  that, 
you  feel  is  not  warrantable  for  your 
screen.  You  can,  if  you  so  elect  at  the 
time  you  make  the  deal,  give  to  your 
Paramount  Salesman  appropriate  dates 
for  every  picture  on  that  contract  and 
we  have  the  assurance  of  the  local  Para- 
mount Office  that  these  dates,  provided 
prints  are  available,  will  be  confirmed  to 
you.  If  prints  are  not  available,  Para- 
mount's  Booking  Department  will  advise 
you  of  an  alternate  date.  Further,  we 
have  been  assured  that  if  a  feature  which 
you  buy  on  the  Security  Service  Con- 
tract is  later  priced  at  a  lower  classifica- 
tion, you  will  have  full  benefit  of  that 
lower  rental. 

It  appears  that  Paramount  desires  to 
be  most  fair  in  their  treatment  to  those 
exhibitors  who  buy  their  Security  Serv- 
ice Contract.  They  contend  that,  in  so 
doing,  you  will  eliminate  a  number  of 
necessary  calls  by  the  Salesmen  of  at 
least  one  company  which,  if  all  com- 
panies followed  a  similar  pattern,  would 
give  you  more  time  for  yourself  to  de- 
vote to  the  demands  of  your  theatres  — 
it  might  be  worth  trying. 


MARCH   2  6  ,     1  9  5  1 


39 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


51  Features  Completed  (43) 

Serials  Completed  (  2) 

Wester nn  Completed  (10) 


In  Production  (1) 
In  Production  (0) 
In  Production  (1) 


NEW  PRODUCTIONS 

SILVER  CANYON 
Western — Started  March  13 

Cast:    Gene  Autry,  Gail  Davis.  Pat  Buttram,  Jim  Davis 
Director:  John  English  Producer:  Armand  Schaefer 

Story:    Not  available. 

SON  OF  DR.  JECKYL 
Drama— Started  March  13 

Cast:    Louis  Hay  ward,  Alexander  Knox,  Jody  Lawrence 
Director:  Seymour  Friedman  Producer:  L.  Hayward 

Jeckyl  and  Mr.  Hyde  characters. 


Story:    Original  yarn  based 


COMPLETED 

Title— Running  Tim' 
A|  Jennings  of  Okla'omi  (T) 

Big   GLSher,  The   

Born  Ye;terd:.y   

Brave   Bulls,  The   

Chain  Gang   

China  Corsair   

Congo  Bill   

Counterspy    Meets   Scotland  Yard 

Criminal  Lawyer   

Dick  Turpin's  Ride   

Emergency   Wedding  (78)   

Firefighters.  The   

Flying    Missile.  The   


RELEASE  CHART 

  1950-51   


Gasoline  Alley   

6ene  Autry  and  the  Meunties 
Harlem    Globetro'ters,    The    .  . 


First 


Catt 

Oetalls 

Rel. 

No.  Ret. 

.  .Duryea-Slorm 

...  5-8. 

. .2-51. 

...327  

.  .  Morris-Foster    .  . 

.3-12 

.  .  Crawiord-Holliday 

 7-3. 

. 12-50 . 

...344.  .12-4 

.  Ferrer-Quin  .... 

3-27. 

. . 5-51 ■ 

.  . Kennedy-Lawrence 

6-5 

.11-50. 

...313  

.  Hall-Ferraday 

2-26 

.6-51 

.  McGoire-Moore  . 

3-U 

.  Blake-St.  lohn 

6-19. 

2-51. 

. . .307  

.  0  Bricn-Wyatt 

. . .12-18. 

.  Hi-yiard-Mcdina 

...11-6. 

.Parks-Hale   

4-10 

.11-50. 

...332.... 1-1 

Williams-Reynolds 

2-27 

Ford-Linfors 

7-31. 

.1-51. 
.3-51 

. .335  

.Starrett-Burnette 

9-25. 

Weismuller-Talbot 

 7-3. 

.4-51 

.  Beske't-Lydon 

10-9 

.1-51. 

. .301  

4-19 

.1-51. 

.  .3:1  

.  Gomez-Dandridge 

 11-6 

.  Crawfo'd-Corey 

11-50 . 

.323  12-18 

.Klepura-Eiierth 

. . .8-28. 
11-10 

12-50... 388. 
10-50. ...341. 
12-50. . .361. 

.6-51  

3-51  


. . 3-51 . 

3-0 
. .2-51. 
.11-50. 
. .9-50. 
. .1-51. 

10-50. 

.3-51. 
.  2-51. 


mance   

Her   Wonderful  Lie   

Details  under  title:  The  Eternal  Melody 

He's  a   Cockeyed   Wonder    (77)   Rooney-Moore   12-50 

Hurricane    Island   Hall-Windsor   10-23... 7-51 

Killer  That  Stalked  New  York  (79)   Keyts-Korvin   12-5. 

Last  of  the  Buccaneers   (T)   Htnreid-3ooth   3-27. 

Lightning  Guns   Starrett-Burnette   6-5. 

Lorna  Doone  (T)   Hale-Greene   6-5 

M   Wayne-DaSilva   

Magic  Carpet   Ball-Agar   12-18 

■ask  of  the  Avenger   Derrk-Lawrenee   10-23 

My    True  Story   ParKer-Walker     .  12-18 

No  Sad  Songs   For  Me  (89)   Siillivan-Corev    .  .10-24 

Operation   X    (78)  Robinson-Cummins   

Pygmy    Island   We  ss  culler-Savage  ...1-19. 

Petty   Girl,   The  (T)    (87)   Cummings-Caollhld  ...9-26 

Prairie   Roundup   Starrett-Burnette   7-31. 

Raiders  of  Tomahawk  Creek   Starrett-Burnitte    .   .  .  6-19 

Besenoe  Ag  nt   Kenredy-Willet   7-31. 

Rldin'   the   Outlaw  Trail   Starrett-Burnette   8-28. 

RWers  of  the  Whistling   Pines   Autry-Whlte  7-5 

Details  onder  title:  Wings  Westward 

Rookie  in  Korea   McAllister   11-6  

Santa  Fo  <T)   Scott-Carter   7-3..  4-51. 

Saturday's   Hero   oerek-DaRe   6-19  

Secret.    The   Derek-Cohb   2-26  

Siroteo   Bogirt-ioren   11-20  7-51  

Smuggler's  Gold   Mitcheli-Blaks   11-20... 5-51  

Snake   River  Desnerados   Starret'-Bi  rnrtte   11-6.  ..  5-51 

Sonny  Side  of  the  Street   Lane-Daniels   1-29  

Towns  Novo'  Cry  Autry-Davis   7-31... 3-51  352 

Texas    Rangers  Geo.   Montgomery   6-51  

Teogher  They  Come,  The   Foster-Morris   7-31  . 12-CC  ...305 

Two  of  a  Kind   Scott-Moore   10-23  .7-51  

Vabntlno   Parker-Dexter   6-19. . .4-51  

Valley  of  Fire   Autry-Burnetto    6-51. 

When  the  Redskins  Rodt,   Hall-Castk   8-28.  .  .  5-51  

When  You're   Smiling    (75)   Coortland-Albright   10-50  304 

Whirlwind   Aotry-Burnette   12-18  .4-51  

  1949-50   

Across   the   Badlands   Starrett-Burnette   4-10. 

Bluing  Son   Aotry-Gwynne   5-8. 

Captive  Girl   Weismuller-Crabbe  ...10-24. 

David  Harding,  Counter  Spy  (71)   Parker-Long   1-30. 

roller  Brash  Girl.  The   Ball-Mbert   2-27. 

In  a   Lonely   Place     Bogart-Grahamo   11-7. 

Indian   Territory   Aolry-Bultram   4-10. 

Rogies  ot  Sherwood  Forest  (T)   (80)   Dcrlek-Lynn   9-12. 


9-50. 
11-50. 
.7-50. 
.7-50. 
10-50. 
.8-50 
.9-50. 
.7-50. 


2r,2 

2J6 
2-10 . 
220 
231 
242 
.249. 
243. 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  1 
issue  in  which  starting  date,  cast,  director,  plot,  etc., 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  .< 
Release  Number.  "Rev."  is  the  issue  in  which  the  Revl 
appeared.  There  may  be  variations  in  the  running  time 
States  where  there  is  censorship.  All  new  productions  ; 
on  1950-51  programs  unless  otherwise  noted.  (T)  imme 
ately  following  title  and  running  time  denotes  Technicol 
(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 


EAGLE-LION-CLASSICS 


1350-51 


Completed  (1)     In  Production  (1 


NEW  PRODUCTIONS 

HOODLUM,  THE 
Drama— Started  March  14 

Cast:  Lawrence  Tierney,  Allene  Roberts,  Edward  Tierney 
Director:  Max  Nosseck  Producer:  Jack  Schv 

Story:    Delinquent  ruins  lives  of  family  and  all  he  loves. 

RELEASE  CHART 

IN  PRODUCTION 

Title — Running   Time                                Cast             Detail-        Rel.  No. 
Cloudburst   Preston-Sellars   1-29  

  1949-50-51   

COMPLETED 

Allen  In  Wonderland   (A)   Marsh-Murray   .   .       Foreign...  Fee  

Badman's  Gold     4-j  

Blackjack   Marshall-Sanders     ...  Foreign ..  .9-50  

Border  Outlaws   (58)   Cooley-Hart   11-2  

Cairo    Road   Eric    Portman   5-8  

Cattle   Queen   Hart-Smith   10-23  

Circle  of   Danger   Mil'and-Roc   3-8  

Destination  Moon  <T)   An:erson-Archer   11-21... 8-50  

Eye   Witness    (104)   Montgomery-Banks   9-50  

Fighting   Rebels     3-«  

Golden  Salamander   (96)   Onouk-Howard   Foreign ...  12-1  

Good  Time  Girl   Kent-Robson    5-50  

High    Lonesome   (T)    (81)   Barrymore  Jr.-Butler   .11-16.  .  .9-50  044... 

I    Killed    Geronimo   Ellison-Herrick   6-19... 8-50  

I'll  Be  Seeing  Yoo   Rogers-Cotten   Reissue   . 

Kangaroo   Kid    (73)   0  mano  cy-Borg   10-22  

Korea    Patrol   Etnory-Fong   10-9...  1-15  

Long   Dark    Hall,    The   Har.ison-Palmer   4-10  

Lovable  Cheat,  The  (77)   tuogles-Garner   1-31..  4-1^  

Mr.    Universe   '.  Carson-Paige   1-10  

My    Outlaw    Brother   Rooney-Hendrix   2-27  

Narcotic   Agent   Henry-Blake   3-27  

Oliver  Twist   (115)   Newton-Guinness    ....  Foreign ...  4-17  

One  Minute  to  Twelve   (76)   Hanson-Brost  om      ...  Foreign ...  10-1  

Paper   Gallows    (80)   Anderson-Bentley   Foreign  .  .9-22  

Passport  to   Pimlieo   Rutherford-Holloway    ..Foreign  010  . 

Prehistoric   Women   Loiz-Ni»on   5-8... 11-1  

Project  "X"    (60)   Colton-Andes   10-7  

Rebecca    (SRO)   Fontalne-OJlvler   Reissue.  Jnlv  

Rogue   River   Calhoon-LHell   8-14..  11-15  

Sarumba   (65)   Do«lnn-Whalen   Jan.  ..  .014... 

Search  for  Danger  (63)   Calvort-Dell   1-3  4-8  

Second  Face.   The   Bennett-Johnson   5-8... 1-51  

Skipalong  Rosenbloom   Bair-coogan   4-3  

So  Long  at  the  Fair  (90)   Slmmons-Bogarde   Foreign ...  3-29  

Stronohold   Lakr-«eett   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   

Taming  of  Dorothy  (75)   Ken»-8eatty  .... 

They  Were  Not  Divided   Underdown-Clanton 

Time  Running  Oot   clark-Signoret 

Tinderbox   (C)   Cartoon  Feature  . 

.Palge-Alda   

.  Eliiott-Arness    . . . 
.  Cook-Merritt    . . . 
.  Magnani-Branl 
.  Montez-Aomont 

,  Preston-Scott   

Lindfo-s-Kent 


.2-27. 
Foro'gn. 
.  Foreign  . 
.  Foreign . 


Two  Guys  and  A  Gal 
Two  Lost  Worlds  (61) 

Virions  Years   

Volcano   

Wicked    City    . 

When  I  Grow  tip  ... 
Wind  l<  Mv  Lovrr.  The 


.1-22. 
.9-29. 
. .2-1. 
10-31. 
12-?"!. 
.5-15. 
10-29 


1950-51 


Completed  (2)     In  Production 


NEW  PRODUCTIONS 

SAVAGE  DRUMS 
Adventure — Started  March  9 

Cast:    Sabu,  Lita  Baron,  Sid  Melton,  Frank  Pierlot 
Director:  William  Berke  Producer:  William  B 

Story:    Adventure  in  the  African  Congo  country. 

K.  '.EASE  CHART 

  1949-50-51   

COMPLETED 

Tltt* — Running   Time  Lint  n.tnll.        9.1  «» 

Bandit   Queen   Brifon-Parker   9-25  12-15 

Border    Ranger   Barry-Lowery   10-6 

Colorado  Ranger   EIII"'n-Ha</d»n   4-21 

Danger    Zon:   Beai.mont-Travis 

Fast  nn  the  Draw   t  llhon-Hayden 

Fingerprints   Don't   Lie   Travis-Ryan  .. 

«on»r«    larry-Lowery 

Hijacked   Davis-Jones 

Holiday   Rhythm   Hughes-Street  . 

I  Shot  Blllv  the  Kid   (58)   Barrv-Lowery  . 

Kentucky  Jubilee   Colonna-rorter   2-26.  .5-18 

Little  Big  Horn   irJiand-unogos   2-26.  .  .6-18 


1-2 


.4-20. 
.5-1° 

 3-3. 

 8-11. 

.5-8. . .7-14. 
.6-5. .10-13. 
.5-8. . . .9-8. 


5010.. 
4933.. 
4025.. 
5017.. 
4^29.. I 
5015.. 
4932.. 
4920. . 
4911.. | 
4931. 
5007.. | 
5003. 


40 


FILM  BULLET! 


la  of  th.  Dragon   Tra»ls-R»an    .  . 

I.  Patrol    (67)   C»stl.-Ni,h  ... 

Q»t   BeaciPunt-Savaje 

BTtt  Jmm  James  (75)   lr«lar.«-D»orak 

E,  city   Boa.mont-Travls 

ita  Helm.t.   Th.   Edwards-Brcdic 

Ml  T»at  tab   Mellon-Adrian 

I  operate  Men   Fo.tcr-Oaeis   .  .  . 

,,   t.  Teatostone   Barry- Lowery    .  . 

it  of   Brum   Elllson-Hayden 


...6-5. 
.1-15. 
..11-6. 

.10-23. 
. ..5-*. 
. 12-19 . 


3-17. 

5-12. 

4-27. 

£018  

.9-8. 

4907. . .10-9 

.2-2. 

.5006... 1-29 

.3-31 

. .501  

.1-5. 

9-15. 

'.  4934  ." 

.6-2 

.4930  

METRO-COLDWYN-MAYER 


»50-51  Features 


Completed  (89)     In  Production  (2) 


t.\'ftT 


NEW  PRODUCTIONS 

TH  COUNTRY,  THE  (Color) 
folma-^Started  March  12 
5ft:   Stewart  Granger,  Wendell  Corey 

D?ctor:  Andrew  Marton  Producer:  Stephen  Ames 

-.t...  :    Fugitive  hides  out  in  frozen  north. 

RELEASE  CHART 

Df  PRODUCTION 

TKh- aa.ileg   Tien  Cut  Details        tel.        Re  Re* 

ox  Carnival   Williams-Skelton   2-26  

  1950-51   

CMIPLETED 

•r  the  Wide  Mistnri  (T)   (95)   baoie-iiodiak   8-14..  .July  

■  ■en  I.  Parli   (T)   Kelly-Caron   8-14... J.ly  

Hay   Meson  Story,   Th.   Pidseon-Hardin.   1-29  

e/  ■  Belldo.   Dreramond   Pidgcon-Leighton 

m  for  Alar*   (75)   Young-Sullivan 


(84) 


 Skelton-Forrest  . 

(82)   Tracy-Taylor  ... 

 Jonnson-Anderson 


..8-29. 
..3-27 
.  .11-6. 
.10-23 
. .10-9. 


Came,  Th.  (T)  ... 
Is  For  Burial.  (91) 

ne  Story   

Straight   (90)  .... 


.Lanza-Blyth   9-25.. 

.  jol.nson-G  ayson   6-5.. 

.  3rlsu-Keynolds   

.  Brian-Dahl   9-25.. 

.All  Star   4-24.. 

.  Flynn-Stoekwell   12-19  .  . 


118.  .  .2-12 

.10.  n  3 
.107  1U-23 

.......2-26 

iiV.'.iivia 


 Barrymore-Evans 

Minn  (T)    (102)   Ktrr-sranger  . 

Lady  Loverly,  The   Garson-Wilding 


.12-4. 


.115. .12-18 
.ioy. . .10-9 


.2-12 

(108)   Tirn«r-Cer.y   2-13 

i«li  Bettor  Than  Ever   layicr-parks   12-18 

la  ficent  Yankee    (89)   Calhern-Harding   7-17 

lltr  Story,  Th.  (104)   Garson-Pidgeon   10-10 

te\  ntperlim    (T)   Turner-Pinza   8-14. 

•WV.lt.  Yee  Hear.  Th.  (82)   Whitmore-Davis   3-13 

w  iMti.ru  Aik»l   S.llivan-Dahl   1-1 

t|  Love  Soni  (T)    (77)   Williams-Keel   4-24 

ltd  Hllli,  The  (T)   lassie-Kelly   6-19 

*nra  and  the  Flying  Dutchman   (92)  .  .  .  Mason-Cardner   

had   la   Lor.   Milland-Hodiak   12-18. 

■W'adil   <T)   Taylor-Kerr   6-5. 

iNladgt  ot  Coirag.  (81)   Murphy-Maoldin   9-11. 

■H  Yo.ni  and  Pretty  (T)   Powell-uamone   12-4. 

■tj  Cwsi   (90)   Po*en-aionta:han   4-10  . 

m  Wedding  (T)    (92)   Astaire-Powcll   7-17. 

■ajBeat  (T)   Earancr-Keel   12-4. 

•it's  Three   Granger-Pidgeon   11-6. 

e>ly  Dishonorable   Pinza-Leig.li   ...1-29. 

PfTh.   Rooney-Forrest   1-29. 

riljarget,   Th.   Powell-Raymond   1-29. 

tails  under  title:  Man  on  th.  Train 

(at    (101)   Angeli-Er  ckson   

fa*i  Giys  Named  Mlka  (90)   rVymon-Johnson   8-14. 

f»|eas«  A  Lady   (92)   Gable-Stanwyck   4-24  . 

ot  New  Ort«ans,  Th.  (T)   (97)   . . .  Rrayion-Lanra   1-16. 

Iw»¥»iki  with  Lot.  (T)    (92)   Powell-Montalban   4-10  . 

Nine.  Valley  (T)   (83)   Lancaster-Walker   6-19  . 

th.  Blrdl.  (70)   Sktlton-Britton   5-22. 

  1949  -  50   

tar  Get  Ye.r  Gen  (T)   (107)   H.tton-Keel   10-24 


...Sept.. 

..101... 9-25 

.  .July.  . 

...F.h.. 

. 116 . . . 1-15 

...Oct.. 
.  June. . 

.106.. 10-23 

...Oct.. 

.'.110. . .8-23 

...Dec. 

.112.... 1-1 

...May.. 

Mav 

Mar 
July. 
Apr. 


Jk.  (96) 

Hu  .f  Idah.  (T)  (98)   

■K  of  th.  Bride,  Th.  (93)   

■a  Yean.  Th.  (T)  (110)   

deWltho.t  Paisport  (72)   

♦Jir  S.rprlm  Kli  Wlfa,  Th.  (85) 

•Nla  "Y  Crewn   

*•>  Stotk  (T)  (109)   

■hjuttl.  Wtrdi  (T)  (102)   


.GranUFwrar   

. .  Wllllams-Johnstn 
. .  Bennett-Tracy 
, .  Stackwell-Beekett 
.  lamarr-Hodiak  . 
..Walker-Lull.  .. 
, .  McCrea-Drew 
. .  Garland-K.lly  . . 
.  Aitalrt-Sktlton  . 


.1-16.. 
...11-7. 
...1-30  . 
. .9-26. 
...1-16. 
.11-21  . 
.6-20. 
...12-5. 
..12-19. 


Jo  y.  . 

.An.. 

Jan..  . 

J.ly. 

All.. 
Jan.. . 


 3-12 

.119. . .2-12 

.105  

.103... 8-28 

 10-23 

.117... 2-12 
.113... 12-4 

. .39. . .4-24 
. .41. . .7-17 
..33... 6-19 


.37... 7-31 
.31... 5-22 

.40  

.38...8-14 


MONOGRAM  -  ALLIED  ARTISTS 


50-51  Features 
Westerns 


Completed  (  2) 
Completed  (  1) 


In  Production  (0) 
In  Production  (1) 


XtPLETED 

Title—  Winning  Tlaa. 
•jl«l  to  Mn.  Hoyl.  .. 

■  ballets   

H  and  th.  Hidden  City 
•■  Battalion  

■  Raiders  (55)   

■  Manana   

•»!'  Seo.t  (C)   

•aHrt.lt  ........ 


RELEASE  CHART 

  1950-51   


...11-20. 


Rel.  Mt 

.5-20.  ..5122. 

. .5-6  

.9-24. . .4906. 


 Byington-Chandler 

 Brown-Hail   

 Sheffield-England   6-5. 

 Gorcey-Hall   .8-14. .  .1-21.  .  .5111. 

 Wilson-Clvde   2-13  4-9...  4941. 

 Fomes-O'Herlihy   3-12... 6-10  

 Cameron-Long   10-9 . . .  5-13 . . .  5101 . 

 De  Foe- Kin  a   7-3  

51  F*fr  <«>   Calhoun-Niah   4-24. ..  .8-1 ..  .4903 . 

■gi i  Will  Gam*  (61)   Walburn-Gray   10-9 ...  12-3 ... 5125 . 

H  c«w   Goreey-Hall   1-29. .  .4-29. .  .5112. 

■?  Tn«   <T)   Hmdrix-Coburn   3-12  

•«  Joeka  lo  Himihr.y  TakM  a  Chance.  .  Klrkwood-Errel   3-13. .. .6-4. . .4912. 

••IHiBtefi,  Th.   Sheffield-Whitfield   1-1. .  .3-23. .  .3109. 


Man   Fret.  Son.r.    (54)  . 

Mexican  Silver   

Modern    Marriage.    A  (66) 

Nary  BMad   

Nevada  Badaun   


Dverak-Evani 


Sl»rra  Faisaee   

Trail  Dnt   

Vl.lNi  Yuri,  Th.   (79)   C»»»-h 

Wlteeu.    Th.   Kirkw* 

ALLIED  ARTISTS 

I  Wat  An  American  Sty   

S*.thslde  1-1000   (  73)   

Short  Gran   

  1949-50  - 

AkltM.    Trail    (64)   W.I  on 

Arlzena    Territory   Wiiion-Cyde 

Big  Timber   

Blue   Bloed   (C>   Wllhaait-N  i|h 

Bomba  and  th.  Last  V.lcaa.   hedjelc-Lwd 

tall  gf  th.  KlMflb.   Grant-ChinMk 

taerokee    Uprliln|    (57)   Wll<.n-Clyd. 

tolorad.  Aaib.ih   Brown-Hall 

Gypsy    Fery   Vlvria-Llndton 

Hot    Rod    (61)   Lydon-Wlnttrs 

Joe  Palooka  In  th.  Squared  Circle  (63) 

Botlaw  Gold  (51)   

I.IUws  of  Texas   

Sid.  Show   


Snow  Dog 


.  Brown-Mall   11-20. 

.Wllsae-Clyl*   6-5 

.  Clarke-Field   2-13. 

.Ncal-Tooraey   11-4. 

.  Wilson-Knight   2-26. 

.Fratee-Grant   12-18. 

.Morrli-Halo   

.Albriint-wlaun   10-23. 


9-11 


10-15. 
.2-25. 
.5-27. 
.2-11. 
.  1-7. 
12-31 . 
.2-18. 


5199 

.5120. 
.51.2. 
.5115. 
.5107. 
510V 


.9-11. 
.  6-5. 
.6-19. 
. .9-25. 
.  3-27. 
.  10-9 
8-28 
10-23 


.8-14. 


.7-31. 
9-11. 
4-10 


Trial.  Trouble 

Wild    Horse  Prairie 


Grant-Verd.ee   5-8. 

Goreey-Hall   5-8. 

Wil.on-Knight   2-12. 


.  4-15 

11-  12 

12-  24 

2-4 
...7-2. 
.  .9-10. 
.  . 1-28 
.  6-25 

12-17 
. .10-8 
.  .1-14 
.  3-18. 
.10-22. 
. .11-5. 
.11-26 
.12-10 

.6-18 
.  . .7-9. 
.  -716 
.  8-13 


4  OS 

4920 
. 4944 . 

.4955 
.5192. 
.4918. 
.5117. 
.4954. 
.4945. 
.4924. 
.4923. 
.4919 
.4915. 
.5151. 


PARAMOUNT 


1950-51  Features 


Completed  (35)      In  Production  (7) 


NEW  PRODUCTIONS 

MY  SON  JOHN 

Drama — Started  March  11 

Cast:  Helen  Hayes,  Van  Heflin,  Robert  Walker,  Dean  Jagger 
Director-Producer:  Leo  McCarey 

Story:    Mother  defend:,  draft-evader  son. 


8-15 


.3-27 
9-11 


RELEASE  CHART 

IN  PRODUCTION 

Titl. — l.nnleg   Tlaa.  Cait  Ootalli 

Defective   Story,    The   Douglas-Pa-ke;   2-26 

Greatest   Show   on   Earth   H  Jtton-stewart   

My  Favoriti  Spy   Hoae-Lamarr   

Peking   Express   Cottcn-Caleet   3-12. 

Knubarb   aiiiiano-steriing   

Stooee,  Th.   Martin-Lewis   2-26 

COMPLETED    195051   

Ace  in  The  Hole  (112)   Dougl.n-Sterling 

Appointment  With  Danger   (89)   Ladd-Calvert 

Details  mder  title:  Peatal  Ineerter 

At  War  with  th.  Army  <93)   Martin-Lewis 

Branded   (T)    (103)   ladd-Frecdman 

Detail!   under  title:  Montana  Rides 

Carrl.   Oli»ler-Jon»s 

Cauina  to  K.rea  (59)   Documentary   

Cei.er  Caay.n   (T)   (85)   Milland-Lamarr   4-25 

Crosswinds    (T)   Payn?-Fleraing   1-29 

Darling,   How  Coeld  Yo«!   FoMalne-Lund   11-20 

Dark   City    (98)   Heiton-Seott   4-24 

Dear  Brat    (82)   Freemai-Arnold   11-6. 

Fancy  Panti  (T)   (92)   Hope-Ball   7-4 

Fort  Sa»aee  (T)   Hayden-R„h   12-4 

Great  Missouri  Raid,  The  (T)    (85)  Corey-Car«y   6-5. 

Hero  Comes  the  Groom   Crouy-Wyman   12-4 

Last  Outpost,  Th.   <T)   Reaian-Flenjing   10-23. 

Lemon  Drop  Kid,  Thr  (91)   Hope-Maxwell   

Let's    Dance    (T)    (112)   H.tton-Astalr.   7-18 

Mating   Season,   The   Tiwn.y-L.ad   6-5 

Details  under  title:  A  Relative  Stranger 

Molly    (83)  Bert-Loeh   8-28. 

Goldbergs 

 Cr.sby-H.tsey   11-7 

 Payne-0  K«tfe   

 Clift-Winters 

 Ladd-Kennedy 


nder  title:  The 
Mr.    Music    (108)    .  . 
Passage  West   (T)  (80) 
Place   in   Th.  San,  A 
Aeantrell's  Raiders  (T) 

Quebec   (T)  (85)   

Redhead  and  the  Cowboy 
Samson  and  Delilah  »| 
September  Affair  (104) 


r«fe  Jr.- 


.10-24 
.11-20 

...7-3 


.10-23 
..8-29. 
...6-5. 

.1-15. 

12-18. 
Foreign. 

.  .3-27. 
. .1-30. 
.9-11. 
..1-1. 


 Ford-F 

)   LaTarr-Mat.r.  . 

 Fontalnc-Cotten 

Seaiethini  To   Live    For   FontoJn<-Miliand 

Details  .nder  title:  Mr.  and  Mn.  Aaenymoes 

Submarine    Command   Holden-Otson 

(Details  under  title:  Submarine  Stody,  Th.) 

That's    My    Boy   Martin-Lewis    .  . 

Trio    (91)   SI*iiion»-maale 

Trlp.ll    (T)    (95)   O'Hara-Paya.  .. 

Ualea   Statien    (80)   H.ld.e-Fltjeefall 

Warpath    (T)   O'Brien-Jagger  . 

When  Worlds  Collide   (T)   D*fT-R«sh   

  1949-50   

Ea.le  and  the  Hawk,  Th.  (T)   (104)   ?ayne-H.aJto|   8-15 

F.rles,  Th.  (109)   Stamryea-Cerey   12-5 

Lawless    The    (83)   Carey-Rauall   11-7 

My  Friend   Irma  Gees  West   (90)   Wlls.a-L.al   2-13 

Seeitt  Ba.lnard   (110)   Holdu-Swaasea   4-25 


RELEASE  CHART 

  1949-50-51  

Tttlt— R.aalni   Time  Cast 
All  teltt  .a  th.  Western  Freat  (103)   . .  .»Yre*-w.lh.laJ    •  •  •• 
feyeaa   tie  Saaaet   Ferd-VBrtoa   


...1-51. 
...1-51. 

.  5014  .12-18 
.  £009  12-18 

10-50 
. . 10-12 . 
8-51 



5008 
.  .5003 

I.'itvt 

.  8-14 

.10-50 
.  6-51. 
...9-4. 

.  5004 
.  .5021 
. .5001. 

8-14 

...2-51. 



.  £013. 

1-1 

.  ..5-51. 
...4-51. 

.5020 
.  .5018 

.11-23. 
. . .3-51. 

.  £006 
.5016. 

. . .4-51. 

.5011. 

..12-4 

. .12-50. 

...7-51. 
. . .8-51. 

..5007. 

.5022 
.5025. 

..9-m 

.'.'.'4-51.' 

. .3-51. 
. . .3-51. 

£017  ! 
.5015. 
.5010. 

. !  1-1 
11-u 

.2-31... 3012... 1-13 


.8-51. 

ii-ii. 


.5026  

 n-4 

.5005.  10-23 
.5002. ..7-31 

.5024  


.6-50. 
.8-50. 
.7-50. 
.7-50. 
.8-50. 


.8-50. 
..3-«. 


.4916. 
.4926. 
.4923. 


t-13 
.7-1? 
.4-10 

a- 19 


*  R C  H   2  6  ,     1  9  5  1 


41 


••wry   U   Broadway  (94) 
M  Han's  Eyas  (64)  .. 
Eaat  Slit  of  Heaven  (8») 
Fresh  aad   Fantasy  (94) 
Fellow  the   Boys   (109)  . 

Framed  (60)   

Frisco  Sal  (94)   

Gillty  of  Murder  (80)  .  . 
Gypsy   Wildcat    (T)  (75) 


0  Cenner-Blytfc   2-50... 

.  Ghaney-Parker   5-50 . . . 

Cr.sby-Blondell   1-W.  .  . 

.  Robinson-Stanwyck    .  .   ,4-50. . , 

.  Raft-Dletrleh   2-50  . 

.  Albortioti-MMrt   3-50 . . . 

.Foster-Boy   2-50... 

.  Sanders-F  I tzgera  I d   6-50 . .  . 

.  Montez-Hall      .   6-50  . . 


041. 
031. 

Here  Come  the  Coedt  (90)   Abbott-CosteMo   6-50  ..032. 

It   I    Had   My  Way   (93)   Crosby-Jean   1-50  .  .021. 

imitation  of   Life   (109)   Colbert-Bea»er«   12-49  018. 

I  Stale  a  Million   (R0>    .  .  Raft-Trevor   3-50  017. 

Keep  'Em  Slugging    (61)   Dead   End  Kidt   5-50  039. 

Leather   Pushers    (64)   Arlen-Oevlne   4-50    037. 

Magnificent   Obsession    (103)   Danne-Taylor   1-50    028. 

Merry  Monahans    (91)   O'Connor-Blythe   6-50  035. 

Nightmare    (82)   Donlevy-Barrymere   5-50  033. 

Mr.    Dynamite   (68)   Nolan-Hervey   4-50  038. 

Paris   Bonbshell    (96)   Seott-Bathbene   2-50   024. 

Parole    (67)   Hunter-Preston   3-50  015. 

Sispeet,    The    (85)   Laeghton-Baines   6-50  042. 

Shadow  of  a  Doubt  (108)   Wriaht-Cetten   12-49  019. 

Sollivans.  The   Baxter-Mitchell   1-51  

Tough  As  They  Cone   (61)   Dead  End   Kids   5-50  040. 

Walk   In  the  San,  A   Andrews-Conte   1-51  

Toe  Can't  Get  Away  With  It  (29)   Gaaeiter   Deeementary   3-50    030. 


REPUBLIC 


1950-51  Features 
Serials 

Westerns 


Completed  (17) 
Completed  (  1) 

Completed  (  6) 


In  Production  (1) 
In  Product!*..  (0) 

In  Production  (2) 


NEW  PRODUCTIONS 

LADY  POSSESSED 
Drama— Started  March  5 

Cast:    James  Mason,  June  Havoc,  Pamela  Kellino 

Directors:  Wm.  Spier  and  Roy  Kellino     Producer:  James  Mason 

St»ry:    Selfish  woman  is  finally  conquered. 

RODEO  KING  AND  THE  SENORITA 
Western — Started  March  14 

Cast:    Rex  Allen,  Mary  Ellen  Kay,  Buddy  Ebsen 

Director:  Phil  Ford  Producer:  Melville  Tucker 

Story:    Rex  Allen  goes  south  of  the  bolder  for  new  romance. 

SOUTH  OF  CALIENTE 
Western — Started  March  6 

Cast:    Roy  Rogers,  Dale  Evans,  Pinky  Lee,  The  Rogers  Riders, 

Pat  Brady,  Douglas  Fowley 
Director:  William  Witney  Producer:  E.  J.  White 

Story:    Not  available. 

RELEASE  CHART 

  1950-51   

COMPLETED 

Title— Banning   TIbm  Cast  Details        Bel.        Be  Be*. 

Belle  Le  Grand   Rai-ton-Carroll   7-31. 

srifl  of  Texas  ..   Chapin-Janssen   


 Stack-Page   

6-5.  . 

•allfernia  Passage   

 Tucker-Mara   

3-27 . . 

9-25. . 

Don  DaredwHI  Rides  Again   

 Burals-Towne   

. . .3-12. . 

Fighting  Coast  Guard.  The   

 Donlevy-Tueker     .  .  . 

 Paige-Barnes   

Havana  Rose   

Rodrigiiez-Bonanova 

.'.'.'.3-12. 

■•art  of  the  Rockies   

 Rogers-Edwards    .  .  . 

. 10-23  . 

Hit  Parade  of  1951  (85)   

  MacDona'd-Carroll 

. . .5-22. 

Heneychile  (Tr.)   

Canova-Foy,  Jr. 

11-6 

In    Old  Amarillo   

ROgers-Kodriguez     .  . 

Insurance  Investigator   

 Uenning-Long 

12-18 . 

Macbeth   

Welles-Nolan 

Million  Dollar  Pursuit   

 tOwi.-ds-Flagg 

 3-12 . 

.1-27. 
May. 

.4-15. 


. 5009 . 
.5005. 
. 5007 . 


.4-28. 
.  .  May . 


11-20 
. 12-4 . 
.6-19. 
. 10-9 . 


11-6 
8-28 
3-14. 


Missing  Women    (60)   Edwards-Millican 

Nlfht   Raiders  of  Montana   Lar.c   

0*.   Susanna!    (C)   Cameron-Tucker 

Pride  of   Maryland   Clemen :s-Stewart 

■le   Grande    (105)   Wayne-O'Hara 

Reegh   Riders  of  Durango   Lane-Towers 

Hlver  City  Bonanza   Alkn-Ebsen  ... 

Spoilers  of  the  Plains    (66)   Rogers-Ecwards 

airrender   Carroll-Mara 

Details  under  title:  Untitled 

Thunder   in   God's   Country   Rex-Allen   

Wells   Fargo  Gunmaster   Lane-Chapin  .. 

  1949-50  

Avengers,    The   C.rroll-RalsUn 

Covered   Wagon    Baid   Lane-Walter   3-13 

Destination  Big   House   Patrick-Rockwell 

Frheo    Tornado   Lane-Waller    . . 

Stampede   Native  Cast 


.  May. 
.3-23. 
10-20. 
.  May. 
2-23 . 
.2-28. 
.3-10. 
. 1-20 . 


. . 3-1 . 
. .2-5. 
.9-15. 


.5003. 


. 5025 . . . 3-12 

.  5059  

.5008  

.5023. . .1-29 
. 5004 . . 11-20 

.5058  

. 5051  

.5041. . .3-12 
.5001  

.5052  


2-12 


.3-13. 


6-5 


Lonely    Hearts  Bandit   

Mlssourlans,  The   

North  of  the  Great  Divide  (1 

Old   Frontier,  The   

Pioneer  Marshal   

Powder    River   Rustlers  (60) 
Petticoats   


Patrlek-Eldridge 
.Hale-Hurst  .... 
hogers-Edwards 

.  Hale-Hurst   

.  Male-Harst  . . 
LaJie-Walter  . . 
Perkins-Rockwell 

Forest   Trail   Allen-Donnell 

Rattlers  on   Horseback   Lane-Waller  ... 

Skewdown,    The   Elllott-Brennan  . 

Saaset   In  the  West   (C)   Bogers-Edwards 

Trail  of  Robin  Hood  (C)    (67)  Rogers-Edwards  . 

Trial   Without   Jory   Patrlck-Reekwtll 

Trigger,    Jr.    (Tr.)   Rogers- Evan,  .. 

•  n«er   Moxleali   Stars   Allen-Patrick    .  . 

Vigilante   Hideout   Lane- Waller  ... 


. 6-30 . 
.  .6-1 
.  .9-6 

 7-29 

.4-24. . .8-29. 
.8-28  .11-25. 
.5-22  .11-15. 
.4-10. . .7-29. 
9-26. .12-24 
.9-12. .11-25 
. .5-8. . .9-18. 


. .4920  

.4965  

. .4918  

. .4967  

. .4922  

. . 4925  

. .4974  

. .4944  

..4973  

. .4971  

..4961  

. .4929  

. .4953  

. .4968  

.4924  

. .4943  

.4946... 1-15 

. .4921  

. .4945  

.4954  

4166  


RKO  R 


1950-51  Features 


Completed  (47)     In  Production  (1 


.2-26. 


 8-50. 

.  .7-4. . .8-50. 
.2-27. . .9-50. 
.2-27. .10-50. 


11-50. 
11-50. 
11-50. 


.107. 
.106. 
.108 


NEW  PRODUCTIONS 

HALF  BREED,  THE  (Color) 
Western— Started  March  14 

Cast:    Robert  Young,  Janis  Carter,  Jack  Beutel 
Director:  Edward  Ludwig  Producer:  Sam  Bisch 

Story:    Part  Indian  outlaw  saves  town. 

RELEASE  CHART 

IN  PRODUCTION 

Title— Banning  Time  Cast 

Androcles  and  the  Lion   Simmons-Newton 

  1950-51   

GROUP  ONE 

Barter   Treasure   Holt-Martin   

■am  To  Be  Bad  (93)   Fontaine-Ryan  ... 

■aaae  Saaad    (67)   Sterling-Dhon  ... 

Bitrage  (75)   Andrews-Powers 

Walk  Sattly,  Stranger  (81)   Cotten-Valli   

GROUP  TWO 

Exaarraeat    Alcatraz   Howard-Olxon    .  . . 

■ever   a   Dull  Maaeat   Dunna-MacMurray 

■la  Brand,  Patrol   Holt-Martin   

NOT  DESIGNATED 

Utm  la  Veaderiaad  (T)   "i«nev  Cartoon   

Best  of  the  Badmen   Ryan-Trevor   6-51 

Cat  ere.  The  (81 1    Ayrts-Wright   8-29...  6-50 

teatpaav  She  Keeps   Greer-0' Keef  e   3-13...  1-51 

Details  inder  title:  The  Wall  Outside 

Creek   Down   Wlltlaai-Arattreng 

Cry  Danger   (79)   Powell-Flemlno 

Double  Deal  (64)   Denning-Windsor 

idte  of  Doom   Andrews-Granger 

Ptj/iaa   Leathernecks    (T)   Wayne-Ryan   

Footllght    Varieties   paar-luttens  ... 

Gambling   House    (80)   Bendix-Mature 

Detail,   under  title:  Alias  Mike  Fury 

Gun    Notches   Holt-Martin   11-6. 

Bee  Tkender   Holt- Mart  in   10-24. 

Details  under  title:  Mother  of  a  Champion 

Hard,  Fast  and  Beautitul   Trovor- Forrest   7-31 

Hunt  the  Man  Down  (68)   Vouno-Andcrsen   5-22. 

Details  under  title:  Seven  Witnesses 

Ift   Only    Money   Slaatra-Muell   12-6. 

Jet   Pilot    (T)   Wayne-Lttfh   12-19 

Kon-TIki   Travel   

Macao   Bussell-Mitehum   9-11. 

Mad  Wednesday  (80)   Lloyd-Walhurn   10-1. 

Mad  With  Much  Heart   nyan-Lupino   5-8. 

Man  He  Found.  The   >  Reia-Tittle    6-5. 

My  Forbidden  Past   Ga.dner-Mitehum   10-10. 

On  The  Uose   Evans-Barl   1-29. 

Oer   Very  Own    (93)   Granger-Blyth   9-12.  .  .8-50 

Payment  on   Demand    (90)   Davis-Sullivan   2-27.  .  . 2-51 

Details   under   title:  Story  of  a  Divorce 

Pistol   Harvest  (60)   Holt-Martin   12-4  

Roadblock   MeGiaw-Oixan   10-23  

Bustler's   Range   Holt-Martin   1-29  

Saddle   Legion   Holt-Martin   7-31  

Sealed   Cargo   Colbert-Ryan   11-7... 9-50 


6-19  

6-  19... 8-51.. 

7-  31. 12-50.. 
12-3... 8-50.. 
12-4  

8-  14  

2-13. . .1-51. . 


. .115. 
..11*. 
..152. 


. .4-51. 
. .2-51. 
.10-50. 
. .6-51. 

.'.4-51. 


Details 

Secret  Fury  (86)   

Sons  of  the  Musketeers  (T) 


The  Gaunt  Woman     Andrews-Rains   8-14... 5-51. 


Tanan's   Peril  (79)   

Texas  Triggerman   

Thing,  The   

Tokyo    File  212   

Treasure  Island  (T)  (96)  .. 
Two  Tickets  to  Broadway  (T) . 


GROUP  SEVEN 

Rider  from  Tucson   

Destination   Murder  (72)   

Where  Dagger  Lives  (82)   

White  Tower,  The   (T)    (98)    .  .  . 

SPECIALS 
Ichabod  and  Mr.  Toad  (T)  (68) 
My   Foolish   Heart  (99)   


.  Wllde-O'Hara 

 1-2 . 

. . .6-19. 

Barker- Huston 

.  .11-6. 

.3-51.. 

.'.172.  " 

.  Holt-Martin   

 7-3 

.  ToDey-bheridan    .  .  . 

. .11-6. 

.  4-51. .' 

.  Marly-Peyton   

. 5-51 . . 

.  Driiccll-Nevrton    .  .  . 

.7-50. . 

'.'.191.'.'. 

.Leigh-Martin   

.'.ii-26'. 

Holt-Lesli.   

Domergue-Dolenz 

.'. .8-19. 

12-50. . 

.167... 

1949-50   

Holt-Martin   

.  .  .7-4. 

.6-50.. 

..027... 

MacKenzie-Clements 

6-50.. 

. .026... 

Mitchum-Domergue  . 

.'.ilie! 

10-50.. 

. .024... 

Valli-Ford   

8-29. 

.4-50. . 

..023... 

.Andrews-Hayward  ... 

20th  CENTURY-FOX 


1951  Features 


Completed  (29)     In  Production  ( 


RELEASE  CHART 


IN  PRODUCTION 

Title— Running  Time 

Anne  of  the  Indies   

Friendly    Island  (T)   

House  On  the  Square   


Secret  of  Convict  Lake   

COMPLETED 

Bird  of  Paradise  (T)   

Call  Me  Mister  (T)  (95) 
David  and  Bethsheba   (T)  . 

Decision  Before  Dawn   

Oetails  under  title:  Legion 

Fallow  the  Sun   

Fourteen  Hours   

Frog   Men,  The   


Cast 

,  . .  Joroan-Paget 
,  .  .  Lundigan-Greer 
, . .  Power-Smith 
. .  O'Hara-Lawford 
, . .  Ford-Tierney  . 

-  1950-51  — 

.  .  Jordan-Paget  . 
. .  Grablc-Dailey 


 Mcrrill-Basehart 

Damned 

 Ford-Baxter    .  .  .  . 

 Douqlas-Basehart 

 MacMurray-Parker 


3-12 . . . 

3-12. . . 
. 2-12  . . 
. .11-20. 
.2-12. . . 


.8-14  .3-51.. 
.7-17   . .2-51.. 

.  .  12-4  

.  .9-25  

.10-9... 4-51... 

 5-51... 

. 1-29  


42 


FILM  BULLET 


Gaaco.  Tkt   

»neil  (T)   

L  Mentereau.  The   (T)  (113) 

/Year.  1950  (42)   

'  (ii   Telegraph  Hill   

;  Get  It  For  Yoe  Wholesale 
Mb  the  Highest  Maintain  (T)  > 

ne    Mere  Chance   

tilt  under  title:  Guy  Who  Sank 

■  Mick  Cain  <87)   

llrho  Cheated  Hlnuelf.  The  (81) 

ile  After  The  Show  (T)   

Hi.  The  (99)   


an* 


(85) 


Monte  Crlito.  The  (80) 
i  at  My  Little  Girl  (T) 
Letter.  The   (85)    .  .  . 


title:  U.S.S.  Teakettle 


em  Gierllla  In  Philippines 
«|tose.   The   (T)    (120)  . 

*.  Arrow   (T)  (93)   

t*  Trail  (C)   

e»  Wen's  Sake  (92)   

after,  The  (84)   

¥ :  By  (T)  (82)   

HP  The  (85)   

■  at  Brate  (85)   

■no  <90)   


Wldmark-Androws  . 

 1-1 

.  .Young-Cotton  .... 

...7-17. 

.6-51. 

. .  WHmam-Gardner  . 

 6-5 

.1-51. 

.103  12-18 

.  Documentary   

All 

.  .CO'tesa-Lundigan 

...9-li.' 

.6-51.. 

.  .  Da:iy-Hayward    .  . 

.10-23 

.4-51. . 

iii 

) .  Hayward-Lendlgan 

 6-5 . 

.2-51. 

. .105. 

. .1-29 

.  .  Dounlas-Darnell 

. .12-18 

.6-51  . 

e  Nary 

.  .  Ratt-Gray   

.3-51 

.  .Coho-Oall   

.1-51. . 

. . 102 . 

. . 1-15 

.  Grable-Carey   

i-29 

.  .  Dunne-Gulness    . . . 

 6-5. 

i-si. . 

'. .  ibi . 

12-18 

. .  Stewart-Dietrich    . . 

. . . .9-25 

.  Concert  Feature 

.3-^51 .' .' 

•  "gi^s" 

. .  Powcr-Hayward 

...1-30.'. 

.5-51.. 

.  Montgomery— Corday 

. . . 9-25 . 

3-51 .  . 

'.'.iok'. 

.Crain-Peterj   

 11-6. 

Darnell— Boyer     .  .  .  . 

. . . 8-25 . . 

.2-51. . 

. . 107 . 

2-12 

Cooper— Albert     .  .  .  . 

.   . 11-6 

. 4-51 . . 

.110. 

.3-12 

-  1949-50   

.  .No*.  . 

.  030. 

.10-9 

,)  Power-Prelle   

.  4-24 

..Dee.. 

.032. 

.12^1 

Power-Aubrey   

....5-23. 

..Sept.  . 

019. 

.9-25 

Stewart-Pajet   

. . .6-20 

..Ail.. 

.  Oi  1 

Scott-Wllliams     .  .  . 

9-12 

..Aug.. 

020 

.6-19 

.  Webb-Bennett   

Dec 

033. 

.12-4 

. .  Peek-Parker   

.  .Ha»er-Lur.digan 
, .  itewan-Medina 
. .  Douglas-Peters 
.  .  McGuire-lancaster 
.  .  Grable— Oailey    . .  . 
.  Tierney-Widmark 


;  (106)   Darnell- 

1  Streets  (93)   Widmark-Eel  Geddes 

 Sheridan-Mature  ... 

Sidewalk  Ends   (95>   Andrews-Tierney  ... 

ve  Me  in  December?   Wooloy-Pctcrs   


.10-10. 

...1-3  . 
. . .7-4. 
. .4-24  . 
.12-19. 
..8-29. 
..11-7  . 
...1-2. 


031 
016 
02  I 
021 
013 
025 
.02'' 

01s 

017 


.11-6 
.5-22 
.9-11 
t  2s 
.6-19 
.9-11 


UNITED  ARTISTS 


■51  Features 


Completed  (    )     In  Production  (0) 


RELEASE  CHART 

'LETED    1949-50   

Title—  Pennine   Tint*  Cast 
Was  a  Lady,   The    (87)   Hendrix-E.  O'Brien 

under  titlo:  The  Iron  Cage 

b   Chaplin-Cherrill 

i  Bergerae   (112)   Ferrer-Powers   

 Michele  Morgan 

lion   Boyer-Bettger  ... 

All  the  Way  (77)   Garnelo-Winters 

Be  Sin  (72)   

Trail.   The  (85)   

h   My  Face  (75)   

I  (85)   


.  Reissue. 
. .7-17. 
.  Foreign . 


.8-4  

.9-50. . .Chap. 
Roadshow    Kr  .  . 

.5-25  

.  .5-4  

.4-27. 


Loy-Cuiimins   9-8...  Bat 

Montgomery-Marshall    .  .  .10-24. .  .616.  .  .Soil. 

Nelson-Matthews   6-1  

Brando-Wright   11-21 . . .  8-25  Kr. 

Kores-Maxwell   5-11...  Aln. 

Romero-Havoc   1-2  7-7. . .  Wil. . 


.5-18. . .Eag. 
K13  


Thief  (88)   

s  under  title:   Once  Over  Lightly 

The  (92)   Hellln-Keyes   4-24. 

i  under  title:  Cost  of  Loving 

or  A  Day   (107)   Avery-McCavin   10-9.. 

he    (93)   Ireland-McCambridge    ...4-24  4-6 

i  under  title:   Dungeon.  The 

tfoman,  The  (91)   Young-Drake   2-51 

f  Firy  (90)   Lovejoy-ftyan   5-22...  1-15 

■stands   (78)   Williams-Arden   7-3..  Nov 

tops   North   Bndges-Padavoni   7-3  6-8  

Id  Story   Duryea-Storm   7-21... C-E 


.  G-C  

Pop. . .2-12 
Stmn. .12-18 
.G-C  


NIVERSAL-INTERNATIONAL 


J188-51  Features 


Completed  (34)     In  Production  (1) 


PRODUCTION 


RELEASE  CHART 


Details 


Costello  Meet  the  Invisible  Man. 

Hi' '. '. '. '. '. . '. '. 


.3-12. 


.11-6. 


(83) 


Cast 

Wmters-Conte  ... 

1950-51   

Abbott  &  Costello 

Mcmally-Kiissell   

.  Grey-McNally   8-28. 

,Re?.gan-Lynnn   ?-ll  . 

.  MeCrea-S'oekwell   12-4. 

.Abbott  &  Costello-Shay  1-29. 


Feb 


HmVore  Spurs  (80)  . 
■M  (142)   


.114  . .2-25 

.101  

.107.  10-23 


be  Mountain   

title:  The  Real  McCoy 

 Toren-Chandler   10-10  ...  Nov . 

 Montalban-Charisse   

(T)    (75)   O'Connor-Carter   10-10...  Apr. 

•.  The   Smart-Meadows   May. 

J  <T>   MeCrca-Winters   5-8... Jan. 

(••I  Goes  to  the  Races   lluonnor-White   12-4  

The  (T)   Blytne-Farrar   1-29  

 Rogers-Carson   7-31 ...  Mar . 

 OlHier-Simmons   Nov. 

fW104)   Stewart-Hull   5-8    .  Jan. 

Phond.  T«e   Colbert-Blyth   11-20  

■)Nd  Story.  The   Contf-Adams   12-18  June 

Pjn,  The   Keyes-Chandler  .......1-29  

■MRalders  (T)    (80)   Marphy-Chapman   6-5... Nov. 

It   Blytne-stevens   6-19  May 

■*«•■»   Dow-Kenntdy   8-28  

"Mjaypt   (T)   Fleming-Stevens   12-4  

»  J  Pa  Kettle  at  the  Fair   Main-KHbridc   2-27  .  ..Apr  

M  Pa  Kettle  Back  on  the  Farm   Main-Kilbrlde   2-27  

"M,  Tie   (87)   B'Connor-Oorante   5-8  .  .  Nov.  .  .  .102  

ite  Si  taurine   Carey-Toren   7-31  ...  Dee ....  106  

•»  i  Disaster   (100)   Mills-Cherry   Foreign  .  .  Jan  .  ..  .113.  .  .1-29 

•««'(ho  Wai  A  Thief,  The  (T)   Curtis-Laurie   9-25  

**'«  Island   (T)   Kcyes-Chandler   7-17...  May  


.  .104. .11-20 


T*ff»t   Unknown  (90) 

btevjrit-Nicol 

9-11 

Feb 

111 

Tonahtwk   (T)  (82)   

...  Hebln-DeCarlo 
.     .  Smith-Brady  . 

 6-5  . 

.  Feb. 

110 

1-29 

Unitrtwer  Girl  (83)   

. . . .7-31  . 

D  e 

. .105. 

11-6 

\)»Hr   Mi*   Ctn  (84)   

 Totter-fonte   

.  .   5-22  . 

. . Jan .  . 



1-1 

10-9 

Apr 

118 

3-12 

COMPLETED  — 

—  1949-50   

Abbott  1  Costelle  In  the  Foreign  Leg.'on 

(79)  Abliolt  I  Coitrllo 

.  .   5-8  . 

Aug 

.  924 

•artaJn  Call  at  Caetii  Crub  (86)   . . 

.  .  .  .  O'Cenner-Ardea 

2-28 

lane 

91  * 

••tart  Hawk.  The  <T>  (77)   

.  .  . .  Dcear'e-G/rene     .  . 

4-10  . 

Aag 

925 

8-14 

LmIu  (90)   

.  .  .  .  Bylngton-Reagan 

.12-13  . 

Aag  . 

S26 

6-19 

Pag«    (T)  (77)   

....  Lynn-Cetam  . 

loly 

S22 

7-3 

Sleeping   City.   The  (85)   

Conte-Gray   

11-7 

S«  t 

930 

9-11 

Spy   Kent  (75)   

Teren-Oel!   

2-27 

Ju  e 

920 

7-11 

Details   under   title:    Panther  5  Moon 

Winchester   73  (92)   

.  Stewart-Winten 

. .  2-27 

Jely 

°"1 

Woman  on  the  Run  (77)   

 Sherifan-O'Keete 

.  5-22 

Oct 

932 

Wyoming  Mail    (T)  (87)   

 Smith-McNally  . 

5-22 

Oct 

.931 

WARNER  BROTHERS 


1950-51  Features 


Completed  (32)      In  Production  (1) 


8-14 

1-  15 
11-7 

.9-25. 

2-  13 


12-30 
3-17 
2-24 

10-28 

.1-13. 


Oil  12-4 

017  

015  2-26 

007  .:.li-6 

.OH.':'.'.'.'.'. 


RELEASE  CHART 

IN  PRODUCTION 

Title — Rewnlng    Tim*  Can  Detail* 

Moonlight   Bay    (T)   MacKae-Day   1-29. 

Painting  the  Clouds  with  Sunshine    (T>      Morgan-Mayo    3-12 

Tomorrow   Is   Another   Day   Roman-Cochran   1-15. 

  195»-51   

Aleatraz    Island    (64)   Ann   Sheridan   Reissue 

Along  the  Great   Divide   Douglas-Mayo   11-6 

Details   under   title:   The  Traveler, 

Breaking  Point,   The  (97)   Girtleld-Neal   4-10 

Breakthrough    s91)   Brian-Agar   6-19 

C'n'ain    Horatio   Hornblower   (T)   Peek-Mavo   2-13 

Dallas  (T)   (94)   Coo  er-noman   

Dcdge  City    (104)   f lynn-deHovilland 

Enforcer,   The    (87)   8ogart-Roherts 

Fort   Worth    (T)   Scott-Brian   

Glass  Menagerie,  The  (107)   Lawrmce-Wyman 

Goodbye,   My   Fancy   Cawtord-Young 

Highway  301   (?3)   Cochran-Andre 

I    Was  A    Communist   Lovtjoy-Hart   1-15 

Inside  the  Walls  of  Folsom  Prison  8nan_;ochra,ie  ..11-6. 

Deta  Is  under  title:  The  Folsom  Story 

Jim  Thorpe.  All-Ameriian   laneastrr-Bickford      .  9-11. 

Liohtning  Strikes  Twice    (91)   ToJd-Poman   2-13. 

Lullaby  of  Broadway  (T)   Day-Nelson   9-11 

North   of  the    Rio   Grande   McCrea-Mayo  .  y-27 

Details   under   title:   Colorado  Territory 

Only  The  Valiant   (105)   Peck-Corey    8-14 

Operation   Pacific    (109)   Waync-Neal   9-11 

Pretty   Baby    (92)   Scott-Morgan   1-2. 

Rston   Pass    (84)   Morgan-Neal   7-31 

Rocky    Mountain    (83)   Flynn-Wymere   6-19. 

San   Ooentin    (70)   Bogart-Sheridan   Reissue 

Storm  Warning   (91)   Rogers-Reagan   12-5. 

Details   under  title:  Storm  Center 

Strangers  On  A  Train   *alker-R0man   11-6. 

Streetcar  Named   Desire,  A   Brando-Leigh   8-28. 

Sigarfoot   (T)    (80)   Scott-Jirgcns   

Tea  Far  Two   <T>    (98)   Day-MaeRae   4-10 

Three  Secrets    (98)   Parker-Neal-Roman   

Virginia   City    (121)   Flynn-Bcgart  Reissue 

West  Point  Story,   The  (107)   Cagney-Mayo    6-19 

COMPLETED    1949-50   

Bright  Leaf   (110)   Uoper-Neal   12-5 

Caged   Parker-Moorheae  8-1 

50  Years  Before  Your  Eyes  (70)   Doeimentary   

Flaaa  and  the  Arrow  (T)    (88)   Lancaster- Mayo   

God   Ii  My  Ce-Pilot   (88)   Morgan-Clark   Reissue 

Groat  Jewel  Robber  (91)   Brian-Reynolds   8-29 

Kiss  Tomorrow  Goodbye   (102)   Canney-Adler   5-8 

Return  of  the  Frontiersmen   (T)    (74)    .  . .  MaeRae-CaJhein   4-25. 

This  Side  of  the  Law  (74)   Lladfare-Sajlth   10-25 


4-21 
1-27 
9-16 

. .4-7. 

11-11 


2-10 


022  3-12 

013  .  1-29 
004  . . 7-31 
021 

008  

.003  

014  . . 1-29 


.  3-3 
.9-2. 

10-  14 . 
3-17 

11-  23. 


.  7-1. 
.6-10 
.7-15. 
7-22 
6-3 


8-19 
6-24 
.6-17. 


016  .  2-12 
001  8-28 

006  .10-23 

.018  

009. .11-20 

928 ..  6-5 
'25.  .  .  5-8 
931. ..  7-3 
930  .7-3 

.924  

929  6-10 
932  8-14 

.927. . .  6-3 
926     .  6-5 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carried 

250  N.  Juniper  St.,  Phila.  1,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed   containers    and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


*  RCH  2  6  ,    1  9  5  1 


43 


Sell  at  a  glance 


POSTING! 


your 

BOXOFFICE 

is  (^2$/ as  9ooc'  as  your 

SHOWMANSHIP 

□□□□□□□□cnfl^i(5fe^^:nnnn[5i_jc 


25c  per  Copy 


BULLETIN 


APRIL  9,  1951 


Is  the  FCC 
Baching  the 
W rang  Horse  ? 

IN  THIS  ISSUE: 

FULL  TEXT  OF  FCC  STATEMENT 

FULL  TEXT  OF  A.  F.  MYERS  BULLETIN 

COMPLETE  WALL  STREET  JOURNAL 
STORY,  "TEETERING  TV" 


Page  Six 


_4  W       OV  vAC^ 


m 

m 


And  now 

keeping 
the  nation's 

Boxoffices 

^  HOT  8: 

HALtiOF 
MONTEZUMA 

Technicolor 

The  M0DLARK 
OF  MEN 
AND  MUSIC 

The  MAN 
WH0  CHEATED 
HIMSELF 

CALL  ME 
MISTER 

Technicolor 

TftE 
13th  LETTER 

I'D  AlMB 
THE  HIGHEST 
MOUNTAIN 

Technicolor 

ioCky 

NICK  CAIN 


0 

0 


10 

I" 


KEEP  YOUR  GRi 


RE 


mi 


mm 


n 


BIRD  OF  PARAE 

TECHNICOLOR! 

The  greatest  promotion  cam  i 
history!   Pays  off  across  til 

i  can  get  it  fori 
wholesale 

Susan  Hayward,  Dan  Dailey 
Sanders!  Not  since  "Eve"  has  tl 
such  a  box-office  woman ! . . .  ot  it 

FOLLOW  THE  SH 

40,000,000  people  are  waitin 
Glenn  Ford  and  Anne  Baxter  it  Sc- 1 
love  story  of  Valerie  and  Ben 

YOU'RE  IN  THE  NAVL 

Gary  Cooper's  in  command  of  n 
of  the  U.  S.  Fleet!  "Funniest  on 
the  year!"— says  the  New  Yoi  n 

14  HOURS  J 

Paul  Douglas,  Richard  Basehart  » 
Bel  Geddes,  Debra  Paget!  Novm 
tion  at  the  long-run  Astor  Thea :( 


2a 

CIHTUHT-FOX 


WITH  THE  XQTTESJ  LINE-UP  IN  THE  INDUSTRY! 

IDW  THROUGH  JULY! 


RAWHIDE 

Tyrone  Power  is  the  Whip!  Susan 
Hayward  is  the  Wildcat!  And  when 
:hey  meet  —  all  excitement  breaks  out ! 

ON  THE  RIVIERA 

TECHNICOLOR! 

Go  Gay  with  Danny  Kaye  . . .  and  Gene 
Tierney  and  Corinne  Calvet !  National 
Day-and-Date  Release  Memorial  Day! 

HALP  ANGEL 

TECHNICOLOR! 

uoretta  Young  takes  Joseph  Cotten  over 
he  hurdles,  in  the  confessions  of  a  female 
Sleepwalker!  It'll  wake  up  your  grosses ! 

MUSE  ON  TELEGRAPH  HILL 

jlichard  Basehart,  Valentina  Cortesa, 
William  Lundigan !  A  shocker  for  your 
>atrons!  A  booster  for  your  box-office! 

TIE  GUY  WHO  CAME  BACK 

>aul  Douglas,  Linda  Darnell  take  up  where 
hey  left  off  in  "A  Letter  to  3  Wives." 


AS  YOUNG 
AS  YOU  FEEL 

Monty  Wooley  and  Thelma  Ritter  make  it 
a  box-office  byword — in  one  of  the  year's 
most  heart-warming  family  comedies! 

NO  HIGHWAY 

James  Stewart,  Marlene  Dietrich  in  an 
international  drama  of  intrigue,  mystery! 

THE  FROGMEN 

The  most  unusual  story  of  our  fighting 
forces  ever  told !  Richard  Widmark,  Dana 
Andrews  and  Gary  Merrill  in  a  drama 
of  an  Underwater  Demolition  Team! 


CENTURY-FOX 


STRONG  AS  A 


BULLETIN 


EDITORIAL 


Vol.  19.  No.  8 


April  9.  1951 


Page  Five 

THINK  IT  OVER 

ANATOMY 

"rrTIERE  arc  those  who  have 
nothing   chaste  but  their 
ears,  and  nothing  virtuous  hut 
their  tongues."  De  FlNOD. 


REVIEWS  in  This  Issue 


)  for  Broke  10 

llow  the  Si  n  10 

\  \m>  l\  Kettle  Back  On  the  Farm  10 

'.\n  Get  It  For  You  Wholes  m  e  11 

LLABY  OF  BrOADH  \y  11 

v  Forbidden  Past  11 

IE  Thing  12 

ton  Pass  12 

>n-Tiki   12 

een  For  A  Day  13 

surance  Investigator  13 

otlight  Varieties  13 

ght  Riders  of  Montan  a  13 


flLM  BULLETIN— An  Independent  Motion  Pletire 
Trade  Paper  published  every  other  Monday  by  Film 
Billetln  Company.  Mo  Wax.  Editor  and  Pibliihtr. 
BUSINESS  OFFICE:  35  West  53rd  St.,  New  York, 
19;  Circle  6-9159.  David  A.  Bader,  Bislness 
lUnager.  PUBLICATION  -  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7,  Pa..  Rltten- 
iomi  6-7424;  Barney  Stein,  Managing  Editor;  Jul 
Taylor.  Piblication  Manager;  Robert  Heath.  Clrea- 
ati»n  Manager.  HOLLYWOOD  OFFICE:  659  Hanr- 
vd  Am.,  pacific  Palisades,  Calif.,  Hillside  8183; 
»»  Allen,  Hollywood  Editor.  Sibserlption  lati: 
>NE  YEAR.  S3.00  in  tkt  United  Stats*: 
*.0O;  Eerope.  $5.00.  TWI  YEA  IS,  $5.00  ll 
IUt*  Statu;  Canada.  $7.50;  Enn,  $9,08. 


Note  To  Film  and  Theatre  Executives: 

HERE'S  HOW  TV  PLMS 
TD  FIGHT  ITS  SLUMP 

The  following  two  news  items  were  reproduced  from  the  Wall  Street 
Journal  of  March  26,  1951.  The  first,  part  of  a  story  titled  "Teetering  TV" 
(reprinted  in  its  entirety  beginning  on  the  next  page),  tells  what  the  television 
industry's  "solution  No.  I"  is  to  overcome  the  sudden  slump  that  has  hit 
receiver  set  sales.    The  second  item  is  intact  and  self-explanatory. 


Solution  No.  1:  Bust  out  with  ballyhoo. 
Emerson  last  week  announced  a  record  adver- 
tising campaign.  The  company,  its  dealers, 
and  its  distributors  will  spend  a  joint  $7,500,- 
000  this  year  in  46  markets.  Charles  Robbins, 
vice-president  in  charge  of  sales,  said  this 
more  than  doubles  last  year's  outlay. 

Philco  Corp.  is  readying  an  ad  program 
concentrating  on  TV  for  the  next  threa 
months.  It  will  "involve  the  greatest  expendi- 
tures for  any  similar  period  in  the  history 
of  the  company,"  said  a  spokesman.  The 
amount  to  -ne  spent  .''will  exceed  $2,500,000." 


RCA  Fights  Sales  Drop 

Special  to  The  Wall  Street  Journal 
CAMDEN — Radio  Corp.  of  America  is  en- 
gaged in  what  it  calls  "the  greatest  concen- 
tration of  television  receiver  advertising  in 
the  company's  history"  to  combat  the  current 
sales  decline,  according  to  H.  G.  Baker,  vice 
president  and  general  manager  of  R.C.A. 
Victor  home  "instrument  department. 

The  campaign  is  built  around  full  page 
advertisements  in  137  major  newspapers  in 
108  cities,  he  added. 

"We,  in  the  television  industry  must  face 
the.  fact  that  we  cannot  expect  forever  that 
the  customer  will  beat  a  path  to  the  television 
dealer's  door,"  he  declared.  ""There  must  be 
a  return  to  aggressive,  competitive  retail 
operation." 


.  ,4nrf  What  Art?  VOL  Doing 
To  Tick   the  3Morie  Slump  ? 


FCC  REPORT 

Following  is  that  portion  of  the 
text  of  the  Federal  Communica- 
tions Commission  report  on  ap- 
plications for  television  broad- 
casting licenses  by  motion  pic- 
ture companies.  (Docket  No 
9572) 

Much  of  the  argument  in  this 
proceed^  related  to  the  major  mo- 
tion picture  companies  who  have 
violated  the  anti-trust  laws  over  a 
period  of  years  in  the  motion  pic- 
ture field.  It  is  obvious  from  what 
we  have  already  said  that  violation 
-of  the  anti-trust  laws  by  the  mo- 
tion pictures  companies  is  a  mat- 
ter that  the  Commission  must  con- 
sider carefully  in  determining  the 
qualifications  of  these  companies  +o 
operate  in  the  public  interest. 

A  somewhat  related  matter  in  so 
far  as  motion  pictures  companies 
are  concerned  merits  some  discus- 
sion. It  has  come  to  the  Commis- 
sion s  attention  that  many  motion 
picture  companies  refuse  to  make 
copies  of  their  films  available  for 
use  by  television  stations.  Similar- 
ly, restrictions  are  imposed  by 
these  companies  as  to  the  appear- 
ance of  actors  under  contract  to  the 
studio  on  television  programs  and 
to  the  use  on  television  of  stories 
or  plays  whose  rights  have  been 
acquired  by  the  studio.  We  ex- 
press no  opinion  at  this  time  as  to 
whether  such  practices  are  or  are 
not  in  violation  of  the  anti-trust 
laws.  We  do  desire,  however,  to 
point  out  that  whether  or  not  these 
practices  are  a  violation  of  any  law 
they  are  considered  by  the  Com- 
mission to  be  relevant  in  determin- 
ing the  qualifications  of  applicants 
utilizing  such  practices.  It  is  ob- 
vious that  the  success  of  television 
will  depend  to  a  large  measure  on 
the  ability  of  television  stations  to 
acquire  the  best  available  films  and 
to  utilize  the  best  available  talent 
and  stories  in  their  programs.  Mo- 
tion picture  companies,  of  course, 
have  the  same  interest.  When  a 
television  station  is  owned  by  a 
licensee  other  than  a  motion  pic- 
ture company,  it  will  compete  vig- 
orously with  the  motion  pictu-e 
companies  to  secure  the  best  avail- 
able films,  talent  and  stories  for 
use  over  his  station.  Where  a  tele- 
vision station  is  owned  by  a  motion 
picture  company  which  imposes  re- 
strictions on  the  use  of  films,  talent 
or  stories  on  television  stations,  ob- 
viously a  conflict  of  interest  is  cre- 
ated and  the  conflict  is  likely  to  be 
resolved  against  the  television  sta- 
tion where  the  investment  in  the 
motion  picture  part  of  the  enter- 
prise is  greater  than  in  the  televi- 
sion properties.  In  such  a  case,  a 
serious  policy  question  is  presented 
as  to  whether  the  Commission  ful- 
fills its  obligation  to  encourage  the 
largest  and  most  effective  utiliza- 
tion of  television  in  the  public  in- 
terest when  it  licenses  the  station 
to  a  person  with  an  obvious  con- 
flict of  interest  which  can  prevent 
him  from  utilizing  television  to  Its 
utmost. 


Question:  Is  the 

MYERS  CHARGES  COMMISSION  'WIELDS  BLACKJACK' 


The  following  bulletin  by  A.  F.  My- 
ers, general  counsel  of  Allied  States 
Association  of  Motion  Picture  Exhi- 
bitors, analyzes  the  FCC  report. 

The  Federal  Communications  Commis- 
sion has  just  issued  a  declaration  of  pol 
icy,  called  a  report,  which  sets  a  new 
record  for  usurpation  of  authority.* 

By  this  report  the  Commission  — 

1.  Imposes  a  condition  on  the  right  of 
motion  picture  companies  to  qualify  for 
broadcasting  licenses  based  on  informa- 
tion coming  to  it  from  an  unidentified 
source  and  without  specific  findings  bas- 
ed upon  evidence  adduced  in  support  of 
or  opposition  to  any  application  for  a 
license. 

2.  Asserts  the  authority  to  regulate 
the  motion  picture  industry  and  the  use 
it  shall  make  of  its  properties  although 
no  such  authority  has  been  conferred  on 
it  by  Congress. 

3.  Would  compel  the  motion  picture 
companies  to  make  available  to  television 
broadcasters  their  finest  films  and  talent 
as  a  condition  to  the  right  to  qualify  for 
broadcasting  licenses. 

The  report  was  issued  as  a  result  of  a 
hearing  held  a  year  ago  looking  to  the 
establishment  of  a  uniform  policy  to  bs 
followed  in  the  licensing  of  radio  broad- 
cast stations  to  applicants  accused  or 
convicted  of  violating  a  law  of  the  United 
States. 

The  points  set  down  for  hearing,  as 
enumerated  in  the  report,  did  not  even 
hint  that  the  Commission  wished  to  be 
enlightened  as  to  its  authority  to  advise 
prospective  applicants  for  licenses  or  re- 
newals as  to  the  use  which  they  should 
make  of  properties  which  are  not  sub- 
ject to  the  Commission's  regulatory  pow- 
ers, in  order  to  qualify  for  such  licenses 
or  renewals. 

Specifically,  there  was  not  the  slightest 
intimation  that  the  Commission  had  m 
mind  the  possibility  of  a  ruling  or  even 
an  expression  of  opinion  to  the  effect 
that  the  motion  picture  companies,  in 
order  to  be  eligible  for  licenses  or  .re- 
newals, must  first  make  their  choicest 
films  and  contract  artists  available  for 
exhibition  on  television. 


While  we  have  not  examined  all  the 
briefs  and  arguments  offered  at  the  hear- 
ing in  April,  1950,  we  do  not.  believe  that 
any  such  startling  proposal  entered  into 
the  discussion.  So  revolutionary  and 
drastic  a  proposal  would  have  attracted 
wide  attention  and  most  certainly  would 
have  come  to  our  notice. 

Sometime  between  the  close  of  the 
hearing  and  the  issuance  of  the  report 
the  Commission  either  evolved  the  idea, 
or  it  was  planted  with  it,  that  it  couid 
force  the  motion  picture  companies  to 
supply  their  best  available  films  and  tal- 
ent to  this  rival  entertainment  medium 
in  order  to  qualify  for  licenses. 

The  report  recites  blandly  that  "It  has 
come  to  the  Commission's  attention  that 
many  motion  picture  companies  refuse 
to  make  copies  of  their  films  available 
for  use  by   television  companies."  It 

'Docket  No.  9572,  March  29,  1951 


then  goes  on  to  say  that  "the  success 
television  will  depend  to  a  large  measu 
on  the  ability  of  television  stations 
acquire  the  best  available  films  and 
use  the  best  available  talent  and  ston 
in  their  programs." 

It  would  be  interesting,  and  it  may  t 
come  necessary  to  ferret  out  the  sour 
of  this  information  that  "has  come 
the   Commission's  attention."     We  aj 
confident  that  it  was  not  openly  supplii 
by  the  participants  in  this  quasi-judici , 
inquiry.    The  motion  picture  compani' 
represented  at   the   hearing  apparent 
had  no  warning  that  such  a  catastropt 
ruling  was  in  contemplation.    And  t 
thousands  of  independent  theatre  ow 
ers,  who  are  the  concern  of  this  assoc 
tion,  had  no  reason  to  suspect  that  th(' 
interests  were  involved,   much  less 
jeopardy. 

Will  Commission  Now 
Regulate  The  Movies? 

It  doesn't  seem  possible  that  the  Co 
mission  itself  could  have  realized  the  I 
implications  of  its  action. 

In  order  to  make  good  on  these  "p 
mary  principles"  which  are  to  guide 
"in  making  a  case-to-case  determinati 
of  these  applications,"  the  Commissi 
must  exercise  strict  control  over  the  n 
tion  picture  companies,  even  to  the  « 
tent  of  fixing  prices  for  their  products 

Let  us  consider  what  c^uid  and  dou 
less  will  happen  if  the  Commission  p 
sists  in  the  policy  of  requiring  the  n 
tion  picture  companies  to  place  th 
"best  available  films"  at  the  disposal; 
its  competitor  in  the  entertainment  fiej 
A  film  company  desiring  a  license  asse 
in  its  application  that  it  has  confonrj 
to  the  Commission's  requirement.  A  '] 
station  objects  and  complains  that  H 
applicant  has  not  made  its  best  fill 
available.  Is  the  Commission  going ) 
set  itself  up  as  an  expert  t«  •  pass  on  '} 
quality  of  motion  pictures? 

But  that  is  child's  play  compared  * 
the  difficulties  that  will  arise  when  a  f 
station  complains  —  and  this  will  h[ 
pen  —  that  the  applicant  has  sought  f 
evade  the  Commission's  policy  * 
charging  film  rentals  too  high  for  it  !> 
pay.  The  Commission  has  proceeded  J 
happy  ignorance  of  the  cost  of  producj 
the  best  pictures  and  the  methods  u:l 
in  pricing  them,  or  else  it  has  made  ? 
cold-blooded  determination  to  subsici 
TV  at  the  expense  of  the  motion  pict  J 
industry  and  thus  confiscate  the  latt«p 
property  without  just  compensation. 

We  are  forced  to  this  conclusion  I 
cause  we  do  not  believe  it  could  h  e 
been  contemplated  by  the  Commission* 
the  person  or  persons  who  persuadec  t 
to  adopt  this  policy,  that  TV  would  \f 
film  rentals  approximating  those  deri  <1 
from  the  theatres. 

Admission  to  a  first-run  or  key  nei*- 
borhood  theatre  usually  is  50c  or  mij. 
Those  theatres  pay  film  rentals  rang-g 
from  25%  to  407c  of  the  gross  recei 
If  the  film  companies  must  make  tl'r 
best  pictures  available  to  television,  t  y 
will  be  entitled  to  and  should  demand  e 
same  rentals,  based  on  the  same  fact  s, 
that  are  charged  the  theatres.   But  wP 

(Continued  on  Pag  I 


6 


FILM  BULLET* 


eking  the  11  rony  Horse? 


WALL  STREET  JOURNAL  FINDS  TV  IS  'TEETERING' 


This  news  story,  titled  "Teetering 
TV,"  appeared  in  the  Wall  Street 
tournal  of  March  26,  1951.  It  dis- 
cusses the  decline  in  the  sale  of  tcle- 
nsion  receiver  sets. 

I  The  television  industry  is  in  the  kind 
)f  spot  that  gives  nightmares  to  moun- 
tain climbers. 

J  Half-way  up  a  cliff,  the  rock  crumbles 
\xnder  the  climber's  hand.  If  clawing 
fingers  find  a  solid  cranny,  he  can  start 
pp  again.  Otherwise,  he  could  be  in  for 
i  tumble. 

Sales  of  TV  sets  started  crumbling  in 
February  and  since  then  the  entire  mar- 
i  pet  has  been  slow,  notes  John  M.  Craig, 
general  manager  of  Avco  Mfg.  Corp.'s 
llxosley  Division. 

A  big  Philadelphia  dealer  makes  a 
typical  report.  He  has  a  three-month  sup- 
bly  of  sets  on  hand,  "and  I  don't  like  it." 
ie  has  quit  buying  for  the  time  being. 
I  Production  cutbacks  are  cropping  out 
111  over— due  to  lack  of  demand,  rather 
,  lhan  lack  of  metai.  Emerson  Raaio  & 
Phonograph's  president,  Benjamin  Ab- 
Uuns  says  his  company's  output  ii>  tap- 
jring  off.  By  the  end  of  June,  it  will  be 
>rtly  half  what  it  was  at  the  start  of  this 
/ear.  That,  in  turn  was  257c  below  the 
l>eak  of  last  November. 

Layoffs  and  Price  Cuts 

I  "There  will  be  layoffs  of  workers  in  the 
hdustry,  possibly  in  April,  certainly  in 
Way  "  states  William  L.  Dunn,  vice  presi- 

ent  of  Belmont  Radio  Corp.,  subsidiarv 

f  Raytheon  Mfg.  Co. 

(However,  the  Government  is  pro- 
posing a  giant  expansion  for  the 
electronics  industry.  To  encourage 
makers  of  this  equipment,  it  is  ap- 
proving bigger  tax  deductions  on 
new  plants  and  even  buying  machin- 
ery for  some  manufacturers  to  use 
to  turn  out  military-type  items.  Con- 
tracts running  into  billions  of  dol- 
lars will  be  placed  with  big  electrical 
>j  I  and  radio-television  manufacturers. 
>   !  Story  on  Page  3.) 

"'>-  I  Last  week  Admiral  Corp.,  one  of  the 
-   irgest  producers  in   the  business,  an- 

ounced  price  cuts  on  three  of  its  popu- 
3*  ir  models.  A  S40  cut  in  its  lowest-price. 

6-inch  table  model  brought  it  down  to 

199.95,  the  first  time  an  Admiral  of  that 
i-    ize  has  sold  below  S200  since  before 

forea.  The  same  day,  Hallicrafters  Co. 

lso  cut  some  of  its  low  priced  sets. 

Earlier,  Crosley  and  Muntz  TV  had  made 

ome  price  adjustments. 

I  Over  the  weekend  Emerson  announced 
e  *  he  re-issue  of  a  14-inch  table  model  that 
t  discontinued  last  summer  in  favor  of 
•  (igger-screen    sets.    Then    it    sold  for 
':.  •  B19.95.  Now,  it  will  retail  for  S179.95,  in- 
.r  luding  a  one-year  warranty.  The  com- 
',«  kny  frankly  admits  the  deal  is  a  "come- 
P"  to  get  customers  back  into  the  stores. 

^  I  Prediction  Reversed 

Like  the  man  said.  "Wha'  hoppen?" 
TV  was  supposed  to  be  the  boomingest 
ldustry  in  the  land.  No  home  was  said 
3  be  contented  unless  it  had  Faye  Em- 


erson  and  Howdy  Doody  on  tap  in  the 
living  room. 

More,  TV  was  figured  to  be  one  of  the 
first  businesses  that  would  be  socked 
by  war  orders.  The  Radio  Television 
Manufacturers  Association  last  Novem- 
ber predicted  production  would  have  to 
be  slashed  25%-4Q%  this  spring  because 
of  material  shortages,  chiefly  cobalt. 

Instead,  video  output  in  January  was 
639.500  sets,  some  507  better  than  in  the 
like  month  last  year,  and  it  s  been  main- 
taining just  about  the  same  pace  ever 
since. 

According  to  estimates  gott.n  up  by 
Raytheon  Corp..  if  all  manufacturers 
produced  for  the  rest  of  this  month  as 
fast  as  they  could,  there  would  be  on 
hand  by  March  31  a  total  inventory  of 
400.000  sets.  On  March  9.  RTMA  figures, 
there  were  180.615  sets  in  manufacturers' 
inventories. 

Industry  Explains 

For  an  explanation  of  this,  The  Wall 
Street  Journal  quizzed  makers  of  all  the 
big-selling  TV  sets  and  many  of  the 
smaller  ones,  parts  maksrs,  distributoi  s, 
and  dealers. 

One  of  the  top  salesmen  in  the  indus- 
try warns,  "The  markets  for  TV  are 
nearing  the  saturation  point."  Thai's 
William  A.  Blees.  general  sales  manager 
lor  Crosley.  He  looks  for  a  temporary 
pickup  in  sales,  "after  a  few  months' 
breather,"  but  he  maintains  that  the  sell- 
ing job  will  be  tougher  and  tougher.  He 
blames  overproduction  in  the  industry 
and  hesitation  by  the  Communications 
Commission  in  opening  up  new  TV  chan- 
nels. 

But  most  manufacturers  lay  off  the 
saturation  talk.  Typically,  they  blame  the 
slump  on  the  time  of  year.  Says  James 
H.  Carmine,  executive  vice-president  of 
Philco  Corp.,  "any  slackening  is  only  sea- 
sonal, something  that  is  usually  experi- 
enced by  retailers"  in  the  spring. 

Says  a  spokesman  for  Radio  Corp.  of 
America.  "Easter  and  taxes  have  always 
put  a  damper  on  both  television  and 
radio  sales  at  this  time  o£  year."  Robert 
Galvin,  vice  president  of  Motorola,  Inc., 
qualifies  his  comment:  "So  far  the  slump 
in  TV  demand  looks  to  be  little  more 
than  seasonal.  But  we'll  know  two  or 
three  weeks  from  now  whether  it's  going 
to  be  more  serious. 

Proposed  Solutions 

Behind  these  rather  biani  observations, 
however,  is  a  flurry  of  activity  in  the 
industry.  Though  almost  none  now  say 
they  will  follow  Admiral's  lead  in  cutting 
prices,  they  are  going  to  do  everything 
else  but. 

Solution  No.  1:  Bust  out  with  ballyhoo. 
Emerson  last  week  announced  a  record 
advertising  campaign.  The  company,  its 
dealers,  and  its  distributors  will  spend  a 
joint  S7.500.000  this  year  in  46  markets. 
Charles  Robbins.  vice-president  in  charge 
of  sales,  said  this  more  than  doubles 
last  year's  outlay. 

Philco  Corp.  is  readying  an  ad  pro- 
gram concentrating  on  TV  for  the  next 
three  months.  It  will  "involve  the  great- 
est expenditures  for  any  similar  period 


in  the  history  of  the  company,"  said  a 
spokesman.  The  amount  to  be  spent 
"will  exceed  $2,500,000." 

Solution  No.  2:  Cut  out  the  luxuries 
and  produce  less  expensive  sets.  Emer- 
son has  already  done  this  with  one  model. 
Another  big  Midwest  maker,  who  didn't 
want  his  name  used,  thinks  "it's  prob- 
able" that  his  new  models  will  carry 
lower  price  tags  than  had  been  first  plan- 
ned. Smaller  tube  sizes,  and  substitution 
of  table  models  and  consolettes  for  con- 
soles and  TV-radio  combinations  will  be 
his  methods.  This  technique  of  offering 
lower  prices  is  a  subtly  different  thing 
than  Admiral's  outright  slashing  ot  tags 
on  existing  models. 

Screen  Sizes 

An  official  of  Arvin  Industries  says  his 
company  is  emphasizing  models  with 
screens  of  only  8K  and  12  M  inches.  He 
thinks  there  is  a  big  demand  for  such 
sets  to  go  into  small  apartments,  or  to 
be  used  'as  a  second  set  in  the  home." 

David  Krechman,  president  of  Jackson 
Industries,  says  that  company  will  have 
a  new  17-inch  model  to  sell  for  S199.95 
against  its  present  price  for  such  a  set 
of  S269.95,  and  will  bring  out  a  new  con- 
solecte  for  $249.95  against  the  present 
S329.95.  "The  chassis  will  be  the  same 
but  all  frills  will  be  off  the  cabinet,  and 
accessories  such  as  a  pack  for  a  record 
player  will  come  out" 

No  smaller  picture  sizes  for  him, 
though.  He  says,  "I  think  the  manufac- 
turer who  brings  out  a  smaller  set  is 
kidding  himself.  After  all,  the  cost  dif- 
ference between  a  14-inch  and  a  17-inch 
set  is  only  $7  or  $8." 

Production  Cutbacks 

Despite  these  remedies,  most  manu- 
facturers say  production  cutbacks  are 
inevitable  during  the  next  few  months. 
William  J.  Halligan.  president  of  Halli- 
crafters, says,  "Production  will  be  re- 
duced this  month."  He  estimates  an  out- 
put by  his  factory  of  about  $2,500,000 
worth  of  sets  for  March.  That  compares 
with  a  record  of  $4  million  worth  last 
August. 

Mr.  Dunn  of  Belmont  says,  "We  will 
pull  back  about  307c  to  35%  April  1." 
While  many  makers  will  produce  to  the 
limit  in  April,  he  says,  "there  will  be 
violent  slough-offs  in  May  and  June." 

Motorola's  Mr.  Galvin  says,  "Our  pr> 
auction  rate  is  now  about  equal  to  this 
time  last  year,  but  down  about  207  from 
the  peak  reached  before  Christmas.  I 
don't  expect  to  decline  substantially  next 
quarter  unless  this  slump  is  worse  than 
we  now  think  it  is." 

A  return  to  high  demand  and  fast 
sales  is  confidently  expected  by  most 
members  of  the  industry  to  take  place 
toward  the  end  of  the  summer.  A  typical 
comment:  "We  still  look  for  a  shortage 
of  sets  at  the  retail  level  in  the  fourth 
quarter." 

Shortages 

As  for  materials  shortages,  Mr.  Halli- 
gan of  Hallicrafters  bluntly  dismisses 
them.  "There  aren't  any,"  he  says.  "Like 
everybody  else,  we  got  interested  in  sub- 
stitutes but  the  collapse  in  sales  puts  the 

I  Continued  on  Page  8) 


PRI L    9  ,    19  5 


Charges  FCC  'lilut  lijju  eh 9     Teetering  TV 


Continued  from  Page  6 

they  demand  that  the  TV  people  pay 
from  12V2C  to  20c  for  each  claimed  spec- 
tator —  and  we  mean  the  claims  they 
make  in  seeking  sponsors  —  they  will 
run  snivelling  to  the  Commission  and 
claim  that  the  movie  companies  are  flout- 
ing the  Commission's  policy. 

Then  the  Commission  will  either  have 
to  back  down  on  its  policy,  or  start  fixing 
the  price  of  film. 

Would  Destroy 
Government's  Revenue 

The  country  is  engaged  in  a  mightv 
preparedness  campaign,  the  object  of 
which  is  to  insure  peace.  The  Congress 
is  confronted  with  the  task  of  imposing 
additional  taxes  to  sustain  the  effort. 

Although  the  motion  picture  business 
is  currently  in  a  serious  slump,  due  in 
some  measure  to  the  free  entertainment 
afforded  by  television,  the  United  States 
Government  still  collects  a  20%  tax  on 
every  paid  admission  to  a  motion  picture 
theatre. 

These  admission  taxes  collected  from 
movie  patrons  amount  to  about  $300,000,- 
000.00  a  year. 

Yet  the  Federal  Communications  Com- 
mission by  its  declared  policy  of  building 
up  television  at  the  expense  of  the  mov- 
ies would  jeopardize,  certainly  greatly 
reduce  and  possibly  destroy  this  valuable 
source  of  revenue. 

This  grave  consequence,  evidently  not 
realized  or  taken  into  account  by  the 
Commission,  illustrates  the  danger  of 
adopting  policies  affecting  industries 
which  are  not  subject  to  the  Commis- 
sion's jurisdiction  without  a  full,  com- 
plete and  open  investigation  in  the  course 
of  which  information  on  all  angles  of  the 
subject  is  obtained  from  those  most  af- 
fected and  best  equipped  to  furnish  it. 

Unless  the  Commission  recedes  from 
its  position,  this  phase  of  the  matter 
should  receive  the  attention  of  Congress 
while  the  tax  bill  is  under  consideration. 

And  It  May  Still 
Be  All  For  Naught 

The  graiuitious  nature  of  the  Commis- 
sion's dictum,  and  the  fact  that  compli- 
ance therewith  still  will  not  guarantee 
any  film  company  broadcasting  license, 
is  one  of  the  most  serious  aspects  of  its 
action. 

The  greater  part  of  the  deals  with  the 
points  which  were  set  down  for  hearing. 
That  part  of  the  report  was  within  the 
Commission's  authority  and  we  have  no 
special  fault  to  find  with  the  conclusions 
reached.  It  is  true,  as  the  Commission 
says,  that  "the  major  motion  picture 
companies  .  .  .  have  violated  the  anti- 
trust laws  over  a  period  of  years  in  the 
motion  picture  field."  We  think  it  fol- 
lows, as  the  Commission  concludes,  that 
such  violations  are  "a  matter  that  the 
Commission  must  consider  carefully  in 
determining  the  qualifications  of  these 
companies  to  operate  in  the  public  in- 
terest." 

That  is  an  issue  between  the  film  com- 
panies and  the  Commission  in  which  the 
independent  exhibitors  have  no  direct  in- 
terest. It  is  a  question  which  will  have  to 
be  resolved  on  a  case-to-case  basis  when 
and  if  those  companies  apply  for.  lic- 
enses. 


The  only  phase  of  the  report  that  af- 
fects the  theatre  owners — and  it  threat- 
ens their  very  existence — is  the  next  to 
last  paragraph  therein  which  says  that 
the  motion  picture  companies  must  make 
their  best  films,  performers  and  stories 
available  to  television  in  order  to  be  eli- 
gible for  a  license. 

Because  it  is  alien  to  the  questions  set 
down  for  hearing  and  does  not  even  deal 
with  adjudged  violations  of  law,  it  seems 
to  have  been  added  as  an  irrelevant 
afterthought.  The  Commission  is  careful 
to  say,  "We  express  no  opinion  at  this 
time  as  to  whether  such  practices  (not 
supplying  films,  etc.  to  TV)  are  or  are 
not  in  violation  of  the  anti-trust  laws." 
So  far  as  we  are  aware,  no  law  provides 
and  no  court  has  ever  held  that  it  is  a 
violation  of  law  for  a  private  corpora- 
tion, acting  alone  and  not  in  concert  with 
others  to  choose  its  own  customers.  And 
yet  the  whole  purpose  of  the  proceeding 
was  to  determine  the  weight  to  be  given 
law  violations  in  the  granting  of  licenses. 

To  reduce  the  Commission's  position  to 
complete  absurdity,  let  us  suppose  that 
a  motion  picture  company  has  attempted 
in  good  faith  to  comply  with  the  Commis- 
sion's policy;  has  made  its  best  films 
available  to  TV  and  thus  destroyed  their 
value  for  exhibition  in  the  theatres.  It 
has  destroyed  one  vast  market  in  hopes 
of  gaining  another.  And  then  the  Com- 
mission, applying  the  principles  discuss- 
ed in  the  first  six  and  a  half  pages  of  its 
report,  decides  that  it  cannot  grant  a  lic- 
ense to  that  film  company  because  of  its 
antecedent  violations  in  the  motion  pic- 
ture field! 

Mowing  Down  The 
Innocent  Bystanders 

The  report  gives  the  impression  that 
the  Commission  moved  by  some  undis- 
closed impulse  hurled  a  rock  at  the  film 
companies;  but  it  struck  the  exhibitors. 

It  might  at  least  have  given  considera- 
tion to  the  extent  of  the  havoc  which  its 
policies,  if  carried  out,  will  wreak  among 
the  motion  picture  exhibitors. 

When  a  picture  is  shown  on  television 
its  boxoffice  value  in  the  area  in  which 
it  is  shown  is  destroyed.  About  17,000 
theatres  are  dependent  upon  an  adequate 
supply  of  boxoffice  attractions.  Of  the 
$2,700,000,000.00  invested  in  the  entire  in- 
dustry, only  $160,000,000.00  is  invested  in 
production  and  distribution.  All  of  the 
remainder  (94%)  is  invested  in  theatres. 

The  1940  Census  shows  that  177,420 
persons  were  employed  in  the  motion 
picture  industry.  Of  these,  33,687  were 
engaged  in  production;  11,332  in  distribu- 
tion and  132,401  in  exhibition. 

Thus  the  Federal  Communications 
Commission,  of  its  own  motion,  has  laid 
down  a  policy  which,  if  carried  out, 
would  endanger  the  more  than  two  bil- 
lion dollars  invested  in  theatres  and 
threaten  the  livelihood  of  many.  The  rule 
prescribed  by  Congress  for  the  granting 
of  licenses  is  that  "the  public  conveni- 
ence, interest,  or  necessity  will  be  serv- 
ed." Certainly  Congress  never  contem- 
plated that  the  public  interest  could  be 
served  by  tearing  down  an  established 
industry  in  order  to  help  a  rival  indus- 
try, which,  once  the  novelty  has  worn 
off,  may  not  retain  public  favor. 

Despite  all  the  hullabaloo  television's 


(Continued  from  Page  7) 
substitutions  problem  on  the  academicjl 
side  for  the  time  being.  We  can  get  goodil 
deliveries  of  tubes,  speakers,  or  anything  I 

else." 

But  Mr.  Abrams  of  Emerson  claims  I 
steel  shortages  are  especially  acute,  and  I 
will  get  much  worse  when,  on  April  1, 1 
the  Government  steel  conservation  ordeni 
takes  effect.  This  will  allow  TV  makers!  | 
to  use  in  any  month  only  80%  of  thell 
average  monthly  amount  they  consumedll 
in  the  first  half  of  1950.  He  says  alundl 
inum  and  copper  supplies  are  also  bad.  I 

While  critical  cobalt  will  practically  ■ 
disappear  altogether  by  June  or  July,  the  n 
industry  has  developed  a  new  methodiB 
for  focusing  tubes,  where  magnets  using  ■ 
cobalt  were  thought  essential.  The  newB 
system  is  called  electrostatic  focusingBL 
and  does  away  with  cobalt. 

One  of  the  big  parts  makers,  Mid- West  1 1 
Coil  and  Transformer  Co.,  claims  it  E 
hasn't  got  enough  orders  on  hand  to  keep  1 
up  full  employment.  It  expects  secondil 
quarter  production  to  be  not  more  than  I 
75%  of  first  quarter  output.  "Customers  I 
are  still  rescheduling  second  quarter  pro-i 
duction  in  the  light  of  Government  re-IB 
strictions  on  metals  and  today's  market,"  I 
says  John  Mitchell,  production  manager.  A 
But  testimony  is  not  unanimous.  S.  W.B 
Gross,  president  of  Teletone  Radio,  callsH 
the  shortage  of  components  "very  bad."  ■ 

War  Business 

Mr.  Dunn  of  Belmont  expresses  an  un  ■ 
usual  attitude  towards  the  coming  Gov  ■ 
ernment  steel  cutback.  "It's  going  to  be  ■ 
a  godsend  to  the  industry,"  he  declares  j 
in  preventing  a  glut  of  TV  sets.  "TeleB 
vision  has  considerably  more  manufacB 
turing  potential  than  market  potential  ■ 
even  with  restrictions  on  use  of  mafl 
terials." 

If  consumer  demand  continues  softjB 
the  makers  still  have  hoped-for  war  orB 
ders  to  keep  up  their  spirits.  These  hav<'B 
been  slow  in  materializing  so  far.  BuM 
Belmoit  expects  to  have  15%  of  its  facii[B 
ities  in  war  business  by  fall.  Motoroh  B 
thinks  half  its  business  will  be  war  or,  ■ 
ders  by  "the  middle  of  1952."  Hallicraff  ■ 
ers  says,  "We'll  get  a  steady  volume  fronjlj 
war  production  and  communication:  ,■ 
equipment." 

Other  companies  are  not  so  happ:W 
about  war  orders,  with  the  smaller  out™ 
fits  especially  worried.  "The  fellow  wh'JJ 
hands  out  war  contracts  ought  to  shaldB 
hands  with  the  guy  who  curtails  civilia'.B 
production,"  says  one.  "Production  th  j  ■ 
rest  of  this  year  is  going  to  be  cut  abou  I 
25%  faster  than  military  volume  pick  ■ 
up." 


future  is  still  clouded  with  uncertaintyllj 
Its  forward  surge  has  slowed  down  to  m 
walk.  Those  who  glibly  predict  that  tekMJ 
vision  will  supplant  the  movies  shoulBl 
read  the  feature  story  in  THE  WAL.I1J 
STREET  JOURNAL  for  March  26,  195^ 
entitled,  "Teetering  TV."  The  Commun  ■ 
cations  Commission  may  wake  up  soniM 
day  and  find  it  has  backed  the  wronjBJ 
horse.  In  the  meantime,  grave  damag^i 
may  result  from  its  present  policie:M 
They  rail  for  stern  resistance  by  the  ro'ifli 
tion  picture  industry,  the  theatres  as  weBBJ 
as  the  producers. 


a 


FILM   B  U  LL  ETI 


Technicolor  Congratulates 


ACADEMY  AWARD  WINNERS  1950 


For  Supreme  Achievement 


—  23rd  .Annual       \varA J  — 


ft  Cinematography — Color       •  Cartoon 


TUG  SOLOMON'S  MINES" 

METRO-GOLDWYN-MAYER 
ROBERT  SURTEES 
(Color  by  Technicolor) 


ft  Art  Direction — Color 

SAMSON  AND  DELILAH" 

\  CECIL  B.  De  MILLE-PARAMOUNT  PRODUCTION 
HANS  DRE1ER  and  WALTER  TYLER 
Set  Decoration:  Sam  Comer  and  Ray  Moyer 
(Color  by  Technicolor) 


•  Best  Scoring  of  a  Musical 

ANNIE  GET  YOUR  GUN" 

METRO-GOLDWYN-MAYER 
ADOLPH  DEUTSCH  and  ROGER  EDENS 
(Color  by  Technicolor) 


•  Costume  Design — Color 

"SAMSON  AND  DELILAH" 

A  CECIL  B.  De  MILLE-PARAMOUNT  PRODUCTION 
Edith  Head,  Dorothy  Jeakins.  Elois  Jenssen, 
Gile  Steele,  and  Gwen  Wakeling. 

(Color  by  Technicolor) 


"GERALD  McBOING-BOING" 

UNITED  PRODUCTIONS  OF  AMERICA-COLUMBIA 
STEPHEN  BOSUSTOW  -  Executive  Producer 
(Color  by  Technicolor) 


•  Film  Editing 


KING  SOLOMON'S  MINES" 

METRO-GOLDWYN-MAYER 
RALPH  E.  WINTERS  and  CONRAD  A.  NERVTG 

(Color  by  Technicolor) 


m  Special  Effects 


DESTINATION  MOON" 

GEORGE  PAL  PRODUCTIONS-ELC-LEE  ZAV1TZ 
(Color  by  Technicolor) 


•  One-Reel 


GRANDAD  OF  RACES" 

WARNER  BROTHERS 
GORDON  HOLL1NGSHEAD  -  Producer 
(Color  by  Technicolor) 


•  Two-Reel 


IN  BEAVER  VALLEY- 
WALT  DISNEY  PRODUCTIONS-RKO-RADIO 
WALT  DISNEY  -  Producer 
(Color  by  Technicolor) 


TECHNICOLOR 


IS    THE    TRADE    MARK  OF 


ICHNICOLOR  MOTION  PICTURE  CORPORATION 


HERBERT  T.  KALMUS— PRESIDENT  AND  GENERAL  MANAGER 


'GO  FOR  BROKE'  TOPFLIGHT  WAR  FILM  OF  BATTLEGROUND'  TYPE 

Rates  •  9  9  and  better  with  exploitation 


M-G-M 

92  minutes 

Van  Johnson,  Henry  Nakamura,  Warner 
Anderson,  Don  Haggerty,  Gianna  Canale, 
Dan  Riss,  and  the  heroes  of  the  442nd 
Regimental  Combat  Team. 
Directed  by  Robert  Pirosh. 


"Go  For  Broke,"  Dore  Schary's  follow- 
up  to  his  smash  hit,  "Battleground," 
rates  as  an  outstanding  entry  in  the  top- 
flight films  about  World  War  II.  Com- 
parable to  the  earlier  film  insofar  as 
story  and  action  are  concerned,  and  sim- 
ilarly devoid  of  glamor  and  dressy  trim- 
mings, this  M-G-M  testimonial  to  the 
courage  and  heroism  of  the  Nisei  troops 
who  fought  in  Italy  and  France  during 
the  late  war  falls  a  little  short  or  the 
overall  excellence  of  "Battleground." 
However,  the  popuarity  of  the  latter  and 
the  similarity  that  does  exist  should  be 
of  considerable  help  to  exhibitors  who 
find  the  all-male  cast  and  the  war  theme 
a  boxoffice  problem.  Given  exploitation 
and  ballyhoo  campaigns  equal  to  those 
lavished  on  "Battleground,"  this  realisti- 
cally produced  and  expertly  told  drama 
of  the  little  men  of  the  442nd  Regimental 


•  POOR  •  •  FAIR 

•  •  •  GOOD         •  •  •  •  TOPS 


Combat  Team  will  unquestionably  qual- 
ify as  a  high  grosser  in  all  situations. 
Wherever  its  exploitable  virtues  are 
sloughed  off,  however,  receipts  will  dim- 
inish proportionately. 

The  only  big  name  in  the  cast  is  that 
of  Van  Johnson,  who  also  figured  prom- 
inently in  "Battleground."  Van,  as  a 
Texas  lieutenant  whose  initial  resent- 
ment at  his  assignment  with  the  Nisei 
changes  to  respect  and  admiration,  again 
exerts  his  irresistible  charm  over  women 
in  a  brief  interlude  with  an  Italian 
charmer,  but  for  most  of  the  film's  92 
minutes  he  is  in  action  as  a  tough,  able 
infantryman.  Henry  Nakamura,  as  the 
likable  kid  who  becomes  a  soldier  amidst 
the  bursting  shells  and  mud  of  Italy, 
stands  out  in  the  group  of  Japanese 
Americans  who  make  up  Johnson's  out- 
fit. The  pace  is  fast  and  the  battle  scenes 
and  dialogue  vivid  under  the  direction  of 
Robert    Pirosh,    scripter    for  "Battle- 


ground', who  also  wrote  the  screenpla. 
for  this  one.  The  phrase,  "go  for  broke, 
which  was  the  442nd's  battle  cry,  is  Or 
ental  slang  for  a  gambling  term,  mear 
ing  "shoot  the  works." 

STORY:    Van    Johnson,    newly  con 
missioned  second  lieutenant,  Is  assignee  J 
much  to  his  distaste,  to  a  platoon  con 
posed  of  Nisei  (American-born  Japanese 
soldiers.  He  trains  the  group  and  lead, 
them  through  battle  after  battle  in  Ital;  j 
then  is  transferred  to  liaison  duty  b 
tween  the  442nd  and  his  old  division,  ttj 
Texas  36th,  when  both  divisions  are  shij 
ped  to  France.   His  contact   with  th 
"budda-heads,"  as  the  Japanese-America  \ 
soldiers  liked  to  be  called,  results  in 
tremendous  respect  for  them  as  fightei 
and   men,    and    Johnson   finds    himse  r 
fighting  the  prejudice  his  fellow  Texan? 
feel  toward  the  Nisei.  When  Johnson  ar 
the  36th  are  trapped  by  the  Germans,  h 
old  platoon  leads  the  attack  which  breal 
the  enemy  death  grip.  The  men  of  tt 
36th  finally  share  Johnson's  respect  f(| 
the  "budda-heads,"  and  the  film  ends  wil 
the   surviving   heroes   of  the  "Go-Fo; 
Broke"  division  being  decorated  w'th  i ; 
7th  Presidential  Unit  Citation.  JACKSOI 


tour  with  pro  golfers.  From  the  sta 
Hogan  incurs  the  enmity  of  Larry  Ke 
ing,  a  top  golf  scribe,  as  well  as  1 
majority  of  fans  whom  Hogan  ignoi 
while  on  the  greens.  They  dont  real 
the  "Texas  iceberg"  became  that  way 
cause  he  was  scared  to  death  of  the  g 
leries,  and  Hogan  does  nothing  to  char 
the  impression.  After  suffering  the  usi 
difficulties  most  pros  encounter,  Ben 
gins  to  win  regularly  and  is  soon 
knowledged  as  a  champion.  Dem 
O'Keefe,  happy-go-lucky  golf  ace  a 
friend  of  the  Hogans,  marries  Ju 
Havoc  and,  because  he  knows  she  lo\ 
only  a  winner,  hits  the  skids  in  barrooi 
worrying  about  losing  her.  After  E 
beats  O'Keefe  unmercifully  in  an  i 
portant  tourney,  the  loser  leaves  to1 
without  saying  goodbye,  and  the  Hoga 
set  out  for  Fort  Worth  and  their  ni 
home.  Enroute,  in  a  heavy  fog,  a  bus  h 
their  car,  almost  killing  Hogan.  After 
uphill  battle  against  crutches  and  whe 
chairs,  Hogan  comes  back  to  win  the  \\ 
National  Open  and  the  acclaim  of 
fellow  pros,  the  press  and,  finally,  1 
galleries.  JACKSON. 


ghter-in-law,  Meg  Randall,  is  about 
make  them  grandparents,  have  moi 
into  a  modern  city  home.  Meg's  sno> 
mother  from  Boston  arrives  on  the  see 
insisting  her  daughter  raise  the  inf 
according  to  the  latest  methods,  wh* 
upon  dissension  descends  upon  the  hoi 
hold.  Ma  and  Pa  decide  to  leave  tt 
smart  new  residence  to  the  young  cuu, 
and  return  to  the  old  farm.  There, 
digs  a  well  and  finds  some  radioactiv 
which  is  traced  to  an  old  pair  of  overa 
Meanwhile,  Ma  hears  that  Meg's  mot 
is  stirring  up  trouble,  the  couple  chj 
back  to  town  in  a  crazily  bouncing  jal< 
and  help  restore  the  situation  to 
satisfaction  of  everyone.  YORK. 


'FOLLOW  THE  SUN'  COMEBACK  STORY  OF  BEN  HOGAN  ABSORBING  DRAMA 

Rates  •  •  *  —  generally;  more  where 

20th  Century-Fox 
93  minutes 

Glenn  Ford,  Anne  Baxter,  Dennis 
O'Keefe,  June  Havoc,  Larry  Keating,  Ro- 
land Winters,  Nana  Bryant,  Sam  Snead, 
Jim  Demaret,  Dr.  Cary  Middlecoff,  Grant- 
land  Rice,  Harold  Blake,  Ann  Burr. 
Directed  by  Sidney  Lanfield. 


The  stranger-than-fiction  story  of  B^n 
Hogan's  almost  superhuman  return  to 
the  golfing  winner's  circle  after  a  cripp- 
ling auto  accident  is  the  basis  for  this 
poignant  and  highly  entertaining  20th- 
Fox  drama.  "Follow  the  Sun,"  which  is 
exactly  what  professional  golfers  do,  is 
a  special  treat,  not  just  for  participants 
and  fans  of  the  game,  but  for  anyone 
who  enjoys  a  tender  love  story,  sans 
message  or  moral,  that  will  leave  them 
happy  and  smiling  through  their  tears. 
This  Samuel  G.  Engel  version  of  a  Read- 
er's Digest  article  by  Frederick  Hazlett 
Brennan  is  in  many  ways  similar  to  "The 
Stratton  Story,"  the  successful  film  based 
on  another  prominent  sports  figure 
whose  courage  and  great  heart  overcame 
a  disastrous  hunting  mishap.  There  is  no 


exploited 

limit  to  the  admiration  the  public  will 
feel  for  the  great  little  golfer,  to  whom 
Grantland  Rice  paid  tribute  with  these 
words:  "His  legs  weren't  strong  enougn 
to  carry  his  heart  around.-'  The  boxoffice 
receipts  will  be  well  above  average  >n 
every  type  of  theatre,  for  the  Ben  Hogan 
story  is  one  that  people  everywhere 
should,  and  will,  take  to  their  hearts. 

Glenn  Ford  was  an  ideal  choice  for  the 
role  of  Ben  Hogan,  and  he  turns  in  one 
of  his  best  performances  to  date.  As  the 
golf  star's  wife,  Anne  Baxter  also  con- 
tributes an  excellent  characterization, 
and  Dennis  O'Keefe  provides  an  amusing 
portrayal  of  the  clowning,  e  bow-bending 
top-ranking  pro  who  befriends  Hogan. 
June  Havoc  and  Larry  Keating  are  good 
in  important  supporting  assignments. 

Sidney  Lanfield's  fine  direction  insures 
a  maximum  of  interest  in  a  story  which 
is  common  knowledge  to  most  Ameri- 
cans, with  the  tournament  scenes  bsing 
especially  notable. 

STORY:  Ben  Hogan  (Glenn  Ford), 
who  all  his  life  has  wanted  to  play  tour- 
nament golf,  sets  out  from  Fort  Worth, 
Texas,  with  his  bride,  Anne  Baxter,  to 


'MA  &  PA  KETTLE  BACK  ON  THE  FARM'  BEST  OF  SERIES  TO  I 

Rates  *  •  *  for  small  towns  and  rural  a 


Universal-International 
80  minutes 

Marjorie  Main,  Percy  Kilbride,  Richard 
Long,  Barbara  Brown.  Ray  Collins,  Teddy 
Hart,  Olivera  Blake,  Emory  Pamell,  Meg 
Randall. 

Directed  by  Edward  Sedgwick. 

"Ma  &  Pa  Kettle  Back  on  the  Farm", 
perhaps  the  best  of  the  series  to  date, 
should  attract  topflight  business  in  the 
hinterlands,  small  towns  and  rural  areas, 
and  will  serve  ably  as  a  dualler  in  the 
big  city  family  houses.  Packed  tight  with 
wholesome  laughs  and  ridiculous  situa- 
tions, this  Universal-International  release 


reas;  OK  dualler  in  big  cities 

qualifies  as  good,  homespun  comedy  fare. 
Leonard  Goldstein's  production  of  a  story 
Vv'hich  now  brings  in-law  troubles  to  the 
always-beleaguered  Kettles  aims  at  fun 
and  gets  it,  while  director  Edward  Sedg- 
wick, though  never  venturing  into  slap- 
stick, comes  pretty  close  to  it  while  giv- 
ing the  entire  cast  full  scope  for  -  some 
rich  characterizations.  Marjorie  Main  and 
Percy  Kilbride  are  at  their  best  as  the 
rural  couple  who  become  involved  with 
their  son's  in-laws'  over  the  raising  ot 
his  new-born  child  and  Richard  Long, 
Ray  Collins  and  Barbara  Brown  provide 
adequate  support. 

STORY:    Ma  and  Pa  Kettle  (Marjorie 
Main  and  Percy  Kilbride),  whose  dau- 


FILM  BULLETfl 


I  CAN  GET  IT  FOR  YOU  WHOLESALE'  FAST-MOVING  COMEDY-DRAMA 


ites  •  •  •  —  except  in  action  spots 

Oth  Century-Fox 
1  minutes 

usan  Haward,  Dan  Dailey,  George  Sand- 
rs,  Sam  Jaffe,  Kandy  Stuart,  Marvin 
Laplan,  Harry  Von  Zell,  Barbara  Whit- 
ig,  Vicki  Ourmmings,  Boss  Elliott,  Bich- 
rd  Lane,  Mary  Phillips. 
Greeted  by  Michael  Gordon. 

!  Film  adaptation  of  the  Jerome  Weid- 
pan  incisive  best-seller  about  the  gar- 
Hem  industry,  "I  Can  Get  It  For  You 
Wholesale,"  is  a  solid  piece  of  motion 
icture  entertainment  with  good  boxoffice 
'otentialities.  An  engrossing  and  fre- 
uently  amusing  drama,  it  is  markedly 
milar  in  many  respects  to  "All  About 
ve",  and,  while  it  does  not  attain  the 
ass  or  dramatic  impact  of  the  Oscar- 
rinner,  it  totes  plenty  of  merit  on  ;ts 
>vn  hook.  Snappy  dialogue  and  humor- 
us  situations  are  the  forte  of  this  Sol  C. 
iegel  production,  with  the  on-again,  off- 
jain  romance  between  a  conniving  model 
nd  a  fast-talking  dress  salesman  pro- 
ding  a  nice  change  of  pace  for  the 
tughter.  The  nature  of  the  love  story, 
le  viperish  character  of  the  top  role 
id  the  natural  women's  angle  found  in 


and  small  towns 

the  display  of  dress  styles  all  make  this 
movie  a  particularly  good  attraction  for 
the  feminine  trade.  Receipts  should  be 
above-average  in  metropolitan  first-runs, 
with  favorable  word-of-mouth  resulting 
in  gratifying  grosses  in  subsequents.  Re- 
sponse will  be  less  edifying  in  action 
houses  and  small  town  situations. 

Performances  are  excellent  all  the  way 
down  the  line,  with  special  plaudits  go- 
ing to  Susan  Hayward  for  her  portrayal 
of  the  unscrupulous  design3r  model  who 
doesn't  care  who  she  hurts  to  attain  her 
goal;  Dan  Dailey,  whose  stint  as  the 
dress  salesman  is  brilliant;  George  Sand- 
ers, as  the  suave  department  sto-e  own- 
er who  tempts  Susan,  and  Sam  Jaffe,  as 
the  hard-working  shop  manager.  The  fine 
direction  of  Michael  ("Cyrano")  Gordo  1 
maintains  a  crackling  pace,  and  very  ef- 
fectively catches  the  atmosphere  of  New 
York's  bustli  :g  7th  Avenue  garment  dis- 
trict and  the  wide  assortment  of  char- 
acters who  earn  their  livelihood  there. 

STORY:  Scheming,  ambitious  Susan 
Hayward,  a  dress  manufacturer's  model 
with  a  talent  for  designing,  talks  Sam 
Jaffe  and  Dan  Dailey,  top  shop  foreman 
and  salesman  respectively,  into  joining 
her  in  the  establishment  jf  their  own 


business.  She  tricks  her  sister  into  giving 
her  money  for  the  enterprise,  and  after 
the  initial  hardships,  the  partners  become 
successful  in  the  low-priced  dress  fie'd. 
George  Sanders,  owner  of  a  chain  of 
exclusive  department  stores,  sells  Susan 
the  idea  of  leaving  her  partners  and  de- 
signing gowns  for  his  stores.  Knowing 
that  she  cannot  get  a  release  from  her 
contract  with  Jaffe  and  Dailey  by  just 
asking  for  it,  Susan  starts  acting  tem- 
peramental, displaying  a  violent  temper 
and  making  herself  generally  hateful. 
Then,  while  Dailey  is  on  a  selling  trip, 
she  forces  Jaffe  to  change  production 
from  cheap  dresses  to  expensive  gowns 
for  Sanders'  stores.  Dailey  returns  when 
Jaffe  informs  him  he  cannot  fill  orders 
for  the  cheaper  dresses.  The  salesman 
and  designer  quarrel,  with  Dailey  vowing 
bankruptcy  rather  than  make  gowns  for 
Sanders.  Susan  takes  off  for  a  trip  to 
Paris  with  Sanders,  but  before  the  steam- 
er sets  sail,  Sanders  sees  Susan  loves 
Dailey  and  induces  her  to  return  to  him. 
When  she  does,  Jaffe  talks  away  the  last 
vestiges  of  temperament  and  the  firm  is 
once  more  solvent,  with  two  of  the  three 
partners  destined  to  become  partners  in 
marriage.  JACKSON. 


.ULLABY  OF  BROADWAY'  MILDLY  DIVERTING  TECHNICOLOR  MUSICAL 

ates  •  •  4-  where  musicals  click 


''arner  Bros. 
!  minutes 

oris  Day,  Gene  Nelson,  S.  Z.  Sakall 
,illy  De  Wolfe,  Gladys  George,  Florence 
ates,  Anne  Triola,  Hanley  Stafford, 
ige  Cavanaugh  Trio,  the  DeMattlazzis. 
irected  by  David  Butler. 


I A  mildly  diverting  musical,  stronger  in 
je  song-and-dance  department  than 
ost  of  this  type,  but  well  in  the  rut 
sofar  as  story  is  concerned,  "Lullaby  of 
roadway"  can  expect  a  fair-to-middln<* 
ception  at  the  boxoffice.    Biggest  asset 

the  ever-increasing  popularity  of  star 
oris  Day  and  her  treatment  of  a  batch 

some  of  the  top  tunes  of  the  Thirties, 
roduction  numbers  are  limited  to  a  pair 
ell  treated  by  the  Technicolor  photogra- 
!iy.   The  rest  of  the  songs  are  brought 

periodically  through  the  obvious  story 
ie,  and  are  good  enough  to  make  the 


observer  wish  there  wasn't  so  much  plot. 
Gene  Nelson  dances  with  zest  and  skill, 
mouths  songs  creditably,  adding  consid- 
erably to  the  musical  proceedings.  Com- 
edy is  of  the  familiar  type,  handled  as 
you  know  they  would  by  S.  Z.  Sakall 
and  Billy  De  Wolfe,  with  an  assist  from 
a  newcomer,  Anne  Triola.  On  the  basis 
of  the  music  and  Miss  Day's  growing 
marquee  stature,  "Lullaby  of  Broadway'' 
should  register  above  average  in  spots 
where  musicals  aren't  spinach.  Else- 
where, just  fair. 

The  songs  read  like  a  composite  Hit 
Parade  of  the  last  generation:  "Just  One 
of  Those  Things,"  "You're  Getting  To  Be 
a  Habit  With  Me,"  "Somebody  Loves 
Me,"  "Zing  Went  the  Strings  of  My 
Heart,"  "Please  Don't  Talk  About  Me 
When  I'm  Gone,"  "I  Love  the  Way  You 
Say  Goodnight,"  "Shanty  In  Old  Shamy 
Town"  and  the  title  song  are  the  vintage 
tunes,  plus  a  new  one,  "You're  Depend- 


able," given  novelty  treatment  by  De 
Wolfe  and  Miss  Triola. 

STORY:  Doris  Day  returns  to  New 
York  for  a  surprise  visit  to  see  her  mo- 
ther, Gladys  George,  after  a  two-year 
absence  in  England.  She  is  given  a  room 
in  the  servants'  quarters  of  the  home  she 
believes  is  owned  by  her  mother  but  is 
really  owned  by  S.  Z.  Sakall.  Sakall 
tries  to  help  Day  by  giving  her  a  part 
in  the  show  he  is  backing  when  he  learns 
that  her  mother  is  actually  a  frowsy 
alcoholic.  The  show's  star,  Gene  Nel- 
son, takes  an  interest  in  Day  and  they 
fall  in  love.  Sakall's  wife,  Florence 
Bates,  sues  for  divorce,  naming  Day  co- 
respondent. At  the  same  time,  Day 
learns  the  truth  about  George.  Disillu- 
sioned, she  decides  to  go  back  to  Eng- 
land, but  an  affectionate  reunion  with 
her  mother  takes  place  and  Miss  Day 
goes  on  to  open  the  show  with  Nelson. 
GRAN. 


UY  FORBIDDEN  PAST"  STILTED,  OLD-FASHIONED  SEX  DRAMA 

3tes  •  •  -j-  on  name  values  only 


KO  Radio 
minutes 

obert  Mitchum,  Ava  Gardner,  Melvyn 
^ las«  ;!anis  Carter,   Lucille  Watson, 
ardon  Oliver,  Basil  Ruysdael,  Clarence 
use,  Walter  Kingsford. 
irected  by  Robert  Stevenson. 

This  picture  provides  additional  evi- 
'nce  of  the  RKO  studio's  current  pre- 
'cupation  with  sex  and  the  plunging 
™  I1  n«~  AdaPted  from  Polan  Banks' 
>vel,  Carriage  Entrance,"  the  title  was 
ianged  to  "My  Forbidden  Past"  obvious- 
to  endow  the  film  with  a  shady  aura, 
itnough  dealing  with  unsavory  charac- 
ra  and  unwholesome  situations,  the 
ovie  emerges  as  a  dull,  stilted  period 
ece  of  old  New  Orleans.  There  are 
'ggestions  of  infidelity,  seduction,  etc., 


but  nothing  exciting  actually  comes  off 
and  the  sensation-seekers  who  will  be 
attracted  to  this  RKO  offering  will  be 
disappointed.  The  cast  names  should  at- 
tract above  average  receipts  for  open'ng 
engagements,  but  unfavorable  word  of- 
mouth  will  quickly  cut  down  grosses. 
Operators  of  family  houses  would  oo 
well  to  avoid  this  one. 

Ava  Gardner  performs  like  a  low-cut, 
cut-rate  Bette  Davis,  but  she  never  suc- 
ceeds in  breathing  any  life  into  the  sup- 
posedly spirited  Southern  beauty.  Robert 
Mitchum  gives  no  spark  to  the  young 
doctor  for  whom  Ava  pines,  while  the 
usually  capable  Melvyn  Douglas  overacts 
atrociously.  The  supporting  cast  does 
much  better  than  the  principals,  parti- 
cularly Lucille  Watson,  Basil  Ruvsdaei 
and  Janis  Carter.  Robert  Stevenson's  di- 
rection is  generally  below  par. 

STORY:    Ava  Gardner,  member  of  a 


proud  New  Orleans  family  low  in  funds, 
learns  that  the  man  she  loves,  doctor 
Robert  Mitchum,  has  just  married  Janis 
Carter.  Her  disappointment  is  alleviated 
somewhat  when  she  is  told  that  an  in- 
heritance of  almost  a  million  dollars  has 
been  left  to  her  by  the  brother  of  her 
late  grandmother,  a  notorious  woman  in 
her  day.  Ava  resumes  her  pursuit  oi 
Mitchum,  meanwhile  trying  to  get  her 
cousin,  Melvyn  Douglas  to  make  a  play 
for  Janis.  In  this  she  succeeds,  and  ar- 
ranges a  tryst  between  them,  then  noti- 
fies Mitchum.  Douglas  has  a  fuss  with 
Janis  and  she  is  killed  accidentally.  Ava 
enters  the  room  just  as  M'tchum  arrives 
and,  assuming  that  Ava  had  killed  his 
wife,  he  gallantly  takes  the  blame.  At 
his  trial,  Ava  confesses  her  part  in  the 
incident  and  Mitchum  is  fre«d.  At  the 
end,  it  appears  that  Ava  and  her  man 
will  eventually  wed.  BARTON. 


pRlL   9,  1951 


11 


•THE  THING'  BLOODCURDLING  CHILLER  IS  EXPLOITATION  NATURAL 

Rates  •  *  •  or  better  on  exploitation  va 


RKO 

85  minutes 

Kenneth  Tobey,  Margaret  Sheridan, 
James  Young,  Robert  Nichols,  Dewey 
Martin,  David  McMahon,  Douglas  Spen- 
cer, Robert  Cornthwaite,  John  Dierkes, 
Sally  Creighton,  Eduard  Franz,  The 
Thing  created  by  Jim  Arness. 
Directed  by  Christian  Nyby. 

Shades  of  Frankenstein's  monster! 
"The  Thing"  is  a  hairraiser  right  out  of 
the  most  incredible  horror  fiction  maga- 
zine, spun  out  in  a  fashion  that  is  guar- 
anteed to  leave  its  audiences  limp  from 
the  excitement  and  emotional  strain  it 
generates.  Although  a  parallel  may  be 
drawn  between  this  gripping  RKO  re- 
lease and  "Frankenstein,  '  the  newer  film 
has  the  benefit  of  modern  technological 
and  pseudo-scientific  explanations  and  en- 
larged motion  picture  know-how  to  qual- 
ify it  as  one  of  the  most  fascinating  pic- 
tures of  its  type  ever  made.  Properly  ex- 
ploited— and  it  is  certainly  one  of  tne 
most  natural  exploitation  films  in  recent 
years — it  is  entirely  within  the  realm  of 
possibility  that  "The  Thing"  will  match 
the   huge   boxoffice   heights   scaled  by 


iues;  tops  for  action  houses 

"Frankenstein."  The  title,  already  the  talk 
of  the  country  because  of  the  popular 
song,  will  undoubtedly  be  tossed  around 
on  the  air,  in  newspaper  columns  and 
in  general  conversation.  And  it  has  the 
tremendous  exploitation  values  based  on 
the  teaser  theme.  Parent-teachers  groups 
and  women's  organizations  are  unlikely 
to  take  kindly  to  the  movie's  horror  as- 
pects insofar  as  children  are  concerned, 
but  there  can  be  little  doubt  that  chil- 
dren— of  all  ages — if  they  aren't  scared 
out  of  their  pants,  will  be  held  spellbound 
by  the  fantastic  tale  and  we  wouldn't  be 
surprised  if  their  elders  found  them- 
selves in  the  same  boat. 

The  cast,  composed  entirely  of  un- 
knowns, is  devoid  of  marquee  value  but 
loaded  with  fine  performers.  To  mention 
a  few,  Kenneth  Tobey,  a  Broadway  re- 
cruit, is  very  good,  as  the  Army  captain; 
Douglas  Spencer  provides  some  welcome 
comedy  as  the  newspaperman,  and  Mar- 
garet Spencer  is  refreshingly  attractive 
as  the  feminine  interest.  It  is  a  tribute 
to  Christian  Nyby's  expert  direction,  that 
the  far-fetched  theme  of  "The  Thing" 
seems  quite  plausible  while  it  is  being 
viewed. 

STORY:    A  group  of  Air  Force  men, 


led  by  Kenneth  Tobey,  is  dispatched  E 
the  North  Pole  to  investigate  a  mys 
terious  explosion  reported  by  a  scientifi 
expedition  nearby.  The  cause  of  the  e> 
plosion,  a  huge  saucerlike  craft,  is  foun 
buried  under  the  ice.  In  an  effort  to  tha\ 
out  the  strange  object,  thermite  bombl 
are  exploded,  blowing  it  to  bits.  Nearbj ' 
The  Thing  is  spotted  encased  in  ice.  It  i 
chopped  out,  toted  back  to  the  plane  an 
flown  back  to  the  scientists'  camp.  Hej 
scientist  Robert  Cornthwaite  wants  1 1 
thaw  out  The  Thing  immediately  and  fin 
out  what  it  is,  but  Tobey  forbids  sue 
action  until  he  receives  orders  from  hi; 
Army  superior.  While  awaiting  won 
the  ice  is  accidentally  melted  and  Th' 
Thing,  alive,  escapes  when  bullets  fa ! 
to  stop  it.  Cornthwaite  and  the  othei 
scientists  plead  with  Tobey  to  spare  Th  f 
Thing  so  that  they  can  study  it,  bit 
when  it  proves  a  killer  that  thrives  n 
blood  and  reproduces  with  astonishin 
speed,  Tobey  refuses.  After  several  3! 
tempts  to  destroy  the  monster,  they  set  | 
powerful  electrical  trap,  lure  it  in  ai;j 
throw  the  switch.  The  electricity  destroy 
The  Thing  and  newspaperman  Dough1 
Spencer  radios  the  story  back  to  a  wai 
ing  world.  JACKSON. 


'RATON  PASS'  ANOTHER  DISAPPOINTING  WARNER  WESTERN 

Ratos  •  •  generally;  more  in  action  spots 


Warner  Bros. 
84  minutes 

Dennis    Morgan,    Patricia    Neal,  Steve 
Cochran,    Scott   Forbes,   Dorothy  Hart, 
Basil  Ruysdael,  Louis  J.  Heydt,  Roland 
Winters,  James  Burke. 
Directed  by  Edwin  L.  Marin. 

"Raton  Pass"  is  another  disappointing 
western  from  Warners.  Coming  on  the 
heels  of  the  same  company's  preposter- 
ous "Sugarfoot,"  it  causes  one  to  wonder 
what  has  gone  amiss  at  the  studio  that 
once  turned  out  the  best  action  films. 
"Raton  Pass"  undertakes  a  rather  weigh- 
ty plot  for  a  western,  but  it  evolves  on 
the  screen  in  such  incredulous  fashion 
as  to  provoke  laughter  when  least  in- 
tended, at  least  from  discriminating  view- 
ers. While  producer  Saul  Elkins  has 
furnished  a  good  enough  production, 
neither  the  scripters,  Tom  W.  Blackburn 
and  James  R.  Webb,  nor  director  Edwin 


L.  Marin  have  given  more  than  a  pass- 
ing thought  to  credibility.  As  a  result, 
one  feels  a  pang  of  pain  for  the  un- 
fortunate principals  in  the  cast,  Dennis 
Morgan,  Patricia  Neal  and  Steve  Coch- 
ran, who  are  obliged  to  engage  in  some 
unbelievably  far-fetched  situations.  If 
this  criticism  seems  harsh,  consider  an 
incident  like  this:  Morgan,  almost  mor- 
tally wounded  by  a  shot  in  the  back,  is 
snatched  from  death's  door  when  the  lit- 
tle Spanish  girl  who  adores  him  extracts 
the  bullet.  Whereupon,  our  hero  im- 
mediately rises  from  his  death  bed  and 
goes  forth  to  fight  the  villains  again! 

This  does  not  merit  A  playing  time, 
except  as  a  supporting  dualler.  How- 
ever, action  houses  should  find  it  a  fair- 
to-middling  top  feature. 

Morgan  is  badly  cast  in  a  role  that 
calls  for  a  much  stronger  personality. 
Patricia  Neal  and  Steve  Cochran  strut, 
sneer  and  snarl  all  over  the  screen  in 
two  of  the  "hammiest"  performances  of 
the  season.    Basil  Ruysdael,  as  the  cat- 


'KON-TIKI'  ADVENTURE  DOCUMENTARY  FOR  ART  SPOTS 

Rates  •  •  —  as  dualler  generally;  better  for  art  Houses 


RKO  Radio  (Sol  Lesser) 
76  minutes 

Thor   Heyerdahl,   Knut   Haugland,  Erik 
HesSelberg,    Torstein    Raaby,  Herman 
Walzinger,  Bengf  Daniclsson. 
Produced  by  Olle  Nordemar. 

An  engrossing  documentary  film,  re- 
cording a  perilous  crossing  of  the  Pacific 
Ocean  by  six  men  on  a  raft,  "Kon-Tiki" 
will  satisfy  on  the  lower  half  of  a  dual 
bill  in  the  general  run  of  houses.  With 
a  strong  exploitation  campaign  for  spe- 
cial engagements  in  art  spots,  it  figures 
to  reach  better  returns.  Its  value  in 
those  situations  will  be  enhanced  by  the 
popularity  of  the  book,  which  was  a 
recent  non-fiction  best-seller.    The  entire 


cast  consists  of  the  actual  members  of 
the  expedition,  five  Norwegians  and  a 
Swede,  none  professional  actors.  Filmed 
by  the  adventurers  themselves,  of  course, 
the  photography  is  below  professional 
standards,  but  its  very  amateurishness 
lends  a  tone  of  credibility  and  a  sense  of 
excitement  in  the  knowledge  that  the 
craft  is  actually  alone  in  the  vast  Pacific. 
Music  by  Sune  Waldimir  and  a  spoken 
commentary  by  Thor  Heyerdahl,  leader 
of  the  expedition,  have  been  dubbed  in. 

STORY:  Thor  Heyerdahl,  a  Norwe- 
gian scientist,  believes  that  the  Polyne- 
sian Islands  were  populated  centuries 
ago  by  people  from  South  America,  4,300 
miles  away.  Other  ethnologists  dispute 
his  theory,  arguing  that  the  natives 
could  never  have  braved  the  Pacific  on 


tie  baron,  turns  in  the  best  support.  Dr 
othy  Hart  is  appealing  as  a  fiery  Spani: 
gal. 

STORY:  When  Patricia  Neal  marri* 
Dennis  Morgan,  a  wealthy  land  ownt. 
his  father,  Basil  Buysdael,  gives  them  tl 
ranch  as  a  wedding  gift.  Dissatisfii 
with  the  minor  role  she  is  given  in  tl' 
operation  of  the  ranch,  Miss  Neal  charr 
Scott  Forbes,  a  wealthy  visitor,  to  fijj 
in  love  with  her  and  he  promises  to  bi 
Morgan's  half  of  the  ranch.  Morg; 
sells  with  intentions  to  humiliate  U 
wife  by  ruining  the  ranch  and  buying 
back.  He  joins  forces  with  the  hon 
steaders,  who  have  long  feuded  with  ■ 
father,  while  Miss  Neal  takes  on  rui 
less  Steve  Cochran  as  her  henchman, 
trying  to  regain  the  ranch,  Morgan's 
ther  is  killed,  while  Miss  Neal  is  kill  j 
accidentally  by  a  shot  from  Cochran 
gun,  who  is  also  mortally  wound<; 
Morgan  is  finally  united  with  Dorot 
Hart,  a  Spanish  village  girl  who  M 
loved  him  all  the  while.    BARTON.  | 


the  primitive  craft  available  in  th< 
days.  To  prove  his  point,  Heyerdahl  a 
his  five  companions  go  to  Peru  and  bu 
a  40  foot  log  raft  held  together  by  rop 
steered  by  oar,  and  dependent  on  wi 
and  current,  to  the  exact  pattern  u; 
by  the  bold  Peruvians  two  thous? 
years  earlier. 

On  the  "Kon-Tiki"  they  set  out  for  ! 
South  Seas  on  April  28,  1947  and  hi 
west.  Exactly  101  days  later  they  k 
inside  the  coral  reef  of  Polynesia  onl 
uninhabited,  palm-fringed  island,  hav 
covered  4,300  miles  and  survived  ga 
calms,  combats  with  giant  fish  and 
series  of  minor  mishaps,  some  of  whj 
could  not  be  photographed  because  I 
weather  conditions  and  other  hazaiii 
LEON. 


FILM  BULLET 


I 


'QUEEN  FOR  A  DAY'  NOVEL 

Rates  •  •  •  —  generally  where  exploit* 


United  Artists  release 
107  minutes 

IMiylis  Avery,  Darren  McGavin,  Rudy 
Lee,  Frances  E.  Williams,  Joan  Winfield, 
Lonny  Burr,  Tristram  Coffin,  Jiggs 
Wood,  Casey  Folks,  George  Sherwood, 
Aram  Williams,  Kasia  Orzazewski,  Albert 
Ut  ii  Astar,  Tracey  Roberts,  Larry  Johns, 
Bernard  Szold,  Joan  Sudlow,  Grace 
Lenard,  Leonard  Nemoy,  Danny  Daven- 
port, Madge  Blake,  Edish  Meiser,  Dan 
Tobin,  Jessie  Cavitt,  Douglas  Eeans,  Don 
Sbelton,  Louise  Curry,  Sheila  Watson, 
Minna  Philips,  Byron  Keith. 
Directed  by  Arthur  Lubin 


Adopting  the  format  of  such  recent 
filmi  imports  as  "Quartet,"  "Trio"  and 

I  "Ways  of  Love,"  producer  Robert  Still- 

1  man  has  turned  out  a  novel  and  exploit- 
able feature  comprised  of  three  short 
stories.  The  thread  which  ties  these  three 

1  stories  together  is  the  "Queen  for  a  Day" 
radio  and  TV  show.  The  popularity  -  of 
this  program  with  women  guarantees  the 

i  film  a  large  ready-made  audience  that 


VND  EXPLOITABLE 

I;  less  for  act 

should  carry  it  to  above  average  grosses 
in  most  situations.  The  absence  of  any 
known  marquee  names  will  be  overcome 
to  a  large  extent  by  the  exploitation  ef 
fort  being  put  behind  it  by  the  new 
United  Artists  regime. 

The  three  tales  in  this  American-madi; 
film  differ  from  the  imports  in  that  they 
do  not  rely  so  much  on  sophisticated 
wit,  but  deal,  rather,  with  simpler,  every- 
day situations  and  people.  The  appeal  of 
"Queen  for  a  Day"  should  be  broad,  al- 
though it  will  be  strongest  for  family 
audiences.  There  is  nice  variety  in  the 
three  stories.  The  first  is  a  tear-jerker; 
the  second,  something  of  a  thriller;  the 
third,  a  sentimental  comedy  with  a  moral. 
Each  of  them  is  linked  together  by  the 
appearance  of  one  of  the  characters  on 
the  "Queen  for  a  Day"  show,  asking  for 
something  they  most  desire. 

Faith  Baldwin's  "Gossamer  World" 
finds  the  mother  of  a  six-year-old  boy- 
asking  for  an  electric  train.  This  lad 
lives  in  a  world  of  imaginary  things,  de- 
spite the  efforts  of  his  parents  to  bring 
him  to  reality.  He  is  striken  with  polio, 
and  his  mother  brings  him  the  electric 
train,  a  real  toy. 


John  Ashworth's  contribution,  "High 
Diver"  tells  of  a  young  man,  son  of  a 
poor  immigrant,  who  joins  a  carnival  as 
a  high  diver  to  earn  money  for  a  col- 
lege education.  His  mother  wins  a 
scholarship  for  her  son  on  the  "Queen 
for  a  Day"  show,  and  returns  horn,?  lo 
learn  that  he  is  due  to  make  the  110- 
loot  dive  into  a  tiny  tank.  .  .  . 

The  child  story,  by  Dorothy  Parki T,  ifl 
titled  "Horsie."  This  is  a  touching  little 
comedy  about  a  homely  and  lonely 
woman,  who  finds  brief  happiness  tend- 
ing the  infant  of  a  young  couple.  The  man 
of  the  house  dubs  her  "Horsie"  because 
of  her  equine-like  features,  and  he  pokes 
fun  behind  her  back.  When  "Horsie"  bids 
them  goodbye,  her  employer  gives  her 
a  bouquet  of  flowers  his  wife  had  dis- 
carded. That  evening,  the  couple  feel 
ashamed  as  they  see  "Horsie"  appearing 
on  the  "Queen  for  a  Day"  TV  program, 
and  hear  her  ask  for  an  electric  razor 
for  her  last  employer,  "the  nicest  man" 
for  whom  she  had  ever  worked. 

The  screenplay  was  written  by  Seton 
I.  Milleir.  Arthur  Lubin's  direction  is 
good,  especially  in  the  handling  of  the 
players.  LEON. 


INSURANCE  INVESTIGATOR'  FAIR  PROGRAM  MELODRAMA 

Rates  •  •  as  supporting  dualler 


Republic 
GO  minutes 

Richard  Denning,  Audrey  Long,  John 
Eldridge,  Hillary  Brooke,  Reed  Hadley, 
Jonathan  Hale,  Roy  Barcroft,  Wilson 
Wood. 

Directed  by  George  Blair 

"Insurance  Investigator"  is  a  fairly  in- 
teresting melodrama  of  program  calibre. 
Absence  of  any  important  names  in  the 
cast  will  relegate  it  to  the  secondary 
spot  on  dual  bills  in  the  average  situa- 
tion, but  it  has  enough  of  the  action  and 
suspense  elements  to  qualify  it  as  a  fair 
boxoffice  asset  generally.  There  is  noth- 


ing particularly  novel  about  the  story 
of  an  insurance  investigator  who  takes 
on  a  case  involving  an  obvious  murder 
to  collect  on  a  policy.  Director  George 
Blair  manages  to  extract  a  reasonable 
amount  of  tension  while  the  sometimes 
heavyhanded  plot  unfolds. 

Richard  Denning  makes  the  role  of  the 
insurance  "dick"  convincing  enough,  and 
Hillary  Brooke  is  good  as  the  gal  in- 
volved in  the  swindle.  The  low-budget 
production  by  William  Lackey  is  based 
on  a  run-of-the-mill  screenplay  by  Ger- 
trude Walker. 

STORY:  Audrey  Long's  father  is  found 
dead  shortly  after  his  partner,  John 
Eldridge,   has   taken   out  an  insurance 


FOOTLIGHT  VARIETIES'  WEAK  VAUDEVILLE  OFFERING 

Rates  •  as  secondary  dualler 


RKO 

61  minutes 

'Leon  Errol,  Jack  Paar,  The  Sportsmen, 
Liberace,  Jerry  Murad's  Harmonicats, 
Frankie  Carle,  Red  Buttons,  Inesita, 
Buster  West,  Melissa  Mason,  Dorothy 
Granger,  Patti  Brill,  Emory  Pamell, 
Elaine  Riley,  Byron  Foulger,  Harry 
Harvey 

Directed  by  Hal  Yates 

"Footlight  Varieties"  is  definitely  not 


the  type  of  picture  that  will  bring  tele- 
vision fans  out  to  the  movies.  RKO  has 
brought  to  the  screen  a  collection  of 
skits  that  can  probably  best  be  described 
as  the  sort  of  thing  that  even  inveterate 
TV  viewers  are  getting  tired  of  seeing 
in  their  own  living  rooms.  The  produc- 
tion, loosely  tied  together  under  the  di- 
rection of  Hal  Yates,  consists  of  a  string 
of  vaudeville  acts  emceed  by  Jack  Paar, 
whose  line  of  patter  features  what  must 
surely  be  some  of  the  least  humorous 
gags  ever  uttered.  Featured  in  the  film 


poiicy  on  his  life.  Richard  Denning,  in- 
surance company  investigator,  persuades 
Audrey  to  get  him  a  job  with  Eldridge's 
firm  the  latter  having  taken  over  the 
business.  Denning  discovers  Eldridge  is 
heavily  in  debt  to  a  gambler.  Hillary 
Brooke,  the  firm's  accountant  who  is  in 
on  the  swindle,  is  accidentally  killed  by 
Eldridge  when  his  death-trap  for  Denning 
goes  astray.  The  gambler  has  Eldridge 
killed,  leaving  him  to  be  listed  as  a 
suicide,  but  Denning  doesn't  accept  this 
obvious  theory.  Just  as  he  is  about  to 
unmask  the  killers,  he  is  kidnapped  in 
a  laundry  van,  with  the  police  in  hot 
pursuit.  Denning  escapes  unscathed  and 
heads  for  the  altar  with  Audrey.  YORK. 


are  funnymen  Leon  Errol  and  Red  But- 
tons with  their  own  peculiar  type  of 
comedy,  with  music  provided  by  The 
Sportsmen,  Frankie  Carle  and  Jerry 
Murad's  Harmonicats. 

Presumably  the  basic  idea  behind  this 
exhumation  of  the  old  vaudeville  rou- 
tines is  that  it  offers  the  kind  of  fare 
now  being  thrown  at  the  unfortunate 
owners  of  television  sets.  But  why 
should  moviegoers  have  to  suffer,  too? 
YORK. 


'NIGHT  RIDERS  OF  MONTANA'  GOOD  ROCKY  LANE  WESTERN 

Rates  •  •  -f-  for  western  houses 


Republic 
60  minutes 

Allan  "Rocky"   Lane  and  Black  Jack, 
Chubby  Johnson,  Roy  Barcroft,  Claudia 
Barrett,  Arthur   Space,   Myron  Healey, 
Mort  Thompson 
Directed  by  Fred  C.  Brannon. 

This  two-fisted  western  without  songs 
will   prove   entirely   satisfactory  to 
Rocky"  Lane  fans.  The  mounting  by- 


Gordon  Kay  is  adequate  to  the  story, 
which  follows  the  usual  pattern,  and 
Fred  Brannon's  direction  keeps  the  pace 
rolling  fast  enough  to  keep  western  ad- 
dicts interested.  Lane,  who  is  a  cut  above 
average  in  this  type  of  production,  has 
an  interesting  new  romantic  partner  in 
Claudia  Earrett.  Competent  support  is 
afforded  by  Myron  Healey  as  the  young 
rancher,  and  Arthur  Space  as  leader  ol 
a  gang  of  rustlers. 
STORY:   "Rocky"  Lane  is  chosen  to 


unmask  the  cattle  thieves  who  have  been 
rustling  from  the  ranchers  of  Wesiline. 
One  of  the  ranchers,  Myron  Healey,  re- 
fuses to  go  along  with  the  others  in 
helping  Lane,  and  is  accused  of  being  in 
with  the  rustlers  when  a  rancher  is  killed. 
Healey  is  forced  to  leave  town.  During 
a  stampede,  with  the  outlaws  trying  to 
make  a  last  gigantic  sweep  of  the  ter- 
ritory, Lane  puts  his  plan  into  opera- 
tion, emerging  victorious  after  a  series 
of  gunfights,  fistfights  and  chases.  LEON 


APRIL   9,  1951 


Short  Subjects 


By  BARK 


£ORNERSTONE  OF  United  Artists'  re- 
construction of  its  field  exploitation 
department  was  laid  last  week  when  vice- 
president  Max  E.  Youngstein  made  the 
first  appointment  to  the  permanent  field 
exploitation  force,  expected  to  reach  a 
minimum  of  12  men  within  90  days,  and 
eventually,  one  man  for  each  exchange 
area.  Exploitation  expert  Max  Miller 
was  the  initial  appointee.  He  will  work 
out  of  UA's  Philadelphia  exchange. 

The  vital  Youngstein  touch  that  has 
sparked  his  previous  efforts  was  evident 
in  the  announcement.  Spotlighting  the 
key  role  of  field  exploitation  in  showman- 
ship, Youngstein  said  the  force  will  be 
used  as  a  "complete  service  organization 
—  alert,  hard-hitting  and  available  to 
every  type  of  theatre,  large  and  small, 
within  the  area  covered  by  our  men." 
Field  of  operations  will  extend  beyond 
co-op  advertising  to  "any  theatre  which 
needs  help  or  direct  assistance  in  the 
development  of  publicity,  advertising  and 
exploitation  campaigns, '  he  adds.  "We 
at  UA  consider  that  service  to  the  exhi- 
bitor is  our  foremost  function  and  witn 
our  field  activity,  we  firmly  believe  dras- 
tic departures  from  old  forms  and  old 
ideas  of  field  exploitation  can  be  suc- 
cessfully accomplished." 


\/lETRO'S  ADVANCE  campaign  on 
"Quo  Vadis"  is  grinding  into  high 
gear,  despite  the  fact  that  the  film  is 
not  to  be  released  until  late  in  the  year. 
The  preliminary  ad  campaign  is  break- 
ing this  month  in  Life,  Collier's,  Look, 
Time,  Newsweek  and  Saturday  Evening 
Post  among  the  national  mags,  with 
newspaper  supplements  American  Week- 
ly, Parade  and  This  Week  carrying  copy 
which  will  reach  an  approximate  25,000.- 
O00  circulation.  Metro  estimates  the 
combined  total  of  paid  readership  of 
magazine  and  newspapers  on  the  three- 
time  arrangement  at  better  than  128,000,- 
€00.  And  this  is  just  the  beginning. 

Publicity-wise,  Morgan  Hudgins,  pro- 
duction aide  who  was  with  the  film  from 
start  to  finish,  has  embarked  on  a  tour 
of  the  key  cities  with  a  fascinating  ex- 
position of  the  tremendous  production 
problems  and  accomplishments.  Illustrat- 
ing his  talks,  to  which  radio,  TV  and 
press  are  invited,  with  color  slides  from 
the  film,  Hudgins  accounting  of  the  pro- 
duction details  and  his  personable  de- 
livery makes  a  lasting  impression  on  the 
.select  audience.  It  is  reminiscent  of  the 
highly  effective  leg-work  done  by  Henry 
Wilcoxon  on  behalf  of  "Samson  and 
Delilah,"  an  important  factor  in  that 
film's  boxoffice  success. 


CIGNS  OF  THE  TIMES:  A  United 
Artists  release  which  crossed  our  desk 
made  us  stop  and  give  a  little  prayer 
of  thanks  that  we're  living  in  the  U.S.A., 
and  not  in  the  U.S.S.R.  The  notice  be- 
gins: "William  J.  Heineman,  vice-presi- 
dent of  United  Artists,  announces  the 
appointment  of  'Rube'  Perlman  as  spe 
cial  home  office  representative  in  charge 
of  liquidation  .  .  ." 


COUTH  AMERICA  will  get  the  show- 
manship  hypo  so  ably  administered 
here  and  in  Europe  by  the  industry's 


20TH'S  EINFELD 

South  American  Hypo 


filmedico  emeritus,  Charles  Einfeld.  The 
20th-Fox  vice-president  left  for  the  south- 
ern hemisphere  last  Thursday  (5)  to 
carry  the  "Movies  Are  Better  Than  Ever" 
gospel  to  our  good  neighbors,  and  to  out- 
line plans  for  revitalizing  film  merchan- 
dising and  new  showmanship  techniques. 
The  S.  A.  tour  is  being  made,,  20th-Fox 
informs,  at  the  behest  of  exhibitor  or- 
ganizations and  governmental  agencies 
down  be-low,  who  have  asked  Fox  Inter- 
national head  Murray  Silverstone  for 
first-hand  information  on  our  showman- 
ship methods. 


^FTER  THE  TERRIFIC  teaser  build- 
up RKO  has  been  according  "The 
Thing,"  Howard  Hawks'  thriller  about  a 
creature  from  another  planet  that  ter- 
rorizes the  Earth,  it  looks  like  United 
Artists  is  going  to  score  a  beat  on  the 
theme.  UA  distribution  chief  William  J. 
Heineman  has  set  "The  Man  From 
Planet  X"  for  a  New  York  debut  at  the 
Mayfair  this  month,  following  the  film's 
pre-release  engagement  on  the  West 
Coast.  The  Sherrill  Corwin  production 
tells  about  an  Earth  invasion  by  weird 
inhabitants  of  other  planets  —  in  other 
words,  many  "things."  National  release 
date  for  "Planet  X"  is  May  11. 


WfARNERS'  RECEIVED  an  editorial 
^  pat  on  the  back  from  the  Hollywood 
Citizen-News  for  its  two-reeler,  "My 
Country  'tis  of  Thee,"  which  traces  Amer- 
ica's 300-year  history  since  the  Pilgrims' 
landing  on  Plymouth  rock.  Noting  that 
the  film  reminds  that  "we  have  always 
been  the  bane  of  dictators,"  the  daily 
adds,  "Joseph  Stalin,  unfortunately,  will 
not  see  the  picture,  so  may  not  be  de- 
terred from  following  in  the  footsteps 
of  other  would-be  conquerors  who  met 
their  final  downfall  when  they  clashed 
with  Uncle  Sam.  But  Americans  who 
see  it  will  feel  pride  and  confidence  in 
our  ability  to  cope  with  the  latest  menace 
to  civilization." 


"yOLUME  OF  releases  from  20th-Fo 
has  hit  a  new  high  this  month.  S 
major  releases,  largest  number  ever  to 
be  released  during  a  single  month  by 
the  company,  have  been  made  availabl- 
in  a  revision  of  the  schedule  by  sal' 
vice-president  Andy  W.  Smith,  Jr. 
sextet  includes:  "I  Can  Get  It  For  Yo" 
Wbolesale,"  "Half  Angel,"  "You're  in  t" 
Navy    Now,"    "Of    Men    and  Music,' 
"Fourteen  Hours"  (moved  up  from  May), 
and  the  special  full-length  news  feature 
of  the  Kefauver  Crime  Investigation, 
latter,  one  of  the  "hottest"  films  ev 
distributed,  was  rushed  into  release  with 
500   prints   circulating   throughout  tlr 
country.  It  represents  most  effective 
the  wide-awake  opportunism   that  h 
made  this  outfit  one  of  the  most  con 
sistent  industry  leaders. 


AS    UNIVERSALE    current  17-we 

Charles  J.  Feldman  Sales  Drive  wen 
into  the  four-week  home  stretch  las 
week,  Arthur  Greenfield's  New  Hav 
branch  headed  the  running  to  cop 
lion's  share  of  the  $35,000  stake.  CI' 
behind  are  Bob  Willkinson's  Dal 
branch  and  Mayer  Monsky's  Denver  ter 
ritory.  Division-wise,  F.  J.  A.  McCarthy' 
Southern  area  held  the  top  spot. 


AN  UNPRECEDENTED  tieup  with 
/*  U.  S.  Post  Office  Department  to  p 
mote  the  forth-coming  Alan  Ladd  fiT 
"Appointment  With  Danger"  has  be 
set  up  by  Paramount's  Jerry  Pickm 
Some  21,000  post  offices  throughout 
country  will  serve  as  focal  points.  I 
poster  plugging  the  picture  will  be  di 
played  on  bulletin  boards,  along  with 
letter  from  Postmoster  General  Don-" 
son  praising  the  film,  both  for  its  ent~ 
tainment  and  for  its  authentic  portray 
of  the  Postal  Inspectors  in  the  film.  T 
real-life  Inspectors  in  charge  of  the  va~ 
ous  divisions  have  also  been  urged  b1 
Chief  Inspector  Garner  to  lend  whol 
hearted   cooperation  to   the  promotio 
caiflpiign. 


fYF  MEN  AND  THINGS:  Fred  Mey" 
^  has  moved  over  to  United  Art' 
from  Universal  to  head  UA's  New  Yo 
Metropolitan  District  and  circuit  sal 
A  20-year  film  sales  executive  vetera 
Meyers  was  with  the  RKO  Theatre 
cuit  until  1941,  whence  he  took  over 
U-I's  Eastern  Sales  head.  .  .  .  Cliffo 
Gill  becomes  assistant  to  Sanford  At 
hams,  Monogram-Allied  Artists  advei 
ing  manager.  .  .  .  Moving  up  to  h" 
Eagle  Lion  Classics  contract  departm 
is  Murray  Kaplan,  who  steps  into 
spot  vacated  when  Joseph  Sugar  was 
cently  named  assistant  to  B.  G.  Kra~ 
distribution  vice-president.  .  .  .  Jack 
coate,  publisher  of  the  Film  Daily, 
been   elected   COMPO   executive  bo- 
trade  press  representative.  He  succ 
Abel  Green  of  Variety,  whose  one-y 
term  as  trade  press  rep  had  expi 
.  .  .  S.  L.  Seidelman,  head  of  ELC  forei 
operations,  has  promoted  Andy  Alt 
to  assistant  foreign  sales  manager. 
Cy   Seymour,    formerly   with  Natic 
Screen  in  New  York,  has  tied  up  wi 
Harry  and  Sam  Goldstone's  Famous 
tures  exchange. 


14 


FILM  BULLETI 


NDUSTRY  UP  IN  ARMS  AT 
CCS  'SUICIDE'  DEMANDS 

,  The  Federal  Communications  Commis- 
sion walked  out  of  bounds  and  into  a 
uzz-saw  when  it  issued  a  dictum  to  the 
novie  industry  to  make  its  top  films  and 
"iading  players  available  to  television. 
;tartled  film  people,  viewing  the  FCC 
tatement  as  an  invitation  to  the  indus- 
try to  commit  suicide,  lost  no  time  in 
'nleashing  a  biting  condemnation  of  the 
Commission  stand  and  vowing  resistance 
p  any  such  demand. 

I  In  what  was  termed  "a  new  record  for 
surpation  of  authority"  by  Abram  F. 
flyers  (complete  text  of  Mr.  Myers'  an- 
[lysis  appears  elsewhere  in  this  issue), 
he  FCC  warned  the  firm  compan.cs 
hat  it  would  regard  denial  of  films  anil 
[layers  to  TV  as  "relevant"  in  determin- 
pg  their  qualifications  as  applicants  for 
ideo  stations. 

Scoring  of  the  FCC  report  was  net 
}mited  to  the  film  industry.  Senator 
Viley  (R.,  Wis.)  who  was  chairman  of 
pe  Senate  Judiciary  Committee  when 
pe  act  detailing  Federal  agencies'  ad- 
jiinistrative  procedure  was  passed,  cen- 
tred the  Commission  for  its  "gratuitous 
ttack  against  the  motion  picture  indus- 
ry."  He  pointed  out  to  FCC  chairman 
l^ayne  Coy  that  the  Commission  "sten- 
,ed  out  of  bounds  when  it  in  effect  in- 
licted  the  motion  picture  industry  for 
'ithholding  the  use  of  its  stars  and  films 
rom  TV,  without  giving  that  industry 
by  opportunity  to  participate  in  public 
learings  on  this  question." 

While  the  Commission's  policy  might 
'iter  be  shown  to  have  merit,  he  added, 
T  do  not  feel  the  FCC  should  intimidate 
t  coerce  the  motion  picture  industry 
r  any  other  industry.  An  indictment 
-ithout  hearings  amounts  to  such  in- 
midation." 

The  Commission's  statement  was  part 
I  a  report  on  its  establishment  of  a  urn- 
brm  policy  for  licensing  of  broadcast 
Ration  cases  in  connection  with  law  vio- 
jitions  by  an  applicant.  Although  the 
|CC  expressed  no  opinion  on  the  anti- 
rust  violation  possibility  in  film  com- 
anies'  restrictions  on  movies  and  star 
ippearances  on  TV,  it  pointed  out  that 
vvhether  or  not  these  practices  are  a 
iolation  of  any  law,  they  are  considered 
y  the  Commission  to  be  relevant  in  de- 
»rmining  the  qualifications  of  applicants 
tilizing  such  practices." 

By  licensing  a  TV  station  to  a  movie 
iterest  or  any  other  person  "with  an  ob- 
ious  conflict  of  interest  which  can  pre- 
ent  him  from  utilizing  television  to  its 
tmost,"  the  FCC  questioned  whether  it 

ould  be  fulfilling  its  obligation  to  serve 
ie  public  interest. 


BULLETIN 

\  olnme  I 9.  Number  8 
April  9,  1951 

and 
Opinion 


SYROS  P.  SKOURAS 

TV  For  Tat 


BIG  THEATRES  DROP  LOWERS 
FOX  1950  NET  TO  9*  MILLION 

A  $15,000,000  drop  in  its  1950  theatres 
gross  from  the  year  before,  $60,153,000 
compared  with  $75,^01,003,  was  the  p  in- 
cipal  factor  in  20th-Century-Fox's  decline 
of  profit,  to  $9,553,000  f.r  the  52  w.ek; 
ended  Dec.  30,  1950,  after  the  $12,415,000 
registered  in  the  53  weeks  ended  Dec.  31, 
1949. 

Film  rentals,  which  reached  an  all- 
time  high  in  the  53  weeks  of  1949,  when 
$94,313,000  was  grossed,  dropped  com- 
paratively slightly,  to  $90,841,000  for  the 
52  weeks  of  '50.  ActuaLy,  the  dip  was 
even  smaller  than  the  initial  gLmce  at 
the  figures  show.  In  a  report  to  the  stock- 
holders, president  Spyros  Sxo.ira;  noted 
that  "over  $1,700,000  of  this  decline  may 
be  attributed  to  the  fact  that  the  1950 
fiscal  year  contained  one  e:s  week.  In 
addition,  extensive  devalua  ion  of  foreign 
currencies  in  September  919  rnd  a  sub- 
stantial impact  on  foreign  film  rentals 
in  1950.  Had  such  devdmtion  ^t  taken 
place,  foreign  film  rentals  in  1950  wou'd 
have  been  greater  by  approximately  $6,- 
600,000."  Thus,  it  can  be  inferred  that 
at  the  former  foreign  rate  of  exchange, 
the  1950  film  rental  gro  s  would  have 
re-^v-jd  a  new  all-time  high. 

Tl.e  slump  in  theatre  rec  ints.  Skouras 
stated,  was  due  to  a  12%  drop  in  attend- 


ance "at  comparative  theatres"  and  dis- 
posal of  certain  theatres  in  accordance 
with  the  Federal  Court  decree. 

Of  the  1950  net,  it  was  reported  $2,263,- 
000  was  income  of  prior  years  from  coun- 
tries with  currency  restrictions,  and 
$1,184,000  a  net  gain  from  sale  and  ex- 
change of  theatre  stocks  under  the  Fed- 
eral Court  order. 

The  20th-Fox  president  pointed  to  a 
reduction  of  $10,842,000  in  expenses  and 
$2,225,000  in  income  taxes  that  offset  in 
part  the  declines  in  rentals  and  theatie 
grosses.  He  called  the  working  capital 
position  of  the  company  "strong",  with 
assets  as  of  Dec.  30.  1950,  jiaced  at  $116.- 
297,000  and  liabilities  at  $27,448,000.  As- 
sets included  cash  and  U.  S.  government 
securities  of  $43,450,000  and  film  inven- 
tories of  $58,296,000. 

Skouras  also  outlined  the  Swiss  Eido- 
phor  theatre  television  deal,  and  reaf- 
firmed the  company's  belief  that  "thea'it 
entertainment  of  the  future  can  reaen 
great  heights  of  public  service  through 
television,  with  motion  pictu-es  as  the 
basic  element  of  this  entertainment,  and 
that  television  in  its  turn  can  attain  its 
greatest  development  through  the  thea- 
tres." 

PARAMOUNT  DOUBLES  FILM 
EARNINGS  IN  FIRST  FULL  YEAR 

Paramount  Pictures  Co.  six  and  a  haif 
million  net  earnings  for  1950,  represent- 
ing the  profits  in  the  first  year  of  its 
operation  as  a  producer-distributor  ex- 
clusively, indicated  that  divorcement  i,o 
harshly  criticized  by  the  affiliated  dis- 
tributors as  "ruinous",  was  merely  a 
bogey  without  body. 

The  figure  doubled  the  1949  pro  forma 
net  reported  for  the  production-distribu- 
tion division,  which  showed  a  total  it 
$3,260,000  for  the  film  company,  while  the 
then-owned  theatres  subsidiaries  netted 
$17,575,000  in  that  year. 

The  1950  earnings  do  not  include  $1,- 
269,000  representing  Paramount's  net  in- 
terest in  the  combined  undistributed 
earnings  for  the  period  of  partially  own- 
ed non-consolidated  compan  e  ;,  pr  ncipal- 
ly  Allen  B.  DuMont  Laboratories,  Inc. 

Fourth  quarter  earnings  came  to  $1,- 
993,000,  not  including  $136,000  represent- 
ing Paramount's  interest  in  combined  un- 
distributed earnings  of  par.ly  owned 
companies. 

Consolidated  earnings  for  the  year  re- 
present S2.67  per  share  on  the  2,455,200 
shares  outstanding  and  in  the  hands  of 
the  public  on  Dec.  30,  1950. 

KRIM  PROCLAIMS  UA  'A' 
PROGRAM,  SETS  24  FOR  '52 

The  glory  that  was  once  United  Ar- 
tists ,  as  a  distributor  of  top  quality  pro- 
duct only,  will  be  revived  in  1952  if 
president  Arthur  B.  Krim's  confidence 
and  intentions  are  upheld.  The  UA  top- 
per proclaimed  a  goal  of  24  'A'  produc- 
tions for  next  year  in  his  first  trade 
press  conference  since  assuming  control 
of  the  company  The  first  three  films  set 
for  the  '52  program  promised  an  aus- 
picious beginning:  "African  Queen",  the 
Humphrey  Bogart-Katharine  Hepburn 
starrer;  Stanley  Kramer's  final  film  on 
his  UA  commitment,  "High  Noon',  and 

(Continued  on  Next  Page) 


SHAIN  LEAVES  FOX 

Sam  Shain,  20th-Fox  director  of 
exhibitor  and  public  relations,  re- 
signed from  the  company  last  week. 
A  former  newspaper  and  trade 
man,  he  joined  20th  in  1943  as  di- 
rector of  trade  relations  and  assist- 
ant to  president  Spyros  P.  Skouras. 
He  was  a  prominent  and  familiar 
figure  at  virtually  every  major  ex- 
hibitor convention,  representing 
Fox  as  good-will  ambassador. 

Shain  plans  to  establish  his  own 
public  relations  firm. 


'PRIL   9  ,   19  5  1 


15 


News  and  Opinion 


"Another  Man's  Poison",  starring  Bette 
Davis  and  Gary  Merrill. 

Product  plans  for  the  balance  of  the 
current  year  contemplate  a  minimum  of 
10  more  films,  swelling  the  previously 
announced  features  to  a  total  of  20.  Ac- 
quisition of  the  final  ten  will  be  com- 
pleted within  six  to  eight  weeks,  Krim 
declared,  on  the  basis  of  deals  now  pend- 
ing. 

The  new  UA  chief  was  particularly 
enthusiastic  about  the  support  given  the 
recognized  company  by  all  factions  of 
the  industry — exhibitors,  producers,  and 
even  other  film  company  executives.  The 
new  management's  "greatest  thrill",  he 
said,  came  from  the  aid  promised  by 
theatremen.  Realizing  that  the  next  year 
for  UA  will  be  rough  sledding,  exhibi- 
tors arr^  "Creaking  their  backs  for  us,  so 
to  speak,"  Krim  stated.  He  said  he  knew 
of  instances  where  theatre  owners  wera 
"compromising  with  what  might  be  best 
for  them  in  order  to  have  the  benefits 
UA  can  offer  next  year." 

Production  financing  from  sources 
other  than  the  Heller  Co.  of  Chicago  will 
also  be  available,  Krim  revealed.  He  em- 
phasized however,  that  UA  would  re- 
main a  distribution  company,  aiding  in 
obtaining  production  funds  for  its  pro- 
ducers on  a  profit-sharing  basis. 

EXHIBS  GIVE  DIM  VIEW 
TO  ELC  MAIL  ORDER  SALES 

Eagle  Lion  Classics'  "mail-order  sell- 
ing" plans  did  not  sit  too  well  with  many 
exhibitors.  Most  solid  opposition  to  the 
idea  was  forthcoming  from  Allied  Thea- 
tre Owners  of  Indiana,  home  unit  of 
National  Allied  president  Trueman  T. 
Rembusch. 

Referring  to  ELC  president  W.  C.  Mac- 
Millen s  announcement  of  the  company's 
revision  in  sales  methods,  which  includ- 
ed elimination  of  certain  local  exchanges, 
ATOI  noted: 

"We  think  that  the  average  exhibitor 
is  disgusted  with  slogans,  pep  talks, 
preachments  and  accusations  that  he  isn't 
doing  his  share.  The  film  companies  are 
sales  and  distribution  specialists  with  a 
lot  of  high  priced  talent.  They  should 
expand  their  sales  forces,  train  them, 
compensate  them  and  assign  a  limited 
enough  territory  so  that  they  are  able  to 
spend  the  time  and  work  with  an  indi- 
vidual exhibitor  to  promo  <;  the  welfare 
of  this  business."  Such  a  policy,  it  add- 
ed, would  lead  to  "a  lot  less  bickering 
about  terms." 

Eagle  Lion's  purposes  in  initiating  the 
plan,  MacMillen  said,  is  to  effect  a  sav- 
ing in  overhead— $100,000  annually  was 
claimed  to  have  been  slashed  from  oper- 
ating expenses  by  the  closing  of  the  Om- 
aha, Albany  and  New  Haven  exchanges — 
and  to  free  sales  personnel  from  "paper 
work,"  permitting  them  to  go  into  the 
field  more  extensively.  Under  the  cen- 
tral billing  system  arranged  with  Inter- 
national Business  Machines,  more  ex- 
change employes  are  expected  to  be  let 
go. 

MacMillen  visualized  a  $200,000  profit 
for  the  fiscal  year  which  will  end  June 
30,  compared  with  an  $800,000  loss  lor 
the  preceding  18  months.  Increased  dis- 
tribution fees  for  producers  and  a  co- 
operative advertising  plan  with  theatres 
were  also  mentioned  by  the  executive. 

At  the  regional  sales  meeting,  M?c- 
Millen  and  distribution  vice-president  B. 
G.  Kranze  told  the  field  men  that  the 
product  for  the  next  year  will  have  "at 
least  one  'A'  picture  a  month." 


ARTHUR  B.  KRIM 

Two  Dozen  A's 


HARMONY  WITH  DRIVE-INS 
URGED  BY  ALLIED'S  MYERS 

"The  fortunes  of  the  conventional  op- 
erators and  the  drive-in  operators  are 
inseparably  linked  together,"  Allied's  Ab- 
ram  F.  Myers  proclaimed  in  a  bulletin 
which  attempted  to  dispel  the  differ- 
ences between  the  two  types  of  screen 
entertainment  showplaces. 

"While  minor  differences  have  arisen 
between  the  two  kinds  of  theatres  in  a 
few  territories,"  he  said,  "they  have  so 
many  common  interests  and  so  few  that 
are  antagonistic  that  it  is  only  common 
sense  that  they  should  belong  to  the 
same  associations  .  .  .  than  working  at 
cross  purposes  in  rival  organizations." 

He  also  pointed  out  that  drive-ins  are 
destined  to  increase  in  importance,  with 
new  theatre  construction  largely  confined 
to  the  outdoor  theatres. 

Although  some  operators  at  first  "re- 
sented the  intrusion  of  the  drive-ins." 
Allied,  he  said,  "recognized  the  kinship 
of  the  indoor  and  outdoor  theatres  and 
extended  the  hand  of  fellowship"  at  the 
Minneapolis   meeting  in  1949. 

PRODUCTION  CODE  CRIME, 
DOPE  PROVISIONS  TIGHTENED 

Edges  of  the  industry's  Production 
Code,  frayed  a  bit  with  misuse,  were 
snipped  clean  as  the  Board  of  Directors 
of  the  Motion  Picture  Association  voted 
several  amendments  to  the  Code's  treat- 
ment of  crime  in  movies. 

The  changes  limited  provisions  pertain- 
ing to  narcotics,  suicide,  murder  of  law- 
enforcement  officers,  and  abortion. 

Amendments  to  the  narcotics  provision, 
relaxed  in  1946,  were  tightened  to  pre- 
vent film  presentation  of  illegal  drug 
traffic  or  drug  addiction.  Heretofore, 
stories  on  drug  traffic  could  be  used  pro- 
vided they  did  not  "stimulate  curiosity 
concerning  the  use  of,  or  traffic  in,  such 
drugs." 

Suicide  must  "never  be  justified  or 
glorified,  or  used  to  defeat  the  due  pro- 
cesses of  law,"  and  is  to  be  discouraged 
"as  a  solution  to  problems  occurring  in 


the  development  of  screen  drama  .  .  .  i 
morally  questionable  and  as  bad  theati! 
— unless  absolutely  necessary  for  the  d  \ 
velopment  of  the  plot."  The  "unless  ai 
solutely  necessary"  clause  was  also  a; 
plied  to  law  officers  dying  at  the  hanr 
of  criminals. 

Abortion  was  added  to  "sex  hygier. 
and  venereal  diseases  (as)  not  prop* 
subjects  for  theatrical  motion  pictures 

OSCAR  AWARDS  GARNER 
HUGE  PUBLICITY  BREAKS 

Rarely  in  the  history  of  the  Academ! 
Awards  has  there  been  the  heart-thrc 
publicity  that  filled  the  nation's  new.i 
papers,  even  days  after  presentation  c 
the  Oscars  on  March  29.  B"g  front-pagl 
spreads  with  plenty  of  art  mingling  wit 
the  copy  played  up  both  the  winners  an 
the  losers  in  the  annual  Oscar  derb; 
Much  of  it  was  based  on  the  dark  horsi 
finish  in  the  "best  actress"  division  c: 
screen  newcomer,  Judy  Holliday,  for  h€ 
"Born  Yesterday"  gem,  and  the  failurl 
of  the  sentimental  favorite,  Gloria  Swai| 
son,  to  cop  the  golden  statuette  alter 
brilliant  return  to  the  screen  in  "Sunst 
Boulevard." 

The  unusually  abundant  space  an 
prominence  accorded  the  event  indicate 
once  again  that  the  movies  glamor  an 
appeal  ranked  as  high  as  ever  in  th 
public's  interest. 

The  big  winner  was  20th  Century-Fox', 
"All  About  Eve,"  which  took  top  honor 
as  best  picture,  best  director  (Josepi 
Mankiewicz),  best  supporting  actc 
(George  Sanders),  best  screenplay  (Mai! 
kiewicz)  and  best  sound.  It  also  place 
both  feminine  leads,  Anne  Baxter  an 
Bette  Davis,  among  nominees  for  bes. 
actress. 

Best  actor  award  went  to  Jose  Fern 
for  "Cyrano  de  Bergerac,"  (Stanle. 
Kramer-United  Artists);  best  support  n 
actress,  Josephine  Hull  for  Universal 
"Harvey". 

Darryl  F.  Zanuck  received  the  Irvrn 
G.  Thalberg  Award  for  outstanding  wor 
by  a  studio  production  head.  Sped' 
awards  went  to  Louis  B.  Mayer  for  4 
years  of  leadership  in  the  industry,  an 
to  George  Murphy  for  distinguished  sei 
vice  as  a  goodwill  ambassador. 

MONO-AA  TOPPERS  MEET  ON 
SPRING  LINEUP;  FLINN  NAMED 

Monogram-Allied    Artists'    headed  b 
AA  topper,  "I  Was  an  American  Spy 
held  the  floor  at  the  company's  Eastei  I 
regional  meeting   in  New   York's  Wa  . 
wick  Hotel  last  weekend  with  presidei 
Steve  Broidy  and  vice-president  Haro! 
J.  Mirisch  coming  in   from   the  Wei  l 
Coast  to  address  the  confab. 

Under   the   chairmanship   of  gener 
sales  topper  Morey  Goldstein,  some  .c  j 
home    office    executives,    district    an  fc 
branch    heads    salesmen    and  bookei 
heard  the  ambitious  merchandising  plar> 
for  the  forthcoming  films. 

In  Hollywood,  John  C.  Flinn,  Jr.,  wh  t  ] 
had  been  assistant  to  the  late  Louis  La 
ton  for  the  past  five  years,  was  name; 
to  national  director  of  advertising  an 
publicity.  Sanford  Abrahams,  adverti:i 
ing  manager,  continues  in  that  post  whin 
moving  up  to  Flinn's  assistant.  Robei 
J.  Rhodes  will  serve  as  publicity  mat  I| 
ager. 


16 


FILM  BULLETH 


STUDIO  SIZ€-UPS 

Behind  the  Scenes  of  Film  Production 
CxetuMe  ^BULLETIN  Jeatun 


COLUMBIA 

STUDIO  IDLE,  SINGLE 
INDE  FILM  SOLE  ACTIVITY 

PRODUCTION  doldrums  are  still 
p  plaguing  the  Gower  Street  studio.  Not 
jone  single  "A"  budget  script  is  reputedly 
iready  for  shooting,  nor  has  any  Culum- 
ibia  picture  gone  before  the  cameras  in 
ithe  past  3  weeks,  although  the  inde- 
pendent Halburt  Productions  teed  off 
"Ten  Tall  Men"  for  Columbia  release,  on 
(March  27.  This  new  starter  is  a  high 
.budget  Technicolor  feature,  starring  Burt 
[Lancaster,  and  is  being  produced  bv  Har- 
old Hecht,  with  Willis  Goldbeck  direct- 
ing. Filming  was  started  on  location,  but 
■is  expected  to  return  to  the  sound  stages 
(early  this  month  to  wind  up  the  final 
days  of  shooting. 

Stanley  Kramer  moved  his  entire  com- 
pany into  Columbia  headquarters  short- 
ly after  signing  his  5-year,  $25,000,000 
.deal,  leaving  only  a  secretary  to  run  his 
old  office  at  Motion  Picture  Center.  How- 
lever,  he  will  continue  to  maintain  the 
previous  quarters  until  completion  of  his 
remaining  commitment  to  United  Artists. 
(  Kramer  has  begun  preparations  for  the 
start  of  the  new  Columbia  program, 
^vhich  will  be  launched  on  June  20,  when 
'My  Six  Convicts''  goes  before  the  cam- 
eras, with  Hugo  Fregonese  directing. 
'Death  Of  A  Salesman"  will  be  the  sec- 
bnd  to  roll  on  the  agenda,  which  calls 
Itor  six  per  year. 

i  Nat  Perrin  and  Columbia  parted  "ami- 
cably" late  last  month,  following  a  two- 

md-a-half  year  association,  during  which 
pme  he  produced  "The  Petty  Girl"  and 

'Emergency  Wedding." 

EAGLE  -  LION  -  CLASSICS 

ELC  CLOSES  INDE  DEAL 
FOR  7;  LULL  CONTINUES 

PRODUCTION  continues  at  a  slow  pacr>, 
V  with  only  one  picture  shooting  at  the 
[urn  of  the  month,  although  the  general 
putlook  for  the  spring  and  summer 
inonths  appear  to  be  a  bit  more  promis- 
ing. To  hypo  publicity  on  its  spring  and 
tummer  schedule,  ELC  has  assigned  Bill 
LViener  to  head  up  the  Hollywood  prais- 
fry. 

I  The  only  picture  in  work  at  present  is 
The  Hoodlum."  the  Jack  Schwarz  pro- 
luction,  Lawrence  Tiernev  and  Allene 
Roberts,  which  rolled  on  March  14  and 
Was  reported  in  detail  last  issue.  Direc- 
tor Max  Nosseck  hopes  to  bring  the  pic- 
iure  in  on  schedule  around  mid-April. 

Of  particular  interest  is  the  new  deal 
just  closed  with  Donald  Hyde,  wherebv 
lis  independent  company  will  produc'p 
even  pictures  over  a  two-year  period. 
With  the  releasing  company  supplying 
primary  financing  and  guaranteeing 
•ank  loans.  Hyde's  corporation  is  re- 
ported to  have  $250,000  in  its  bankroll 
ior  use  as  secondary  financing.  His  first 
roduction  will  be  "Red  Planet,"  schedul- 
a  to  roll  around  May  1.    No  producer, 


director  or  cast  assignments  have  yet 
been  made. 

Alexander  Paal,  who  returned  late  last 
month  from  England  where  he  produced 
"Cloudburst"  (Robert  Preston)  for  ELC 
release, has  inked  deals  with  foreign  com- 
panies to  co-produce  three  more  films 
abroad  this  year.  The  first,  "The  Stolen 
Face,"  an  original  by  Steven  Vas  being 
adapted  by  Guy  Morgan  with  Terry  Fish- 
er to  direct,  has  a  tentative  starting  date 
of  August  6. 


LIPPERT 

TWO  BIG  ONES  READIED  AS 
STUDIO  PROGRAM  EXPANDS 

T  IPPERT  Productions  is  preparing  to 
launch  two  of  the  highest  "budget  pro- 
ductions in  its  history  this  month,  as  the 
company  continues  its  general  expansion 
program.  First  of  the  two  major  pro- 
ductions to  roll  is  "Lost  Continent"  (Ce- 
sar Romero),  beginning  April  12,  with 
Samuel  Newfield  directing  and  Sigmund 
Neufeld  producing.  Pour  days  later 
Lippert  green  lights  the  second  big  war 
movie  (the  first  being  the  successful 
"Steel  Helmet")  the  company  has  at- 
tempted. Titled  "Leave  It  To  the  Ma- 
rines," the  picture  will  star  Sid  Melton 
with  an  important  supporting  cast  that 
is  still  being  assembled.  No  producer  or 
director  has  yet  been  announced. 

Two  pictures  are  currently  before  the 
cameras,  as  Lippert  continues  to  main- 
-  tain  a  steady  production  pace  of  two  to 
three  pictures  completed  each  month. 
"That's  Show  Business,"  a  musical  with 
a  minstrel-vaudeville  background,  teed 
off  on  March  26  under  the  production 
guidance  of  Ron  Ormond,  who  is  also 
doubling  on  the  megging  chores.  On 
April  2,  Murray  Lerner  launched  produc- 
tion on  "G.I.  Jane,"  a  WAC  comedy  with 
music,  with  Reginald  LeBorg  handling 
the  directorial  assignment.  Tom  Neal  is 
cast  in  the  top  male  lead  and  Iris  Adrian 
in  a  featured  role. 

METRO-GOLDWYN-MAYER 

LEO  FUTURE  'COLORFUL' 
AS  ANSCO  TRIAL  SUCCEEDS 

V/TETRO  tried  out  its  new  Ansco  color 
process  early  this  month  during  the 
filming  of  location  scenes  for  "The  North 
Country  "(Stewart  Granger- Wendell  Cor- 
ey), and  the  results  were  so  successful 
that  the  front  office  has  ordered  the  sn- 
tire  picture  to  be  shot  in  the  new  tint. 
According  to  color  technicians  who  have 
seen  the  rushes,  the  process  can  hold  its 
own  against  the  best  competition  in  the 
colot  field  to  date,  and,  in  addition,  can 
be  used  in  any  standard  black  and  white 
camera. 

Insiders  believe  that  the  MGM  product 
will  be  turned  out  almost  exclusively  in 
color  within  the  next  year  to  18  months 
— or  as  soon  as  the  studio  can  develop 
its  own  staff  of  color  technicians  to  re- 


HOLLYWOOD  EDITORIAL 

Let's  Lauyh 

An  ol>server  from  another  planet,  look 
ing    over    Bollywood's    movie    tare  now 

awaiting  release  and  on  schedule  for  im- 
mediate production,  would  undoubtedly 
come  to  the  conclusion  that  we  are  a 
most  peculiar  people  —  confirmed  be- 
lievers in  the  screw]  idea  thai  "a  hair 
from  the  dog  that  hit  us"  is  the  best  pos- 
sible medicine  for  psychological  ilLs. 

Both  as  a  people  and  BS  individuals, 
we're  l>ov\ed  down  by  worries.  Things 
are  going  wrong  all  over  the  world. 
New  spajx'rs  every  day  are  filled  with 
horrible  reports  about  bloodshed,  strife, 
starvation  and  economic  chaos.  Finan- 
cial experts  caution  against  a  possible 
impending  crash;  political  experts  pre- 
dict that  the  present  Korean  skirmish  is 
only  the  forerunner  to  a  lugger  and  more 
horrible  war  than  even  the  last  one. 

And  here  in  Hollywood,  just  to  keep 
our  spirits  up,  the  movie-makers  concen- 
trate more  and  more  on  sombre,  depresv 
ing  drama!  Crime,  the  more  macabre 
the  better,  continues  to  be  the  vogue  in 
film  "entertainment."  Stories  about  hu- 
man misery,  the  more  abject  (we  call  it 
"realism")  the  better,  continue  to  be  the 
runners-up  in  choice  among  the  film  mak- 
ers. Hollywood,  making  better  pictures 
than  ever  before  from  the  standpoint  of 
technical  perfection,  is  squandering  its 
great  know-how  on  so-called  artistic 
achievements  which  view  life  from  the 
standpoint  of  things  horrible,  violent,  or 
tragic.  Genuine  comedy,  untinged  by 
bitterness  and  cynicism,  is  becoming  so 
rare  that  it  deserves  exhibition  in  a  mu- 
seum rather  than  in  a  theater.  Even 
those  two  magnificent  comedies  that 
reached  such  heights  in  1-st  month's  Aca- 
demy Award  proceedings,  were  nonethe 
less  bristling  with  unpleasant  innuendos. 

Hang  it  ail,  the  world  would  like  to 
forget  its  troubles.  Mr.  and  Mrs.  Aver- 
age Citizen  would  like  to  be  able  to  go  to 
their  neighborhood  theater  and  enjoy  a 
change  of  mental  pace  by  laughing 
awhile.  They  want  to  be  entertained,  not 
impressed  by  a  dramatic  masterpiece. 

Are  we  wrong?  ^ 


place  the  Technicolor  crew  currently  as- 
signed there.  However,  it's  a  safe  bet 
that  the  studio  is  a  long  way  from  sever- 
ing all  contracts  with  the  Kalmus  organi- 

ZaBvnthe  end  of  this  month,  nearly  every 
sound  stage  on  the  Culver  City  lot  will 
be  occupied,  as  Leo  leaps  into  the  heavi- 
est period  of  production  in  more  than  a 
vear  In  all.  the  studio  will  have  ten 
features  shooting  simultaneously  —  and 
all  of  them  are  budgeted  in  the  top 
brackets.  ..    „  w  

Twc  features,  "Bannerlme  I  Sally  r  or- 
rest-Keefe  Braselle).  and  "loo  Young [To 
Kiss"  (Van  Johnson-June  Allyson)  which 
were  all  ready  to  roll  when  FILM  BUL- 
LETIN last  went  to  press,  were  delayed 
<everal  days  in  a  general  rescheduling  of 
productions  for  the  purposes  of  affecting 
^reatei  economies.  Producer  Henry  Ber- 
man  and  director  Don  Weiss  finally  got 
"Bannerline"  underway  during  the  last 
week  of  March.  "Too  Young  To  Kiss 
however,  will  not  get  away  until  April 
16.  according  to  director  R.  Z.  Leonard 
and  producer  Sam  Zimbalist. 

Meanwhile,  "Angels  md  the  Pirates, 
a  baseball  picture  starring  Paul  Douglas 
and  Janet  Leigh  and  featuring  the  Pitts- 
burgh Pirates,  went  into  production  last 
(Continued  on  Next  Page) 


PRIL    9,    195  1 


17 


L  STUDIO  SIZ6-UPS 

(Continued  from  Preceding  Page) 

week  with  Clarence  Brown  as  director 
producer. 

Additional  starters  coming  up  in  the 
next  couple  of  weeks  are:  "Westward 
the  Women,"  (Robert  Taylor-Denise  Dar- 
cel),  a  Dore  Schary  production  which 
William  Wellman  will  direct,  starting  to- 
day (April  9);  "Lone  Star,"  a  Z.  Wayne 
Griffin-Clark  Gable  production  with  Ga- 
ble starring,  also  rolling  today;  "Call- 
away Went  Thataway"  (Howard  Keel', 
with  Melvin  Frank  doubling  as  producer- 
director,  April  19;  and  "Belle  of  New 
York"  (Fred  Astaire-Vera  Ellen),  a  Tech- 
nicolor biggie  beginning  April  26,  which 
Chuck  Walters  will  direct  for  Arthur 
Freed. 

MONOGRAM  -  AA 

ACTIVITY  ON  UPSURGE; 
7  TO  ROLL  BY  END  OF  APRIL 

TTHE  anticipated  pick-up  in  activity  on 
A  the  lot,  forecast  last  issue,  got  under- 
way on  March  24,  when  Producer  Peter 
Scully  put  his  latest  entry  in  the  Ray- 
mond Walburn  series  before  the  cameras 
to  launch  a  program  of  seven  produc- 
tions which  will  have  started  by  the  end 
of  April. 

The  new  Walburn  starrer  is  titled  "Fa- 
ther Takes  The  Air,"  and  is  directed  by 
Frank  McDonald  on  a  16-day  shooting 
schedule.  "Flight  to  Mars,"  a  Walter 
Mirisch  production  is  the  first  to  roll  this 
month,  followed  by  William  F.  Broidy's 
"Sea  Tiger,"  with  Jean  Yarbrough  direct- 
ing. On  April  17,  Producer  Lindsley 
Parsons  gives  the  green  light  to  his  new 
Kirby  Grant  starrer,  "Yukon  Manhunt." 
with  Frank  McDonald  moving  in  to 
handle  the  megging  upon  completion  of 
his  stint  on  "Father  Takes  the  Air." 
"Let's  Go  Navy,"  a  Jan  Grippo  produc- 
tion to  slar  Leo  Gorcey  with  Huntz  Hall, 
follows  on  April  25,  and  winding  up  the 
Mono  schedule  for  the  month  will  be 
"Stagecoach  Driver,"  which  Vincent  M. 
Fennelly  will  produce  with  Whip  Wilson 
.••-tarring  and  Fuzzy  Knight  and  Jim 
Brannon  heading  the  cast. 

For  Allied  Artists,  Producer  Ben 
Schv.alb  will  give  the  long-awaited  go- 
5-ignal  to  "The  Police  Story,"  based  on 
the  work  of  the  Los  Angeles  police  d3- 
partment  intelligence  unit  wh;ch  recent- 
Iv  figured  in  the  Kefauver  hearings  on 
the  coast. 

Producer  Hal  Chester's  high  budget 
Allied  Artists  production,  "The  Highway- 
man" (Wanda  Hendrix-Charles  Coburn), 
filmed  in  Technicolor,  which  wound  up 
more  than  three  weeks  ago,  promises  to 
be  one  of  AA's  sleepers,  on  the  basis  of 
cutting  room  raves.  Chester  also  an- 
nounced a  May  21  starting  date  for  his 
next  AA  picture,  "Models,  Inc."  (Dan 
Duryea). 


PARAMOUNT 

HOT  PRODUCTION  PACE 
CONTINUES  WITH  5  IN  APRIL 

Tpn:"J:  seems  to  be  no  end  to  the  brisk 
A  production  pace  which  has  been  main- 
tained at  Paramount  throughout  the  past 
two  mr.nths,  an  five  more  pictures  —  two 


of  them  independents  —  were  scheduled 
to  roil  this  launch.  "My  Son  John,"  Leo 
McCarey's  new  production  starring  Hel- 
en Hayes  and  Van  Heflin,  has  returned 
from  location  in  Washington,  D.  C.  to 
occupy  one  of  the  sound  stages,  and  "The 
Rage  of  the  Vulture"  (Alan  Ladd-Debor- 
ah  Kerr-Corinne  Calvet-Charles  Boyer), 
got  under  way  right  across  the  studio 
street,  early  last  week.  Charles  Vidor 
is  directing  the  latter  for  producer  Ever- 
ett Riskin  on  a  schedule  that  carries  into 
mid-May. 

The  second  Perlberg-Seaton  production, 
"Aaron  Slick  From  Punkin'  Creek"  (Al- 
an Young-Dinah  Shore),  gets  away  to- 
day (9th).  On  April  23,  Pine-Thomas 
launch  "Hongkong,"  with  a  cast  still  to 
be  completed,  and  on  April  30,  Nat  Holt 
Productions  winds  up  the  busy  month 
with  the  start  of  "High  Vermilion" 
(Yvonne  De  Carlo-Edmond  O'Brien).  As 
of  this  writing,  no  director  has  been  set. 

The  surprise  of  the  month  was  the 
cancellation,  by  mutual  consent,  of  Frank 
Capra's  producer-director  pact,  which 
still  had  one  picture  to  go.  And  as  if 
that  wasn't  enough  to  set  tongues  wag- 
ging all  over  town,  George  Stevens  an- 
nounced that  he  too  winds  up  his  pro- 
ducer-director pact  following  the  conclu- 
sion of  "Shane,"  which  rolls  next  month. 
This  leaves  William  Wyler  the  only  re- 
maining member  of  the  old  Liberty  com- 
pany still  at  Paramount.  He  has  two 
more  pictures  scheduled  on  the  lot,  one 
late  this  year,  and  the  other  before  the 
spring  of  next  year. 

Hal  Wallis  wound  production  during 
the  final  week  of  March  on  two  features, 
"The  Stooge"  (Martin  and  Lewis),  and 
"Peking  Express"  (Joseph  Cotten-Cor- 
inne  Calvet),  giving  the  producer  four 
completed  pictures  in  his  backlog.  Both 
of  the  last  two  features  were  shot  on  30- 
day  schedules. 

"The  Greatest  Show  On  Earth,"  Cecil 
B.  DeMilie's  newest  biggie,  has  moved 
back  into  the  studio  following  six  weeks 
of  shooting  at  the  Ringling  Brothers- 
Barnum  and  Bailey  winter  quarters  in 
Sarasota,  Florida.  DeMille  expects  to 
finish  the  film  in  late  June. 

REPUBLIC 

REPUBLIC  LAUNCHES  FOUR 
TO  SWELL  SPRING  PROGRAM 

pOUR  new  productions  to  be  launched 
L  this  month,  plus  one  carrying  over 
from  a  late  March  start,  give  Republic 
an  above-normal  production  period  to  be- 
gin the  Spring  season. 

Carrying  over  from  last  month  is  the 
most  recent  entry  in  the  Valley  Vista 
western  series  starring  moppet  sage- 
brushers  Michael  Chapin  and  E'lene 
Janssen,  "Rangers  of  the  Golden  Sage." 
Rudy  Ralston  is  again  serving  as  asso- 
ciate producer,  with  Fred  Erannon  direct- 
ing, on  the  customary  14-day  shooting 
schedule. 

First  of  the  April  starters  to  roll  was 
the  hign-budgeted  Air  Force  yarn, 
"Wings  Across  the  Pacific"  (Wendell 
Corey-Vera  Ralston-Forrest  Tucker-Phil 
Harris).  The  cameras  started  turning  on 
the  feature  April  3,  with  producer-direc- 
tor Alan  Dwan  master-minding.  On  the 
following  day,  associate  producer  Ste- 
phen Auer  cast  off  on  "Unclaimed  Car- 
go," an  original  screenplay  by  Albert 
DeMond,  with  George  Blair  directing. 
Location  shooting  took  up  the  first  days 
of  production,  as  the  front  office  ironed 
out  casting  snarls  —  which  were  still 
unsettled  at  this  writing.    On  April  16, 


the  latest  Alan  "Rocky"  Lane  starre 
"Fort  Dodge  Stampede,"  tees  off,  wit 
associate  producer  Harry  Keller  direc 
ing.  And  on  April  30,  another  top-bu 
geter,  "The  Sea  Hornet"  (Rod  Camero 
Adele  Mara),  will  get  underway  on  loc 
tion  off  Catalina  Island,  to  be  directe 
bv  assoc.ate  prociucer-dirertor  Josep 
Kane. 

Pictures  completed  in  the  last  for 
night  are:  "A  Lady  Possessed,"  tr. 
James  Mason-June  Havoc  starrer,  whic 
Portland  Pictures  produced  for  Republ 
release;  "Rangers  of  the  Golden  Sage 
produced  by  Rudy  Ralston  with  Fran 
Brannon  directing;  "Alaskan  Frontier, 
a  Stephen  Auer  production,  directed  b 
George  Blair,  and  "Rodeo  King  and  th 
Senorita, '  the  latest  in  the  series  of  Re 
Allen  westerns  produced  by  Melvill 
Tucker  and  directed  by  Phil  Ford.  Th 
latter  three  were  filmed  on  schedules  aj 
proximating  two  weeks  each,  while 
Lady  Possessed"  was  before  the  camera 
for  only  a  few  days  less  than  a  month. 

RKO 

WALD-KRASNA  UNIT  LOOMS 
AS  RKO  PRODUCTION  BULWARt 

WfHATEVER  the  shortcomings 
w  RKO's  own  productions  —  and  n< 
one  can  deny  they've  had  them  —  th 
product  being  lined  up  by  the  array  o 
independent  producers  affiliated  with  th 
c™?"v  <s  imposing.  Insofar  as  the 
slate  for  the  parent  company  is  concern 
ed,  however,  there's  still  little  evidence 
of  any  overall  improvement  in  the  offing 
Tne  Jerry  W-1  Id-Norm  an  Kr^sna  unii 
has  two  important  pictures  in  various 
stages  of  production,  and  four  other 
preparing  for  an  early  start.  "Behave 
Yourse'f '  (Farlev  Granger-Shelley  Win 
ters),  which  Producer  Stanley  Rubin  anc 
Director  George  Beck  placed  before  the 
cameras  on  March  19,  is  now  well  along 
on  its  30-odd  day  ch^oting  schedu^.  Last 
week  Director  Curtis  Bernhardt  and 
Producer  Raymond  Hakim  launched  the 
first  heavy  dramatic  production  for  the 
new  W-K  unit,  "The  Blue  Veil"  (Janej 
Wvman-Charies  Laugh+on),  which  w 
continue  before  t^e  cameras  throu^hou 
the  month  of  May.  Director  Busby 
Berkelev  is  currently  routing  locations 
in  Guam  for  the  start  of  filming  on 
"Stars  and  Stripes  Forever,"  which  he 
hopes  to  out  into  actual  production  bv 
May  15.  Stanley  Rubin  will  produce  the 
picture,  formerly  titled  "The  U.SO. 
Story,"  but  no  cast  has  yet  been  an- 
nounced. 

Gabriel  Pascal's  production  of  thej 
George  Bernard  Shaw  classic,  "Androc- 
les  and  the  Lion,"  whicn  started  last 
month  and  was  then  halted,  will  probab- 
ly go  back  before  the  cameras  around 
May  15.  Director  trouble  caused  the 
shut-down,  and  no  new  megger  has  yet 
been  set.  However,  a  big  pitch  is  re- 
portedly being  made  for  the  services  of. 
Josh  Logan. 

20th  CENTURY-FOX 

FOX  LISTS  IMPRESSIVE 
ARRAY  OF  TOP-BUDGETERS 

COR  THE  second  year  in  a  row,  20th 
*  Century  -  Fox  has  walked  away  with 
the  lion's  share  of  the  Academy  of  Mo- 
tion Picture  Arts  and  Sciences'  annual 
(Continued  on  Page  20) 


II 


FILM  BULLETIN 


are  invited  to 


15th  Annual  Convention 

VARIETY  CLUBS  INTERNATIONAL 

I       in  PHILADELPHIA  •  MAY  9-10-11-12 


HEADQUARTERS-The  Historic  BELLEVUE-STRATFORD  HOTEL 


THE  GREATEST  SHOW  ON  EARTH 
for  The  Greatest  Showmen  in  the  World ! 

(P.  S.  And  their  Ladies!) 


.  9° 


YOUR  HOST  (Tent  13)  promises  you 
the  greatest  convention  in  Variety 
history.  All  plans  are  set!  This  is  it! 
Convenient  and  Historic  PHILADEL- 
PHIA will  be  yours  for  these  four 
days! 

For  REGISTRATIONS,  RESERVATIONS, 
and  TRANSPORTATION  .  .  . 

CONVENTION  COMMITTEE 

Variety  Club  Tent  13 

Bellevue-Strorford  Hotel 
Philadelphia  2,  Penna. 


Otto* 


REGISTRATION  FEES: 
Barkers  $40 
Ladies  $20 

includes 


9°o* 


-1  L|y 


7. 


>>HotV 


"I 


LATE  EXTR 

On  Friday  I 
QUEEN  FOR 

DAY  pro,,om  M 

pl.t.  with  all  of 
Start  .  .  .  •■ 
atpacialty   far  rl 


ply  of  HOSIERY-!. 
UNGERIE-OF  CIOARETT 
-OF  CHEESE  and  andi. 
with  A  FREE  TRIP  FOR  J  I 
HOLLYWOOD  with  all  • 


STUDIO  SIZ6-UPS 

(Continued  from  Page  18) 
awards.  Furthermore,  on  the  basis  of 
new  pictures  either  recently  completed, 
in  production  or  ready  to  go  before  the 
cameras,  it  appears  that  Fox  will  again 
be  the  studio  to  contend  with  when  Os- 
car time  rolls  around  again  a  year  from 
now. 

For  example,  Darryi  F.  Zanuck  told 
the  press,  following  his  return  from 
Europe  about  10  days  ago,  that  he  con- 
siders this  season's  "big  three"  produc- 
tions filmed  abroad  may  well  prove  to 
be  the  most  successful  in  the  company's 
history.  He  referred  to  "Decision  Before 
Dawn"  (Gary  Merrill-Richard  Basehart). 
which  Anatole  Litvak  directed  and  co- 
produced  with  Frank  McCarthy  in  Ger- 
many, at  a  cost  of  more  than  $2,000,000; 
"No  Highway"  (James  Stewart-Marlene 
Dietrich),  produced  by  Louis  D.  Lighton 
and  directed  by  Henry  Koster  at  only  a 
slightly  lower  figure,  and  "The  House 
On  the  Square"  (Tyrone  Power- Ann 
Blyth),  which  is  currently  shooting  in 
Europe  with  Sol  C.  Siegel  producing. 

When  Zanuck  checked  back  at  his  desk 
following  the  European  junket,  another 
of  his  personal  production,  "Dr.  Pratori- 
ous  Story"  (Cary  Grant-Jeanne  Crain), 
was  before  the  cameras,  as  were  "Anne 
of  the  Indies"  (Louis  Jourdan-Debra 
Padget),  which  Director  Jack  Tourneur 
has  been  filming  since  February  19,  and 
"Mr.  Belvedere  Blows  His  Whistle"  (Clif- 
ton Webb-Joanne  Dru),  an  Andre  Hakim 
production  directed  by  Henry  Koster. 
Five  new  productions  were  also  set  to 
go  during  April,  including:  "The  Desert 
Fox"  (James  Mason),  produced  by  Nun- 
nally  Johnson  and  directed  by  Henry 
Hathaway,  starting  April  10;  "The  Day 
the  Earth  Stood  Still,"  a  science  fiction 
yarn  produced  by  Julian  Blaustein  and 
directed  by  Robert  Wise,  April  9;  "A 
WAC  in  His  Life,"  produced  by  Jules 
Buck,  directed  by  Joseph  Newman,  April 
16;  "Lydia  Bailey,"  produced  by  Jules 
Schermer,  directed  by  Jean  Negulesco, 
April  16;  "Golden  Girl,"  Technicolor 
musical,  produced  by  George  Jessel,  di- 
rected by  Lloyd  Bacon,  April  30,  and  pos- 
sibly even  a  sixth,  "Zapata,"  to  be  di- 
rected by  Elia  Kazan,  and  starring 
Marlon  Brando.  In  addition,  33  writers 
are  busy  at  the  studio  working  on  30 
new  properties. 


UNITED  ARTISTS 

KRIM  HUDDLING  ON  '51-52 
DEALS  WITH  EAGER  INDIES 

AS  OF  THIS  writing,  Arthur  Krim, 
the  United  Artists  president,  is  due 
to  arrive  in  Hollywood  momentarily  to 
huddle  with  inde  producers  on  a  num- 
ber of  independent  deals  which  are  in 
the  mills.  The  general  concensus  of 
opinion  in  Hollywood  seems  to  be  that 
UA  will  have  little  difficulty  in  lining 
up  top  inde  product,  on  the  basis  of  the 
powerful  incentive  the  company  is  now 
in  a  position  to  offer  in  the  way  of  finan- 
cial backing,  and  the  young,  wide-awake 
outlook  of  the  new  management. 

Unfortunately,  there  is  still  no  Holly- 
wood office  for  the  company,  and  about 
the  only  knowledge  anyone  on  the  coast 
has  of  future  plans,  has  to  be  garnered 
from  the  smattering  of  scuttlebutt  that 
filters  out  from  New  York.  Plans  are 
afoot,  it  seems,  to  assign  a  liaison  to  the 
West  Coast,  if  only  to  coordinate  mat- 


ters between  the  producers  and  the 
Eastern  business  office. 


WARNER  BROS. 


UNIVERSAL-INTERNAT  L      WB  PACE  SLOWS  AS  SINGLE 

STUDIO  ON  FULL  SCHEDULE  STARTER  IS  SET  FOR  MONTH 
WITH  6  ROLLING,  1  MORE  SET 


u 


NIVERSAL-INTERNATIONAL,  with- 
the  past  two  weeks,  has  plunged 
into  a  high-powered  production  drive 
that  places  the  entire  studio  on  a  full- 
scale  work  schedule.  At  the  present 
time,  six  features  —  two  of  them  in 
Technicolor  —  are  before  the  cameras, 
and  one  more  is  all  set  to  roll  within 
the  next  three  weeks. 

Currently  filming  are:  "Fiddler's 
Green"  (Shelley  Winters-Richard  Conte), 
which  started  on  February  24;  "One 
Never  Knows"  (Dick  Powell  -  Peggy 
Dow),  which  Director  Lou  Breslow  put 
before  the  cameras  March  20;  "The 
Cave"  (Alexis  Smith-MacDonald  Carey), 
a  Technicolor  production  directed  by 
William  Castle,  which  started  on  March 
26;  "Fine  Day"  (Josephine  Hull-Howard 
Duff),  a  March  entry  also  in  Techni- 
color, with  Joseph  Pevney  directing; 
"Oh  Baby"  (Ethel  Barrymore-Tom  Ewell- 
Julia  Adams),  rolling  April  2  with  Fred- 
erick de  Cordova  megging,  and  "The 
Lady  Pays  Off"  (Linda  Darnell-Stephen 
McNally),  also  starting  April  2  with 
Douglas  Sirk  directing  and  Albert  J. 
Cohen  producing. 

On  April  22,  Producer  Leonard  Gold- 
stein will  tee  off  on  the  final  production 
for  the  month,  starring  Maureen  O'Hara 
in  her  first  Technicolor  picture  for  the 
studio  since  signing  a  new  long-term, 
non-exclusive  pact  with  Universal.  The 
production  is  titled  "Flame  of  the  Des- 
ert," and  will  be  along  the  lines  of  the 
old  Yvonne  de  Carlo  U-I  starrers. 


^J^ITH  THREE  pictures  started  lasJ 
month  still  before  the  cameras,  anil 
a  fourth  set  to  join  them  today  (April 
9),  Warner  Brothers  is  coasting  alonjl 
under  half-steami,  with  nothing  more  sel 
to  move  on  to  the  sound  stages  thi  I 
month. 

"Painting  the  Clouds  with  Sunshine 
(Dennis  Morgan-Virginia  Mayo),  whicll 
is  now  in  its  third  month  of  filming I 
has  been  re-titled  "Golddiggers  of  Lai 
Vegas,"  reviving  the  old  "Golddigger  \ 
tag  made  famous  by  Warners  more  thaii 
a  decade  ago.  According  to  Directof 
David  Butler  and  Producer  Willianj 
Jacobs,  the  Technicolor  biggie  is  now  ii 
its  final  few  days  of  shooting,  and  ha:J 
been  held  within  its  budget,  rumored  til 
lie  in  the  neighborhood  of  $750,000. 

"Distant  Drums"  (Gary  Cooper),  Mill 
ton  Sperling's  United  States  Picture:! 
production  for  WB  distribution,  gol 
underway  March  26  in  St.  Augustine 
Florida,  with  Director  Raoul  Walsh  di 
reeling.  The  production  nut  on  "Drums' 
is  one  of  the  largest  ever  accorded  ;V 
Sperling  production,  and,  by  the  samj 
token,  will  draw  one  of  the  longest 
shooting  schedules  for  his  company. 

The  only  other  picture  before  the  cam| 
eras  is  "Force  Of  Arms"  (William  Ho)! 
den-Nancy  Olson),  produced  by  AnthonM 
Veiler  and  directed  by  Michael  Curtizf 
which  has  been  filming  since  March  l£j 
Starting  today  will  be  "A  Baby  Foj 
Midge,"  (Ray  Milland),  a  romantiJ 
drama,  to  be  produced  by  Willian| 
Jacobs,  and  directed  by  William  Keigh 
ley. 


WHERE  DID  IT  COME  FROM?  HOW  DID  IT  GET  HERE? 

WHAT  IS  IT? 


from  Another  World! 


HOWARD  HAWKS'  jdm&g/rlg  MOVIE 

II 

Ms  like  this  are  appealing  in  58  National  Magazines  and  93  Sunday  Newspaper  Supplements  totaling  185,761.000  circulation. 


FILM  BULLETI1 


10PE  TOPS,  BUT  CRITICS 
iPLIT  ON  'LEMON  DROP  KID' 

1  The  only  basis  for  which  the  New  York 
iiewspaper  reviewers  could  reach  com- 
plete agreement  on  Paramount's  version 
hi  a  Damon  Runyon  tale,  "The  Lemon 
prop  Kid,"  was  the  rib-tickling  clowning 
»f  Bob  Hope.  Otherwise,  the  scribes  were 
Lplit  in  their  opinions  of  the  picture; 
lome  finding  it  tops  in  every  respect, 
khile  others  scored  it  as  good  Hope,  but 
ittle  more. 

|  The  most  favorable  reaction  was  found 
b  Alton  Cook's  World  Telegram  review, 
n  which  he  writes:  "Bob  Hope  lias  hit 
•he  laughter  jackpot,"  having  had  his  ups 
hnd  downs  in  the  quality  of  recent  pic- 
ures.  "This  one,"  says  Cook,  "is  a  big 
ip,  away  up  in  the  middle  of  the  sky." 

The  Journal  American's  Jim  O'Connor 
ppropriately  reverting  to  the,Runvon 
hyln,  reports  "This  picture  is  right  out  a 
)amon  Runyon."  He  concludes:  "On  my 
cratch  sheet  ...  is  gonna  make  a  lotta 
>eople  laugh  and  make  a  lotta  money." 
I  Calling  it  "all  Mr.  Hope,  on  the  nose  " 
posley  Crowther,  in  the  Times,  labels  the 
slapstick  farce"  a  "close  howl  to  good, 
ast,  gag-packed  film." 
I  On  the  dissenting  side,  the  Herald 
tribune's  Otis  L.  Guernsey  scores  it 
about  onethird  Damon  Runyon  and 
wo  thirds  Bob  Hope  slapstick,  a  mixture 
.hich  turns  out  inferior  to  both  its  in- 
redients."  It  is,  he  continues,  "strictlv 
ynthetic  comedy,"  which  will  probably 
(Inert  those  convinced  that  Bob  Hone 
fa  the  funniest  man  in  the  world." 

Seymour  Peck's  chief  criticism,  in  the 
|.ompass,  is  that  it  is  "not  unalloyed  hi- 
wity  ...  for  it  sometimes  strains  too 
■ard.  For  all  that,  however,  he  finds 
t  "has  some  hearty  laughs"  with  many 
poments  "Hope  fans  will  relish." 
i  The  lament  of  the  Post's  Archer  Win- 
ten  is  that  "it  doesn't  repeat  the  suc- 
ess  of  'sorrowful  Jones'."  He  sums  it 
|p  as  "middling  Hope  and  medium  Run- 
on,  concluding  "Ardent  fans  of  both 
jiay  be  satisfied,  but  no  new  converts 
'•ill  be  made." 

NSIDE  STRAIGHT' 

1GM 

"Here,  without  a  doubt,  is  recounted 
foe  most  tiresome  poker  hand  we've  ever 
een  .  What  a  time  for  a  dull  bi- 
graphy!"— CROWTHER,  N  Y  TIMES 
L£°"d?rously  flamboyant  .  .  .  Cinema 
locK-m-trade,  conspicuous  neither  fo- 
pagination  nor  for  vacuity  .  .  .  Simplv 
up  a  shiny  surface  on  a  piece  of 
?  vne„re^tf;t^inment-"  -  GUERNSEY. 
P"..M  HERALD  TRIBUNE. 
I  Moral  is  'Money  isn't  everything.'  Un- 
brtunate y  that's  all  the  picture  has  on 
r.,S?.lnd-  — WINSTEN,  N.  Y.  POST 
Mick,  polished  antique,  an  engaging 

mpse  mto  a  past  that  is  pleasant :  to  r#- 
L^J"*?  °«ce  in  a  while."— COOK,  N  Y 
jVORLD  TELEGRAM. 

mnS1  fe  ff™iliar-  and  so  is  the  story." 

-PECK,  N.  Y.  COMPASS. 

U  SdS  r-ather  confusing  ...  But  you 

ulh  in  ^IOr  y°^r  Chips  •  •  •  No  royal 
\  J}^  n  the  movie  game  but  .  it's 

teg&s'00^011'  n-  y-  j6ur- 


"QUOT6S" 


What  the  Newspaper  Critics  Say  About  New  Films 


rfOLLY' 

ARAMOUNT 

[•'Refreshingly  different  picture  to  be 
hoyed."_T.M.P.,  N.  Y.  TIMES. 
innnn"n>\ulndeed'    with   hearty  lauShs 
eat  y    timed    intervals  .  .  .  Compact. 

humorous  and  sometimes  moving 
"le  film  .  .  .  Unsophisticated  comedy 

PRIL   9,  1951 


bearing  no  message  and  played  mostly 
for  laughs."— PIHODNA,  N.  Y.  HERALD 
TRIBUNE. 

"As  Molly  might  say,  'Sit  down,  relax, 
take  your  feet  off  and  give  a  look'." 
PECK,  N.  Y.  COMPASS. 

"A  waim,  delightful  film  that  should 
please  a  much  larger  audience  than  those 
who  share  the  speech  intonations  of  the 
fair,  fabulous  and  highly  culture  Bronx." 
—WINSTEN,  N.  Y.  POST. 

"Will  be  one  of  the  least  pretentious 
movies  of  our  year  but  that  very  quality 
comes  across  as  disarmingly  likable." — 
COOK,  N.  Y.  WORLD  TELEGRAM. 

"Warmly  entertaining  comedy  that's 
very  likely  to  develop  into  a  screen 
series."  —  PELSWICK,  N.  Y.  JOURNAL 
AMERICAN. 

YOU'RE  IN  THE  NAVY  NOW 
(Formerly  'U.S.S.  TEAKETTLE') 

20TH  CENTURY-FOX 

"Delightful  behind-the-scenes  Navy  pic- 
ture .  .  .  First-rate  motion  picture  that 
is  both  sensible  and  enormously  funny 
.  .  .  Saga  of  imperfection  has  been  mold- 
ed into  a  perfect  interlude  of  movie 
laughter."— GUERNSEY,  N.  Y.  HERALD 
TRIBUNE. 

"Nice,  droll,  sprightly  fun  .  .  .  comes 
to  a  funny,  wonderfully  wild  slapstick 
climax." — PECK,  N.  Y.  COMPASS. 

"Most  explosively  funny  service  pic- 
ture that  has  come  along  .  .  .  The  best 
comedy  of  the  year."  —  CROWTHER, 
N.  Y.  TIMES. 

"Shortcoming  is  a  lack  of  variety  in 
its  comic  episodes  .  .  .  Not  enough  to  keep 
laughter  at  a  consistently  high  pitch  .  .  . 
Leaves  a  mild  impression." — COOK,  N.  Y. 
WORLD  TELEGRAM. 

"Robust  entertainment  .  .  .  Comedy  of 
the  month  .  .  .  You'll  probably  be  sur- 
.  prised  at  the  amount  of  fun  generated." 
—WINSTEN,  N.  Y.  POST. 

"Entertaining  yarn  about  the  comic 
misadventures  of  a  ship  .  .  .  briskly  spun 
out."  —  PELSWICK.  N.  Y.  JOURNAL 
AMERICAN. 

QUEBEC- 
PARAMOUNT 

"Jumbled-up  little  melodrama,  blessed 
with  Technicolor  but  lacking  any  skill  in 
writing  or  acting  .  .  .  No  epic  .  .  .  Not 
even  mildly  entertaining." — CREELMAN. 
N.  Y.  WORLD  TELEGRAM. 

"Sounds  like  costume  melodrama  .  .  . 
No  performances  of  distinction  .  .  .  Can 
no  more  displease  the  many  than  it  can 
please  the  discriminating." — WINSTEN, 
N.  Y.  POST. 

"Now  and  again  some  honest  action  is 
generated  .  .  .  Color  helps  the  film  a  lot." 
—J.  P.,  N.  Y.  HERALD  TRIBUNE. 

"Has  the  pictorial  advantage  of  some 
vivid  Technicolor,  it  is  a  muddled  story 
that  is  being  spun  .  .  .  This  trip  wasn't 
necessary." — A.  W.,  N.  Y.  TIMES. 

ROYAL  WEDDING' 

MGM 

"Lively  lot  of  dancing  and  some  pleas- 
antly handled  songs  .  .  .  amiably  strung 
together  on  a  spider-web  story  line." — 
CROWTHER,  N.  Y.  TIMES. 

"Feature  length  of  Technicolored  fool- 
ishness ...  Lighthearted  but  lightweight 
musical  .  .  .  Astaire  is  limber  and  en- 
gaging as  ever."  —  GUERNSEY,  N.  Y. 
HERALD  TRIBUNE. 

"Since  Mr.  Astaire  is  one  of  the  great 
entertainers,  a  movie  which  employs  him 
has  won  half  the  battle  for  success  .  .  . 


Does  practically  nothing  to  win  the  other 
half." — PECK,  N.  Y.  COMPASS. 
—  "Active  surface  is  so  prettily  shim- 
mering in  all  its  color  and  activity  .  .  . 
An  ideal  picture  for  a  tired  business  man. 
For  a  tired  movie  critic,  no."  WINSTEN, 
N.  Y.  POST. 

"Whole  story  is  that  here  we  have  Fred 
Astaire  at  his  gay  and  diverting  best."— 
COOK.  N.  Y.  WORLD  TELEGRAM. 

"Light  and  bright  and  entertaining  .  .  . 
As  usual,  Astaire  practically  stops  the 
show  every  timo  he  starts  hoofing."  ■— 
PELSWICK,  N.  Y.  JOURNAL  AMERI- 
CAN. 

THE  GROOM  WORE  SPURS' 

UNIVERSAL  INTERNATIONAL 

"Confused  little  farce  .  .  .  Painfully 
heavy  handed  hokum  .  .  .  Mere  much  ado 
about  considerably  less  than  nothing." — 
COOK,  N.  Y.  WORLD  TELEGRAM. 

"Started  off  with  the  idea  of  poking 
fun  at  movie  cowboy  heroes  .  .  .  Seem- 
ingly ran  out  of  further  ideas  and  filled 
in  .  .  .  with  a  few  gags  and  some  con 
trived  rnelodramatics."  —  PELSWICK, 
N.  .Y.  JOURNAL  AMERICAN. 

"Broad  comedy  that  Jack  Carson  hand- 
les so  very  well  .  .  .  Rates  a  passing 
mark  among  the  'Lets-go-to-a-movie-to 
night-I-don't-care-what'  set."  —  WIN- 
STEN, N.  Y.  POST. 

"Utterly  lustreless  item."  —  CROW- 
THER, N.  Y.  TIMES. 

"Neither  romantic  nor  a  comedy  des- 
pite the  hard  work  of  the  stars  .  .  . 
Scrawny  and  thankfully  short  piece."  — 
PIHODNA,  N.  Y.  HERALD  TRIBUNE. 

"Nothing  genuinely  satirical  or  the 
least  bit  funny  happens."— PECK,  N.  Y. 
COMPASS. 


'UP  FRONT' 

UNIVERSAL 

'Enough   of   the    Mauldin    flavor  to 
qualify  as  original  entertainment  .  . 
Not  bad  .  .  .  Has  been  watered  down 
but  perhaps  not  enough  to  annoy  the  gen 
eral  audience."— WINSTEN,  N.  Y.  POST. 

"A  very  funny  comedy  .  .  .  Actually  a 
personal  triumph  for  Tom.  Ewell  .  . 
You'll  find  it  fun."— PELSWICK,  N.  Y 
JOURNAL  AMERICAN. 

"Pure  and  true  Mauldin,  and  when  pro- 
jecting the  Mauldin  wit  and  spirit,  it  has 
some  punch  and  irony  and  insight  into 
men  at  war."— PECK.  N.  Y.  COMPASS. 

'Light  farcical  treatment  .  .  .  There  are 
many  hilarious  vignettes  in  this  episodic 
nonsense  .  .  .  Parts  of  this  Ewell-con- 
ducted  tour  are  mighty  amusing."  — 
GUERNSEY,  N.  Y.  HERALD  TRIBUNE. 

THREE  GUYS  NAMED  MIKE' 

MGM 

"Oppressively  bird-brained  little  ro- 
mance .  .  .  Contrived  cloudland  confec- 
tion."—CROWTHER.  N.  Y.  TIMES. 

"Shiny  new  comedy  .  .  .  Pleasant  but 
featherweight  film  .  .  .  About  average 
for  a  pattern  picture."  —  GUERNSEY, 
N.  Y.  HERALD  TRIBUNE. 

"Skittish  little  farce  ...  If  he  (scen- 
ario writer  Sidney  Shelton)  couldn't  make 
any  interest  evident,  what  can  be  ex- 
pected of  the  rest  of  us."— COOK,  N.  Y. 
WORLD  TELEGRAM. 

"Conventional  boy-meets-girl  plot  .  .  . 
All  adds  up  to  an  amiable  little  comedy 
with  a  personable  cast  and  a  few  mod- 
erately diverting  gags."  —  PELSWICK, 
N.  Y.  JOURNAL  AMERICAN. 

"A  commercial  A  idea  worked  into  a  B 
plot  and  given  the  A  treatment." — WIN- 
STEN, N.  Y.  POST. 


EXPLOITATION  PICTURE 

THE  GARMENT  INDUSTRY'S  EVE' 


Bally  Angles  Crowd  "Wholesale" 


HAYWARD:  DAILEY,  MODEL,  JAFFE 

All  About  Seventh  Avenue 


record  of  pre- 


|3    J  COMING! 


A  happy  combination  of  exploitation  angles  are  available  to  exhibitors  for 
20th  Century-Fox's  "I  Can  Get  It  For  You  Wholesale,"  with  the  most  saleable 
of  them  based  on  the  film's  similarity  to  the  same  company's  1950  Academy 
Award  winner.  "All  About  Eve."  There  is  the  adult  approach  to  the  story;  the 
conniving,  ruthless  woman  with  an  uninhibited  ambition  to  reach  the  heights 
of  her  profession;  the  good  people  she  tramples  in  her  insatiable  drive,  and 
even  the  same  suave  antagonist,  George  Sanders,  in  a  role  strikingly  akin  to 
his  Oscar-winning  performance  in  "Eve."  The  film,  taken  from  Jerome  Weid- 
man's  incisive  novel,  touted  as  the  '  All  About  Eve"  of  the  garment  industry, 
and  the  showman  would  be  wise  to  capitalize  on  this  factor. 

For  quality  cxploitables,  there  is  producer  Sol  C.  Siegel 
vious  hits — 'A  Letter  to  Three  Wives". 
"I  Was  a  Male  W  ar  Bride'"  and  '  Panic 
in  the  Streets"  as  well  as  the  forthcom- 
ing "14  Hours,  the  director,  Michael 
Gordon,*1  whose  "Cyrano  d  eBergerac" 
was  a  high  spot  of  last  year's  output 
and  who  guided  Jose  Ferrer  in  the  title 
role  that  won  him  the  'best  actor" 
Oscar.  And  the  Weidman  reputation 
for  stories,  packing  a  punch  without 
pulling  any. 

Red-haired  Susan  Hayward  is  admir- 
ably suited  to  the  hell-eat  role  and  thr 
popular  Dan  Dailey  as  a  fast-talkin» 
salesman  has  previously  demonstrated 
his  dramatic  ability,  even  in  the  musi- 
sals  which  have  formed  the  bulk  of  his 
film  work.  In  addition,  there  is  Sam 
Jafl'e,  an  Academy  Award  nominee  for 
his  performance  in  "The  Asphalt  Jun- 
gle", who.  with  Sanders,  rounds  out  an 
enviable  cast  lineup  for  exploitation 

pblgH 

A  glance  at  the  ads,  pictured  at  right, 
show-  the  effective  manner  in  which 
Charles  Einfeld's  hoxofficers  have 
caught  the  film's  mood.  Thev  offer 
potent  telling  copy  for  the  showman's 
unproi  isation. 


FASHION  TIES 

The  playdate  can  get  a  strong  assist  from  tie-up- 
arranged  by  20th-Fox  and  from  local  fashion 
ops  that  would  be  a  natural  for  store  windows 
inside  displays  and  combined  publicity.  The  tie 
up  w  th  California  Girl  dresses  and  sportswear,  in 
which  the  noted  Los  Angeles  manufacturer  hat 
created  two  major  promotion  numbers  inspired 
by  the  film,  and  is  plugging  it  in  trade  ads.  pavei 
the  way  for  local  co-ops  in  every  nook  and  crania 
cf  the  country.  The  press  book  carries  a  compre 
hensive  list  of  the  various  retail  outlets  for  the 
exhibitor's  use  in  arranging  local  ties. 

Co-operating  department  stores  and  women'i 
shops  can  make  highly  attractive  displays  to  t« 
in  the  theme  in  its  window  and  in  the  store,  anc 
in  its  newspaper  advertising  for  the  new  Sprinj 
fashions.  In  return,  exhib'tors  can  offer  co-operat 
ing  stores  lobby  display  space  for  fashion  high 
lights  with  store  credits. 

A  modeling  competition — a  sure  erowd-drawer- 
is  indicated  as  a  natural  for  the  film's  bally.  Stagt 
contest  locally  to  find  most  beautiful  girls  in  towi 
to  serve  as  models  for  Fashion  Show  to  be  jointly 
sponsored  by  co-operating  department  store  anc 
theatre,  winning  contestants  to  serve  as  models  ii 
show  to  be  presented  on  your  stage,  and  routec 
onto  radio  and  TV  interviews  for  added  publicity 

TITLE  BALLY 

The  press  book  also  has  some  excellent  sugges 
tions  and  copy  for  a  co-op  merchandising  campaigi 
based  on  the  title.  The  lure  of  merchandise  a 
sale  prices,  especially  in  these  days  of  HCL  head 
aches,  is  a  powerful  one.  The  suggested  banne 
head  is  "We  Can't  Get  It  For  You  Wholesale- 
But  We  Can  Give  It  To  You  At  Lowest  Possibl 
Sale  Prices!"  A  full-page  ad,  taken  cooperative! 
with  the  community's  leading  merchants.  shouL 
be  set  to  break  with  the  opening,  leading  off  wi 
the  line,  "In  celebration  of  the  opening  toda 
etc.,  we  merchants  take  this  opportunity  to  tell  th 
people  of  this  community  that,  in  the  face  of  t( 
day's  rising  prices,  we  are  doing  everything  in  oo 
power  to  cut  costs  and  keep  them  on  a  level  wit 
your  buying  power  ..."  Stills,  poster  display 
etc.,  should  be  made  available  to  participatin 
merchants  for  window  and  in-store  displays. 


FILM  BULLET1 


EXPLOITATION 
PICTURE 


I  CAN  GET  IT  FDR  YOU  WHOLESALE 


Two  novelists  have  earned  more  than  passing  admira- 
ion  for  their  ability  to  engross  the  reader  with  the  heels 
oatured  as  the  central  characters  of  their  books,  and  to 
apturc  the  full  flavor  of  their  surroundings.  One  is  Budd 
Bchulberg,  the  other,  Jerome  Weidman.  The  latter's  '  I  Can 
*et  It  For  You  Wholesale"',  a  best-seller  in  1937,  went  into 
he  vitals  of  the  fabulous  Seventh  Avenue  garment  indus- 
ry  in  New  \ork,  employing,  as  the  novel's  protagonist,  a 
Jeautiful,  ruthlessly  ambitious  model  who  claws  her  way 
>ver  all  obstacles  to  gain  her  ends.  In  Sol  C.  Siegel's  pro- 


duction of  tbe  film  that  emerged  from  the  novel,  Susan 
Hayward  gets  the  juicy  role  of  the  vixen  and,  according  to 
our  reviewer,  makes  the  performance  a  memorable  one. 
Co-starring  with  Miss  Hayward  are  Dan  Dailev  as  "the  hot- 
test salesman  in  the  business",  who  teams  with  her  and 
Sam  Jaffe  to  start  their  own  dress  factory.  How  she  attempts 
to  leave  her  partners  behind,  tempted  by  the  suave  George 
Sanders*  offer  to  become  top  dog  of  the  designers,  but 
ultimately  gains  a  new  set  of  values  is  deftlv  told  in  the 
Abraham  Polonsky  screen  play. 


autwfHM 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1950-51  Features  Completed  (44)      In  Production  (0) 
Serials  Completed  (2)      In  Production  (0) 
 Westerns  Completed  (11)      In  Production  (1) 

NEW  PRODUCTIONS 

TEN  TALL  MEN 
Western— Started  March  27 

Cast:    Burt  Lancaster,  Jndy  Lawrence,  Gilbert 

Moore,  Gerald  Mohr 
Director:  Willis  Goldbeck  Producer 

Story:    Range  terror  and  the  men  who  bring  justice. 

RELEASE  CHART 

  1950-51   

COMPLETED 


Roland,  Kieron 
Harold  Hecht 


Tltre — Running  Time 

Big   Gusher.  The   

torn  Yesterday   

Brave   Bulls,  The   

Chain  Gang   

China  Coi«-.ir   

Congo  Bii:   


Ca<t 


Details 


oster   3-12. 

-Holliday   7-3. 

uin   3-27. 

-Lawrence   6-5 . 

.  HajJ-f  erraday   2-26. 

.  NcGllrt-Mosrc   5-1C 


12-50  344. 

.5-51  

11-50. . . .313. 
. 6-51  


Criminal    Lawyer   0  Bricn-Wyatt   12-18 

Dick  Turoin's    Ride   ■liy-vard-Mcd  na   11-6. 

Emergency   Wedding    (78)   Parks-Hale   4-10 

Firefighters.  The   WiiMams-Rcvnolds  ...2-27 

Flying    Missile.    The   Ford-Linfors   7-31 

Fort   Savage    Raiders   Sta.-rett-Burnctte   9-25 

Forv  of  the  Congo   Weismuller-Talbot   7-3 

Harlem    Globetrotters,    The   Gomez-Dandridge    11-6 

Her   First   Romance   O'Brien-martin   8-28. 

Her  Wonderful    Lie   Klepura-Eggerth        ..  11-10 

Details  under  title:  The   Eternal  melody 

He's  a  Cockeyed   Wonder   (77)   Rooney-Moore   .   .  .. 

Hurricane    Island    Hall-Windsor  10-23 

Lorna  Doone  (T)   Halc-Greenc   6-5. 

M    Wayne-DaSilva 

Magic  Carpet   'Ball-Agar    12-18 

My    True  Story   Parker-Walker    12-18 

Ho  Sad  Songs  For  Me  (89)   Sullivan-Corev  10-24 

Operation   X    (78)   Roiinson-Cummlns    .  . 

Petty  Girl,   The  (T)    (87)   Cummings-Caulfield  ...9-26. 

Prairie   Roundup   Starrett-BurneUe   7-31 

Besenue  Agent    Kennedy-Willes     .  .  7-31 

Ridin'  the  Outlaw  Trail   Starrett-Burnettc   8-28. 

Riders  of  the  Whistling   Pines   Autry-Whit.  7-5 

Details  under  title:  Wings  Westward 

Santa  Fe   (T)   Scott-Carter   7-3. 

Saturday's    Hero   uereK-DaRe   6-19. 

Secret,    The   Derek-Coub   2-26 

Silver   Canyon   Autry-Davis   3-26. 

Sirocco   Bogart-loren   11-20. 

Son   of   Dr.   Jekyll   ' "  Hayward-Knox   3-26 

Sonny  Side  of  the  Street   Lane-Daniels   1-29 

Texas    Rangers   Geo.  Montgomery   

Valentino   <T)    (103)   Parkkcr-Dcxter   6-19. 

Valley  of  Fire   Autry-Burnette   

When  the  Redskins  Rodb   Hall-Castle   8-28. 

Whirlwind   Autry-Burnelte    12-18 

Yank  in   Korea,  A    (73)   McAIIUtir-Phillips  ....11-6. 

.  1949-50   

.  Starrctt-Bornette   4-10. 

.Aotry-Gwynne   5-8. 

.  Welsmaller-Crabbe    .  .  .  10-24 . 

.Parker-Long   .-1-30. 

Ball-Albert   2-27. 

.Bogart-Grahame   11-7. 

.Auiry-Buttram   4-10. 

.  Dorlck-Lynn   9-12. 


.1-51.... 335. 

. 3-51  

.4-51  


12-50. 
.7-51. 
.6-51. 
3-51. 


.  3-51 


.2-51  

.9-50  317. 

.1-51.... 363. 

.3-51  312. 

2-51  


Across   the  Badlands   

Waging  Sun   

Captive  Girl   

David  Harding,  Counter  Spy 
nller  Brush  Girl.  The  ... 

In  a   Lonely  Place   

ladian  Territory   

Rogues  tf  Sherwood  Forett  (T)  (80) 


(71) 


. 6-51  

. .4-51 

3-26 

.5-51  

.4-51   

.  .2-51. 

.3-26 

.9-50. . 

.  .262 

11-50. . 

.7-50. . 

. .240. 

.7-50.. 

. .220. 

10-50. . 

. .239. 

. 8-50  . 

.  .242 

.9-50. . 

..249. 

.7-50. . 

..243. 

1950-51 


EAGLE-LION-CLASSICS 


Completed  (  2)      In  Production  (1) 


IN  PRODUCTION 

Title — Ron-lni)  Time 
Hordlum.  The 

COMPLETED 

Alice   In  Wonderland  (A) 

Badman',  Gold   

Blackjack   

Border  Outlaws  (58)   

Cairn  Road   

Cattle  Oueen   

Clrclr  of  Danger   

Cloudburst   

Destination  Moi>-  IT) 
tye   Witness    (104)  ..... 

Hinting    Rebels   ,, 

tolden  Salamander  (96) 

Good  Time  Girl   

High   Lonesome   (T)  (81)   

I    Killed  Garonimo   

I'll  Bo  Seeing  Yo»   

Kangaroo    Kid  (73)   

Korea  Patrol   


RELEASE  CHART 


Ca-' 

Detail* 

Rel.  No. 

.  .  .3-26 

  1949-50-51   

 Marsh-Murrav 

.  Foreign . 

.  .  Feb  

 Marshall-Sanders 

Foreign 

.9-50  

 Coolry-Hart   

11-2  

 Eric   Portman  .... 

. .5-8  

 Hart-smith   

.  10-23 

  MIHand-Ror   

'.'.2-8  .  '.  .  '.'.'.'.  '. 

 Prtiton-Sellari   

.  .  1-29 

 Ancerson-Archer 

.11-21 

'.B-50. 

 Montgomery-Banks  . 

.9-50  

 Anouk-Howard  .... 

Foreign . 

.12-1........ 

 Kent-Robson   

.5-50  

 Barrymorc  ir.-Butler 

11-16  . 

.9-50  . .  044. 

  EMIion-Herrlek     .  •  . 

6-19 

.8-50  

 Hogort-Cotlen   

Reissue 

 0  "anonty-Borg  ... 

10-22 . ; . 

 Eraory-Fong   

'  11V9  .  . 

.1-15  

In  the  Release  Chart,  the  date  under  "Details"  refers  to 
issue  in  which  starting  date,  cast,  director,  plot,  etc., 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  I 
Release  Number.  "Rev."  is  the  issue  in  which  the  Revi  h 
appeared.  There  may  be  variations  in  the  running  time  I 
States  where  there  is  censorship.  All  new  productions  I 
on  1950-51  programs  unless  otherwise  noted.  (T)  immel 
ately  following  title  and  running  time  denotes  Technicol,, 
(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 


Long   Dark    Hall,    The   Harrison-Palmer   4-10  

Lovable  Cheat,  The  (77)   fuggles-Garner   1-31.  4-1- 

Mr.    Universe   Carson-Paige   1-10  

My    Outlaw    Brother   Rooncy-Hendrix   2-27  

Narcotic  Agent   Henry-Blake   3-27  

Oliver  Twist   (115)   Newton-Guinness    ....  Foreign ...  4-17  

One  Minute  to  Twelve  (76)   Hanson-Brost  om      ...  Foreign ...  10-1  

Paper   Gallows    (80)   Anderson-Bentley   Foreign  .  .9-22  

Passport  to  Pimlico    Rutherford-Holloway     ..Foreign  010 

Prehistoric   Women   Luiz-Nixon   5-8...  11-1  

Project   "X"    (60)   Colton-Andes   10-7  

Rebecca    (SRO)   Fontaine-OJIvier   Reissue  Jnlv  

Rogue   River   Calhoon-Lldell   8-14.. 11-15  

Sarumba   (65)   Dowling-Whalen   Jan.... 014. 

Saarah  for  Danger  (63)   Calvort-Dell   1-3  4-8  

Sacond  Face,  The   Bennett-Johnson  5-8.  .  .1-51  

Skipalong  Rosenbloom   Bair-uoegan   4-3  

So  Long  at  the  Fair  (90)   Slmmons-Bogarde   Fareign.  .3-29  

Stronghold   Lake-«cott   

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27.  .  .  1-22  

Taming  of  Dorothy  (75)   Kent-Beatty   Fore'gn .  .  .9-29  

They  Were  Not  Divided   Underdown-Clanton    ..Foreign  2-1  

Time  Running  Out   Clark-Signoret   Foreign ..  10-31  

Tinderbox   (C)   Cartoon  Feature   12-25  

Two  Guys  and  A  Gal   Paige-Alda   5-15  

Two   Lost  Worlds    (61)   Elliott-Arness   10-29  

Vicious  Years   Cock-Mcrritt   

Volcano   Magnani-Brazzi     ....  Foreign ....  5-1  

Wicked    City   ..  Montez-Aumont   1-2  

When    I  Grow  Up   Preston-scott   12-18... 4-20  

Wind  Is  My  Lover,  The   Lindfors-Kent  


1950-51 


LIPPERT 


Completed  (3)     In  Production  I 


NEW  PRODUCTIONS 

THAT'S  SHOW  BUSINESS 
Musical — Started  March  29 

Cast:    Harry  Rose,  Johnson  &  Brown,  Jimmy  and  Mildre 

cay,  The  Diacoffs,  Paul  Gordon,  Jean  Carroll 
Producer-Director:  Ron  Ormonci  Assistant:  Fritz  C 

Story:    Life  on  the  old  vaudeville  circuits. 

*  '  EASE  CHART 

  1949-50-51   

COMPLETED 

Title — Running    Time  Cast  (Mails        R,|  «. 

Bandit  Queen   Britton-Parker   9-25  . 12-15 .  .  .  5011 

Border    Ranger   Barry-Lowery   10-6.  .  .493 

Colorado  Ranger   Ellison-Havden   4-21... 492 

Danger    Zone   Beaumont-Travis   4-20 

Fast  on  the  Draw   c Ilison-Hayden   1-2.  .  .5-19 

Fingerprints   Don't   Lie   Travis-Ryan   3-3 

Gunfire    Carry-Lowery   8-11 

Hijacked   Davis-Jones   5-8.  .  .7-14 

Holiday   Rhythm   Hughes-Street   6-5  . 10-13 

I  Shot  Billy  the  Kid   (58)   Barry-Lowery   5-8  9-8 

Kentucky   Jubilee   Colonna-Porter   2-26. 

Little  Big  Horn   Ireland-Bridges   2-26. 

Mask  of  the  Dragon   Travis-Ryan   12-18. 

Motor  Patrol    (67)   Castle-Nigh   3-13. 

Pier  23   Beacmunt-Savage   

Return  of  Jesse  James  (75)   Ireland-Dvorak   6-5.... 9-8 

Roaring  City   Beaumont-Travis   1-15.... 2-2 

Savage  Drums    Saoii-Baron   3-26  

Steel    Helmet,   The   Edwards-Brodio   11-6        2-2.  .  .5006 

Stop  That  Cab   Melton-Adrian   3-31... 501 

3  Desperate  Men   Foster-Davis   10-23  1-5  

Train   to   Tombstone   Barry-Lowery   5-8 ...  9-15 ...  4934 

West  of   Brazos   Ellison-Hayden   12-19  6-2... 4930 


.5-18. 
.6-18. 
.3-17. 
.5-12. 
.4-27. 


.5017. 


4931. 
5007 
50U3 
5013 
4923. 
^018 
4907. 
5016 


METRO-COLDWYN-MAYE 


[I 


1950-51  Features 


Completed  (89)     In  Production  » 


NEW  PRODUCTIONS 

BANNERLINE 

Drama- -Started  March  23 

Cast:    Sally  Forrest,  Keefe  Braselle,  Lionel  Barrymore.  1 
Stone,  J.  Carroll  Naish.  Spring  Byington,  Larry  Ke 
Director:  Don  Weis  Producer:  Henry  Bq 

Story:    Headlines  and  headline-chasers. 

PEOPLE  AGAINST  O'HARA 
Comedy -Started  March  19 

Cast:    Spencer  Tracy,  Pat  O'Brien,  John  Hodiak,  Diana  1 

Richard  Anderson,  Jim  Arness 
Director:  John  Si  urges  Producer:  William  H.  Wl 

Story:    Small  town  litigation  ends  up  bringing  out  the  finer  Qualities  of  the! 

citizenry. 


34 


FILM  BULLE 


AJN,  RAIN,  GO  AWAY 
imedy— Started  March  19 

1st:    James  Whitmore,    Nancy    Davis.   Jean   Hagen,  Ralph 
Meeker 

iirector:  Fred  M.  Wilcox  Producer:  William  H.  Wright 

lory:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 

TIHe—  Running    Tlmi  r».i  OHiHs 

l-th   Couniry   Gnng:r-Core>  3-26 

,«j  Carnival   W jl Ii^ms-Skclton   2-26. 

  1950-51   

OMPLETED 

ess  tin  Wide  Missouri   (T)  (95) 

.erlean   in   Paris   (T)   , 

idlcy  Mason  Story,  Tha   

Ila|  Biltdog  Drummond   

lit  tor  Alarm  (75)   

II'!  Doorway  (84)   

■I  1119  (75)   

MM  My  Dait  (T)   

tier's  Little  DMdeo*  (82)   , 

I  For  Broie  (92)   

at  Caruso,   The  (T)   

ends  For  Marriage  (91)   

idline   Story  (61)   

ide  Straight  (90) 


, .  baoie-Hodi-.il 
. .  Kellv-Caron    . . . , 
.  .Pidfitoi-Hard  no 
.  .  Pldnco.i-L'rhton 
. ,  Yoiing-S'illivan 
.  .  Taylor-Raymond 
. .  inomp.on-Meld 
. .  bkel  on-rorrest 
..Traay-Tajlor 
.  .  Jonnsou- Anderson 
, .  Lan.M-Hlvth 
. .  Jolmson-G  ayson  . 
. .  CrlsB-Heynalds  .. 
,  Bri; 


. .8-14. 
. . 1-29 
.8-28. 

.  8-29 . 
. .3-27 

.11-6. 

10-23 
. . 10-9 . 
S-26 

.6-5 


. . 9-25 . 
.  4-24. 
12-19 


lan 


. .2-12 
..2-13 
.12-18 
. .7-17 
.10-10 
.8-14. 
. .3-13 
.  .  .  1-1 


Big   Coontry   All  Star, 

k    (T)    (112)   Flynn-S'ockwell 

Id   Lady   Barrymore-tvam 

g  Solomon's  Mines   (T)    (102)   Ktrr-branaer 

I  and   Lady   Loverly,   The   Garion-Wiiding 

i  of  Her  Own,  A  (108)   Turner-Corey 

t  li  Better  Than  Ever   layiLr-Ksrks 

rnificent  Yankee    (89)   Calhe.n-Harding 

i.er  Story,  Tha  (104)   Garson-p  doeon 

I    iBperlgm    (T)   Turner-Pmza 

t  Vaice  You  Hear.  The  (82)   Whitmore- .avis 

■Questions   Asked   Sullivan-D  hl 

In  ted  Hills.   The    (T)    (68)   WH!ia,ns-Keel 

nted  Hills,  The  (T)   Lassie-Kelly   

idora  and  the  Flying  Dutchman   (123)  .  .  Mason-Cardner 

'tie  In   Love   Milland-Hodiak  . 

I   Vadis   <T)   Taylo-K*r,- 

Badge  of  Courage  (81)   Murphy-Mauldin 

li.  Young  and  Pretty  (T)   Poweil-camone  . 

lit  Cross    (90)   Powe:i-Mon:a  ban 

lal  Wedding  (T)    (92)   Astaire-Powcll 

J»  Beat  (T)   Gardner-Keel    .  . . 

Iter's   Three    (92)   Granger-Pidgcnn 

Setly  Dishonorable   Pinza-Leigli  ... 

The   Rooney-Forrest  .. 

'I  Target.  The   Powell-Raymond 

•etails  under  title:  Man  on  the  Train 

isa  (101)   Angeli-Er  ckson 

ee  Guys  Named  Mike  (90)   rVyisDr.-Jolmson 

'  Please  A   Lady   (92)   Gable-Stanwyck 

»t  of  New  Orleans.  The  (T)   (97)    . . .  Rrayson-ianza  . 

I  Weeks  with  Lone  (T)    (92)   Powell-Montaiban 

'Nance  Valley  (T)    (83)   Lancaster-Walker 

eb  the  Birdie  (70)   Skelton-Britton 

  1949  •  50   

lie  Get  Your  Gun  (T)    (107)   Hutton-Keel   10-24.. 

jh  (96)   Grant-Ferrer   -.1-16.. 

bess  of  Idaho  (T)  (98)   Williams-Johnson   11-7.. 

her  ef  the  Bride,  The  (93)   Bennett-Tracy   1-30  . 

iay  Years,  The  (T)    (110)   Stockwell-Beckett   9-26.. 

kl  Wlthoat  Passport  (72)   Lamarr-Hodiak   1-16.. 

(per  Surprises  His  Wife,  The  (85)    ...Walker-Leslie   11-21., 

H  In  My  Crown   MeCrea-Drew   6-20.. 

■er  Stock   (T)    (109)   Garland-Kelly   12-5.. 

IN  Uttle  Words  (T)    (102)   Astalro-Skelton   12-19. 


MONOGRAM  -  ALLIED  ARTISTS 


ItL 

No. 

An 

.  .ill*  

.  .July 

.June. . 

.  .Feb.  . 

.118. 

.2-12 

..Sept.. 

.102 

. . .6-5 

.  Nov.  . 

.107. 

10-23 

. .June.  . 

.  Apr 

'l24^ 

. .2-26 

.  .May 

Apr 

.127. 

.  Jan. . 

.114. 

12-18 

.  .Mar  

.115.  12-lo 


. . .9-11. 
. . . 12-4 . 
.  .  .4-1U  . 
. . .7-17. 
. . .12-4. 

.  11-6  . 
.. .1-29. 
. . .1-29. 
...1-29. 


. .  .Sept.  . 

.  .101. 

. .9-25 

.  .  .Feb.  . 

...Oct.. 

..116. 
. .106. 

.1-15 
10-23 

.  .  .Oct. 

.110. 

.  .8-23 

. .  .Dec. . 
.  .  .Mav 

. .112. 

. . .1-1 

'.y.'.'.y.'.'.iiso''''.'' 

.8-14. 
.4-24 
.1-16. 
.4-10  . 
.6-19  . 
.5-22 


.119. . .2-12 

.105  

.103... 8-28 

 10-23 

.117... 2-12 
.113... 12-4 


.39... 4-24 
.41. . .7-17 
.33... 6-19 


.  .6-5 
.  6-5 
.7-31 
.5-22 


1950-51  Features 
Westerns 


Completed  (  2) 
Completed  (  1) 


In  Production  (1) 
In  Production  (1) 


NEW  PRODUCTIONS 

A.THER  TAKES  THE  AIR 
pmedy— Started  March  24 

ist:   Raymond  Walburn,  Gary  Gray,  M'liss  McClure,  Barbara 

Brown,  George  Nokes 
director :  Frank  McDonald  Producer:  Peter  Scully 

|ory:    Further  adventures  in  the  Henry  story  series. 

RELEASE  CHART 

Lm    1950-51   

OMPLETED 

Title— Banning  Tina 

»r«"lng  to  Mrs.  Hoyle   


Ibtrs  Wild  Game  (61)   

»it  Chasers   

ihwayman,  The  (T) 

'  Paiooka  In  Humphrey  Take,  a" Chance' 
m  Hunters.  The  . 
in  From  Sonora 
*lcaa   Silver  .... 
'««n  Marriage,  A  (66) 
vy  Bound  . 

'"da  Bad  man   

|«h"  Inn   

"a  Passage   . 


(54) 


Cast 

n„taH. 

Hal. 

No  Raw. 

.  Bying'on-Chandler 

. .11-20. 

.5-20. 

.5122  

.Brown-Hail   

. .5-6. . 

Sheffield-England  . 

 6-5. 

9-24. . 

.4906  

.Gorcey-Hal!   

. . .8-14. 

. 1-21 . 

.5111  

.Wilson-Clvde  .. 

2-1 1 

.  4-9.. 

4941 . 

.  Foriics-O  Kerlihy 

.. .3-12. 

6-10. . 

.  Cameron-Long 

...10-9. 

.5-13. . 

.5101,'.'.'.'.'.'. 

.  DeFoe-King     .  .  . 

7-3 

.Calhoun-Nigh 

. . .4-24. 

.'.8-1.. 

.4903......  . 

.12-3. 

5125  

.  Gorcey-Hall   

1-29. 

.4-29. 

.5112  

.  H?ndrix~Coburn  .. 

. . .3-12. 

Kirkwood-Errol    .  . 

. . .3-13. 

Y.'&X. 

..4912.  .  .  .  . 

Sheffield-Whitfield 

. .    . 1-1 . 

.3-25. 

.5109  

.  Brown-Hall   

. .11-20. 

.3-11. 

.5141  

.  Wilson-Clyde   

 6-5. 

.  Clarke-Field   

...2-13. 

10-15 '. 

5199.  .10-9 

.  Neal-Toomey   

...11-6. 

.2-25. 

.Wilson-Knight  ... 

. . . 2-26 . 

.5-27. 

.5152  

.Frazee-Grant   

..12-18. 

.2-11. 

.5115  

.Morris-Hale   

..1-7. 

.5107  

Trail  Dust 

Vicious  Years.  Tha  (79)   

Wltneu,  The   

ALLIED  ARTISTS 

I    Was   An   American  Spy   

Soethside   1-1CO0  '73i   

Short  Gra>»   

Abilene    Tra  I  i64>   

Ari/om  lerrltory   

Blu  Time:   

Blue  Blood  (C)       .  . 
Bomba   and   Ihr   Ltll  Volcano 

Call  of   fh-  Klondike   

Cherokee    Uprising  157)   

Maratf  ambush 

Gyp.y  Firy   

Hot    Rod     61 I 

Joe  Pamoka  in  the  Sgjand  C'-c'e 
lull  a*  Gou  I'll 


SUk  >...o„ 

Snow  nop   

Triple  Trouble 

Wild    Horse  Prairie 


Dvorak-Evan 

1-29 

.4-15 

.  .19 

" »     fa  m 

1224 

18 

—  1919-50   

*  1  an   

r-  11 

2- 1 

WHson-C  yde  .... 

6-5. 

7-2 

49 '2 

MaeUawrll-Donnell 

6-10 

C-10 

4908 

Williams-Nigh 

.    !  -2  ; 

1-28 

49  j4 

4  1 

.  1.  -.it.,  i..." 

.  Bra  t-Ch:"ook 

1T-1 

12-17 

'  20 

PTH  nn-Clyde   

8  ^8 

0-8 

£»1 

1-14 

.  .  Vive:a-Llndfors 

3-18 

.192 

i  yoon-yyin  tr»  ... 

!  '8-14' 

10-22 

4S18 

'irkwooo-r.lrison 

:ii> 

•  row-ifia  an 

7-11 

11  "6 

•9  4 

Wilson-Clyda   

:-n 

12-10 

.4945 

acCelre-Oelllao 

6 

Land  s-Calleia    .  . 

.  Rel'sue 

. .  7-9. 

4923 

rrant-Verdugo  . 

5  3 

-7-6 

4  19 

Goreev-Hall 

r -* 

K-13 

4915 

.   WH.on-Knight    . .  . 

2-12 

. . .4-8. 

.51  1 

PARAMOUNT 


L950-51  Feature: 


Complete*]  (89)       In  Production  (3) 


19.10-51  — 

,  Dojgias-strrling 
Ladd-Cal  crl 


.  Ladd-Frctdman 


3-26 


8-15 


.3-27 


014  12-18 
5  CO).  12-18 


01  vlrr- 


-11. 


m  <lan«  L»m„r   4-25. 

.  Payiu-Flemhg   1-29. 

.  For.tain — Lund   11-20. 

ieston-,cM   4-24. 

.  Freemai.-Arrold   11-6 

2-26 


10-50 
10-12 
8-51 

10-50 


.H-yoen-Rush   12-4. 

.  Corey-C  -rey   6-5 . 

.1  to  iy-w  ,ran   12-4. 

Rcagai-Fleming   10-23 

.  Hose-Maxwell   

.  Hatton-Astaire   7-18. 

.  Tierney-Luad   6-5. 

 8-28. 


.9-4. 
2-51 .' 


5001.  .8-14 
.  5013  .' .  .  .1-1 


RELEASE  CHART 

IN  F-KOfllTTIOV 

-■•l«_ft,n-ln.    Time  t—l  Details 

Greatest    Show   on   Earth   u  J'to'-«:ewa-t 

My   Favoriti  Spy   

My  Son  John   

COMPLETED 

Ace  in  The  Hole  (112)   

Appaintment  With   Danger   (89)  .... 

Details   under   title:   Postal  Inspects 

At   War  with   the   Army  (93)   

Branded    (T)  (103)   

Details  under    title:   Montana  Rioes 

Carrie   

Cassino  ta  Korea  (59)   

Conner  Caavon   (T)  (85)   

Crosswinds  (T)   

Darling.   How  Could  You!   

Dark   City  (S8>   

Dear  Brat  (82)   

Detective   Story.    The   Douglas-?a  ke. 

Fancy  Paots  (T)  (92)   

Fort  Savage  (T)   

Great  Missouri  Raid.  The  (T)  (85)  

Mere  Comes  the  Groom   

Last  Outpost,  The  (T)   

Lemon  Drop  Kid,  Thr  (91)   

Let's    Dance    (T)  (112)   

Mating   Season,  The   

Details  under  title:   A   Relative  Stranger 
Molly    (83)   Bcrg-Loeh 

Rev.   under  title:   The  Goldbergs 

Mr.    Music    (108)   Crosby-Hussev   11-7 

Paisagc  West   (T)    (80)   Payne-0  Ketfs   

Peking  Express   Cottcn-Calvet   3-12 

Place   in   The  Sun,  A   Clift-Winters   10-24 

OamrtreM's   Raiders    (T)   La40-Kcnnedy 

Quebec   (T)    (85)   Barryirore  Jr.-Calvet  ...7-3 

Redhead  and   the  Cowboy   (82*   Ford-Fleming   

Knuoarb   Miiiaiio-steriing   j-lZ 

Saaison  and  Delilah   <T>    (128)   Laaarr-iv.ature   10-23 

September  Affair    (104)   Fontalnt-Cottcn 

totaething  To    Live    For   Foiitaine-Milland   6-5 

Details  under  title:  Mr.  and  Mrs  Anonymous 

Stooge,   The   Martin-Lewis   2-26 

Submarine    Command   Holden-oison   1-15 

(Details  under  titlo:  Submarine  Stody,  The) 

That's   My    Boy   Martin-Lewis    12-18... 8-51 

Trto    (91)   Simmons-Rennie   Foreign  

Trhjoll    <T)    (95)   0  Hara-Payne   3-27.. 11-11 

■nsoa   Station    (80)   Holden-Fitigerald     ....  1-30.  .  .9-50 

Wartwtt   (T)   O'Brien-Jagger   9-11  

When  Worlds  Collide  (T)   Derr-Rush   1-1  

  1949-50   

Eagle  and  the  Hawk,  Tha  (T)   (104)   Payne-Fleajli,   8-15... 6-50 

Fartaa,  The  (109)   SUnwyet-Corey   12-5.  .. 8-50 

Law  leu.   The    (83)   Carey-RuuaJI   11-7  .  .7-50 

My  Friend   Irma  Goes  West   (90)   Wllsoo-Leod   2-13... 7-50 

toweot  Boulevard   (110)   Holden-Swaasoo   4-25... 8-50 


.5-51 
4-51 
11-23 
.3-51. 

.4-51. 


.5020  

5018  3-26 
'006  8-** 

.5016  .  .1-39 

.5011  . .12-4 

.5007  . .  s-n 


I...8-51. 

)  

.5025 

). . .4-51. 
. . .3-51. 

5017' 
.5015. 

!!££ 

>. .  .3-51. 
...2-51. 

.5010. 
.5012. 

ll-Bl 

.1-15 

. 5005 .  10-2* 
.5002... 7-n 

.5024  


E-13 


.4916. 
4926. 
492). .  4-1B 
492*.  S-lf 
4927. .  4-t* 


RELEASE  CHART 

  1949-50-51   

Title— Banning   Time  Oast 
All  talrt  on  the  Western  Front   (103)    .  .  .  Ay«-Wolhelm  . 

toyond    the  Sunset   Ford-O'Brien  ... 

Bowery  to   Broadway    (94)   OConnor-Blytli  .. 

Dead  Man  s  Eyes  iey»)   CUtJiey-Partar   

East  Side  of  Heaven   (88)   Crosby-BlosdeM  ... 

Flesh  and   Fantasy   (94)   Robinson-Stanwyck 

Follow  the  Boys    (109)   Raft-Oietrler  ... 

Framed   (60)   Albortson-Mooru  ... 

Frlseo  Sal   (94)   Foster-Bey   

Guilty  of   Murder    (80)   Sandurs-Fltjferald 

Gypsy   Wildcat    (T)    (75)   Montu-HaJI   

Here  Come  the  Coeds  (90)   Abbott-CosteHo 

If   I    Had   My  Way   (93)   Crosby-Jem   

Imitation  of  Life   (109)   Coloert-Boaren  ... 

I  Stoie  a  Million   (80)   Raft-Tmor   

Keep  'Em  Slugging   (61)   Bead   End  Kids  ... 


8-50 
5-8 
2-50 
5-50 

1-  50. 
4-50 

2-  50 
. .3-50 
. .2-50 
. .6-50 
. .6-50 
.  6-50 
.  1-50 

12^19 
.3-50. 
.5-50. 


027 
834 
020 
0J6 
023 
016 
022 

.041. 

.031. 
032. 
021 
01! 
017 
039 


pRIL   9,   195  1 


(91)    .  . . 

Nightmare  (82)   

Mr.   Dynamltt  (68)   

Paris   Bo:«Bshell    (96)    . .  . 

Parole  (67)   

Sospeet,  The  (85)  .... 
Shadow  of  a  Doubt  (108) 

(allhrans.  The   

Tough  As  They  Come  (61) 
Walk   In  the  San,  A  ... 


1950-51  Features 
Serials 
Westerns 


,  .  ,  Donne-Taylor   

'  fX\  

.  .  .  O'Cenner— llythe 

 sZso 

,  ,  Donlevy— Barrysaare    .  . 

 kZko 

■  • iff  

.  .  .  Nolan— Hervey   

 dlsn 

"  '  jjgj  

.  ,  .  Scett-Rathbeao   

 2  so 

 j^jq 

! !  ois 

l««ithton-R»J««i  .... 

!"!!:"6-so!! 

'.'.042.'.'.'... 

.  .  .  Wright-Cotton   

 12-49.. 

..019  

...Baxter-Mitchell   

.1-51  

. . .  Dead  End  Kid,   

 5-50. . 

".".040*."*"".'" 

.  . .  Andrews-Can  it   

.1-51  

(  29  )  ' .' .' 

. . .  GMistar  Daeamentary 

 3-50. . 

'.'.030.'.'.'.'.'.' 

REPUBLIC 


Completed  <18)  In  Production  (0) 
Completed  (1)  In  Production  (0) 
Completed  (8)     In  Production  (1) 


RANGERS  OF  THE  GOLDEN  SAGE 
Western— Started  March  27 

Cast:    Michael  Chapin,  Eilen  Janssen,  Lucille  Barkley,  James 

Bell,  Hazel  Shaw 
Director:  Fred  Brannon  Producer:  Rudy  Ralston 

Story:    Another  in  the  series  starring  Republic's  new 

RELEASE  CHART 

  1950-51   

COMPLETED 


kid  cowboy  and  cowgirl. 


rme 


Bade 


-Running  Tim* 


.7-31. 


R»l 

. . 1-27 . 

 May. 

. .6-5  

.3-27. .12-15. 
.9-25. . . .3-5. 

.3-12  

 4-28. 

 May. 

.  .3-12. .  June. 


.5006. 


Grand   Rai=ton-Carroll 

Sheriff  of  Texas   Chapin-Janssen  . 

Balltghter  and  the  Lady   Stack- Page   

California    Passage   rueker-Mara   

Cuban    Fireball   Estelita-Vlneent 

Dm   Daredevil   Rides  Again   Curtli-Towne   

Fighting  Coast  Guard,  The   non'e/y-Tneker  . 

Fegitlve  Lady   Pa  ge-Barnes   

Havana   Rose   Roflngiicz-Bonanova 

■tart  of  the  Rockies   Rogers-Edwards   10-23 ...  3-30 ...  5042  

Hit  Parade  of  1951    (85)   MacDona'd-Carroll   5-22 ..  10-15 ...  5002.  .11-20 

Honeychile   (Tr.)   Canova-Foy.   Jr  11-6... May  

In   Old    Amarillo   ROgers-iiodriauez   May. 

Insurance  Investigator   Uennmg-Long   12-18 ...3-23. 

Lady    Possessed   Ma-,on-Havoc   3-26. .  .June  

Macbeth   Welles-Nolan   10-20...  5003  

Million  Dollar  Pursuit   tdwirds-Flagg   3-12... May  

Missing  Women    (60)   Edwards-IWHIican   11-20 ...  2-23  .. 5025 ...  3-12 

Night   Raiders  of  Montana   Lar.o   12-4. 

flh,   Susanna!    (Tr)    (90)   Cameron-Tucker   6-19. 

Pride  of  Maryland   Clemen :s-Stewart   10-9. 

lie  Grande   '105)   Wayne-O'Hara   7-3. 

Roiieo   King  and  the  Senorita   Al!en-Kay   3-26. 

Rough   Riders  of  Durango   Lane-Towers   10-23.. 

tllvtr  City  Bonanza   Allcn-Ebsen   11-6  . 

Spoilers  of  the  Plains   (66)   Rogers-Edwards   8-28.. 

Surrender   Carroll-Mara   3-14.. 

Details  under  title:  Untitled 

Thunder   in   God's   Country   Rex-Allen   4-8. 

Walls   Fargo  Gunmaster   Lane-Ch-nln   2-12... 4-30. 

  1949-50  

Annuo.    The   Carrell-Raliten   3-13...  6-26. 

Camrod  Wagon  Raid   Lane-Walter   3-13... 6-30. 

Destination   Big  House   Patnek-Rtekwell   6-1. 

Frfceo    Tornado   Lana-Wallor   6-5  9-6. 

Jangle   Stampede   Native  Cast   7-29. 

LMtly   Hearts   Bandit   Patrlob-Eldrldge 

•id  Fraatler.  The   Hala-Harst  ... 

FHaamtfl   la  Pattlooate   Rerkias-Roakwoli 

■advoad    Forest   Trail   Allaa-Donnell 

Neotia,  an  Horwkaok   


.  5026 


. .2-28. . .5059  

. .3-10. . .5008. . .3-26 
. . 1-20... 5C23... 1-29 
.11-15. . .5004. .11-20 

.  .Jane  

.1-30. . .5058  

. .3-1. . .5051  

.2-5... 5041... 3-12 

.9-15... 5001  


Tile   

of  Caliente  

•Matt  la  tat  Wast  (C)   

TraM  of  Rabin  Hood  (C)  (67). 


South 


.  .  Lane-Waller 
.  Elllott-B 
.  Roge.-s-Evans  . 
.  Rogers-Edwards 
.  Rogers-Edwards 
.  Patrlek-Roekwell 
.  Roftrt-Eraai 
,  .kllen-Patrlek  . 
.  Laae-Waller    .  . 


.4-24. . .8-29. 
.4-10. . .7-29. 
..5-8... 9-18. 
.11-7... 9-18. 
.7-31. .10-23. 

 t-15. . 

.  .3-26.  .  .Jane. 
.3-27... 9-25. 


.5052. 


.4920. 
.4965. 
.4918. 
.4967. 
.4922. 
.4925. 
.4973. 


.4953. 
.4968. 
4924.. 


.7-3. 
. .2-27. 
.12-19. 


12-15... 4946. 
.7-8... 4921. 
.6-30... 4945. 
11-20... 4954. 


RKO  RADIO 


1950-51  Features 


Completed  (47)     In  Production  (1) 


NEW  PRODUCTIONS 

BEHAVE  YOURSELF 
Comedy-  Started  March  19 

Cast:    Farley  Granger,  Shelley  Winters,  Francis  L. 

William  Demarest,  Lon  Chaney 
Director:  George  Beck  Producer:  Stanley  Rubin 

Story:    Trials  and  tribulations  of  a  coupl..  of  newly  weds 

RELEASE  CHART 

IN  PRODUCTION 

Title — taeniae   Time  Ca.t  Details        a. i 

Aadreele,  »"<  the  Lie*   Simmons-Newton  t-U  "*  **■ 

»•"    «"•«.    The   Yo.nu-carter    .....  3-26 

  1950-51   


GROUP  ONE 

■ardor  Treasere   

•era  Te  Re  Rad  (93)   

•oeea   taaad  (S7)   

twwaae  (75)   

Walk  teftty.  Straaaar  (81) 

GROUP  TWO 

l 

a  Dell 


Sterllno-Dlron 
. ' -.or™- Powers 
.t  tlett-Valll  .. 


.  Hooird-Dlian  '.. 
.Oanni-Maclerray 

.Holt-Martla   


.8-50. 

. .105. 

.  .7-4 

.8-50.. 

.101. 

.9-11 

8-n 

.2-27 

.9-50.. 

. .104. 

.t-27 

.10-50. 

. .103. 

.9-aU 

.11-50. . 

.  .102. 

.9-11 

.11-50.. 

. .107. 

1-15 

11-50. 

.106. 

.11-50. 

.108. 

.  Ryan-Trevor  . 
.  Ayrts-Wright 
.Grcer-O'Keefe 


.6-19. 

.6-19. 
.7-31. 
.12-3. 
.12-4. 
.8-14. 
.2-13. 

.11-6. 


.2-51. 
12-50. 
.8-50. 


.4-51  

.2-51  

10-50... 166. 
.6-51  


NOT  DESIGNATED 
Ulec  la  Wonderland  (T)   

Best  of  the  Badmen   

Capture.  The  (81)   

Company  She  Keeps   

Details   under  title:  The  Wall  Outside 

Creak  Dawn   Wlllann-ArnMtrong 

Cry  Danger   (79)   Powell-f lemlng 

Doable  Deal  (64)   Oenning-Wladser 

Edge  of  Doom   Andrews-Granger 

Frying   Leathernecks   (T)   Wayne-Ryan   

Footllght    Varieties   raar-3utW>ns    .  . . 

Gambling    House    (80)   Bendix-Mature 

Details  under  title:  Alias  Mike  Fury 

Gun    Notches   Holt-Martin   

Can  Thunder   Holt-Martin   10-24. 

Details  under  title:  Mother  of  a  Champion 

Hard,  Fast  and  Beautiful   Trcnor-Forrest   7-31 

Hunt  the  Man  Down  (68)   Young-Anderson   5-22. 

D  tails  under  title:   Seven  Witnesses 

Ifs    Only    Money   Slnatra-Rinoll   12-6. 

Jot   Pilot    (T)   Wayne-Leigh   12-19. 

Kon-Tiki   Travel   

Macao   Russell-Mitehum   9-11. 

Mad  Wednesday  (80)   Lloyd-Walhurn   10-1. 

Mad  With  Much  Heart   «yan-Luplno   5-8. 

Man  He  Found,  The   Reid-Tuttle   6-5. 

My  Forbidden  Past   Gardner-Mlteham   10-10. 

On  The  Loose   Evans-Bari   1-29. 

Our   Very   Own    (93)   Grangcr-Blyth   9-12. 

Payment  on   Demand    (90)   Davis-Sullivan   2-27. 

Details   under  title:  Story  of  a  Divorce 

Pistol   Harvest   (60)   Ho't-Martln   12-4. 

Roadblock   MeGiaw-olxon   10-23. 

Rustler's   Range   Holt-Martin   1-29. 

Saddle   Legion   Holt-Martin   7-31. 

Sealed  Cargo   Coibm-Ryan   11-7. 

Details  under  title:  The  Gaunt  Woman    Andrews-Rains   8-14. 

Secret  Fary  (86)   

Sons  of  the  Musketeers  <T)   Wllde-O'Hara   1-2. 

Target   Me6raw-Whlta   6-19. 

Tarzan's  Peril   (79)   Barker-Huston  11-6. 

Texas   Trlggerman   Holt-Martin   7-3 

Thing.  The   Tobey-tslieridan   11-6. 

Tokyo   File  212   Marly-Peyton   

Treasure   Island    (T)    <96)   Dri-ccll-NewtOn   

Two  Tickets  to  Broadway  (T)  Leigh-Martin   11-20. 

Under  Arizona  Skies   Holt-Lesllt    -1 

Vendetta   Doniergue-Dolenz   8-19. 


20th    CENTURY- FOX 


.6-51  

6-58....07S. 
.1-51.... 109... 1 


115...  2. 
.112.. 

.152...1: 


.4-51. 
.5-51. 
.7-50. 


.191... 7- 
167 


1951  Features 


Completed  (32)     In  Production  (4) 


NEW  PRODUCTIONS 

MR.  BELVEDERE  BLOWS  HIS  WHISTLE 

Cast:    Clifton  Webb,  Joann  Dru,  Hugh  Marlow,  Zero  Most 

Director:  Andre  Hakim  Producer:  Henry  Kost< 

Story:    Vagabond  brings  happiness  to  an  old  people's  home  (fantasy). 

THE  DR.  PRAETORIUS  STORY 
Drama— Started  March  19 

Cast:    Cary  Grant,  Jeanne  Crain,  Walter  Slezack 
Director:  Joseph  Marikiewicz  Producer:  Darryl  Zanuc 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 

Title — Running   Time  Cast  Detail, 

Anne  of  the  Indies   Jordan-Paget   3-12 

House  On  the  Square   Power-Smith   2-12 

COMPLETED    1950-51   

As  Young  As  You  Feel   Woollev-Ritter 

Details  under  title:  Will  You  Love  Me  in  December? 

Bird  of  Pa-adise  (T)   (100)   Jordsn-Paget  . 

Call  Me  Mister  (T)    (95)   Graklc-Oalley 

David  and  Bethsheba   (T)   Pock-Havward 

Decision  Before  Dawn   Merrill-Basehart 

Detail,  ender  title:  Legion  at  the  Damned 

Fallew  the  Sen   Ford-Baxter  .. 

Fourteen  Hours  (91)   Douglas-Basehart 

Frloadly    Island    (T)   Landigan-Greer 

Frag  Mori,  The   MacMurray-Parker   1-29... 7-51 

Golden   Goose.  The   Wldmark-Andrews   1-1  

Guy  Who  Came  Back,  The   Douglas-Darnell   12-18     . 6-51 

Details  under  title:  Guy  Who  Sank  the  Navy 

Half  Angel    (T)   Young-Cotten   7-17.  .  .  4-51 

Hall,  of  Montezuma.  The  (T)    (113)   Widmark-Gardnor   6-5..  1-51 

Holy   Year.  1950    (42)   Doeamentary   All 

House  on   Telegraph  Hill   Colesa-Londlgan   9-11... 6-51 

I  Caa  Get  It  For  Voa  Wholesale   Daily-Hayward   10-23... 4-51 


...1-1...  Jar*.. 

.8-14... 3-51.. 
.7-17..  .2-n.. 
.12-4... 8-51.. 
.9-25. . .8-51. . 

.10-9... 4-51.. 

 4-51. . 

. .3-12  


109 


.112 


.183. 


Sullivan,     iVn"  w"'.' 


I'd  Climb  the  Higb.it  Mountain  (T)  (88) . Havward-Lundlgan 
Kangaroo    (T)   O'Hara-Lawtord 

Kefauver  Crime   Investigation   Hows    Feature    .  .  . 

laeky  Mick  Cain  (87)   Raft-Gray   

Cheated  Himself,  The  (81)  ...Cohk-Dall   

Meet  Mo  After  The  Show  (T)   Grable-Carey  .... 

Medlark.  The  (99)   Dunne-Goinoss  ... 

No   Highway   Stewart-Dietrich 

M  Maa  and  Music  (85)   Concert    Feature  . 

(T)   Kaye-Tierney 

 Powcr-Hayward  .  . . 

Secret  of  Convict  Lake   Forrt-Tierney   

Sword  of  Monte  Crlslo,  The  (80)   Montgomery-Corday 

Take  earo  of  My  Little  Girl  (T)   Craln-Peters 

Thirteenth  Letter,  The   (85)   Damell-Boyer  ... 

You're  In  the  Navy  Now  (93)   .Cooper-Albert  ... 

Rev.    under  title:  U.S.S.  Teakettle 


.111.. 
.6-5... 2-51.... 105.. 

.11-20  

 4-51  

 3-51  

 1-51.... 102.. 


.9-25. 


.9-25. 
.1-30. 
.2-12. 
.9-25. 
.11-6. 
.8-25. 
.11-6 


.7-51. . 
.3-51. .. 
. 5-51 . . . 
.5-51... 
.8-51... 
.3-51. . . 

.8-51  

.2-51... 107.. 
.4-51  110.. 


.106.. 


All  »aoot  Era  (1S8)   

 Daiie-aaxtor    . . . 

 4-24  . 

.  .Not. 

.  tso. 

Aaorloaa  taarllla  In  Phrllpplnei 

(T)  (105)Powor-Prella   

 4-24  . 

Dot. 

. .032. 

Biaek  Reee,  The  (T)  (120) 

 Powor-AaJjrey    . .  .  . 

 Stewart-Paeet    .  . . 

 5-23. 

.Sogt. 
Aug. 

. .019. 

Draeen  Arroar  (T)    (93)    . . . 

 6-20  . 

. .014. 

•■elaao   Trail  (C)   

 Seo:t-Wllllams  .. 

 9-12  . 

Aeg. 

.020. 

Far  Neaten-s  take  (92)  .... 

 Webb-Bennett    . .  . 

.  .Doe. 

. .033. 

tanlgkter,   T»e  (84)   

 Peek-Parker   

.'.V.io-io.' 

July. 

IH  Get  ly  (T)    (82)  .... 

 Havor-Lundlgan    . . 

.  Oct. 

..027.' 

M 


FILM  B  ULLBTIH 


•at  ru  («5)   

That  BriU  (85)   

Mr  880  (90)   

Hit  Hurt!  (T)  (97)  ... 
it  and  the  City  (95)   

Way  Oil  (106)   

It  la  tht  Stmts  (93)   

ara  the  Sidewalk  Ends  (95) 


,tew»rt-«iedina    .  ■ 

.7-3 

Not 

031 

11-6 

Doiglas— Peters   

<t-24 

Oct 

Grabtt— Da  ley 

. 12-19 

Sapt 

021 

.8-28 

Tierney-Wldeaark    . .  . 

.'.8-29.  . 

.Jim.  . 

,  013! 

6-19 

Darnell-Widmark 

...11-7  . 

.  .  Oct  . 

.  025. 

.9-11 

Widmark-Bel  Ceddts 

 1-2. 

Sept 

022 

.7-17 

Sheridan-Matart    .  • . 

AM  . 

.  018 

.8-14 

,  Andrews-Tierney  ... 

'.'.'.1-30. 

..Jaly. 

.  017. 

. .7-17 

UNITED  ARTISTS 


1950-51  Features 


Completed  (    )     In  Production  (0) 


)>IPLETED 


RELEASE  CHART 

  1949-50   


ilral  Wat 
•tails  eni 
Lights  . 
ina  Dt  Bt 

aU  .... 
t  Legion 


Lady.  Tha  (87)   

Utlo:   The   Iron  Cage 


.11-21. 


8-1 


.  Chapliit  — Cherrilt 
.  Ferrer-Powers 
.  Michele  Morgan 
.  Boyer-Bettger 
(iarneio-Winters 
'  Loy-Conialns 


.  Reissae  .  .9-30  .  . 
.  .7-17.  .  Roadshow 
Foreign  .  .  5—25 .  .  . 

 5-4. . . 

 4-27. . 

 9-8 

. . . 10-24 . 


IRaa  All  the  Way  (77)   

Thu  Ba  Sin  (72)   

■  eats  Trail    Tha   (85)   Montgomery-Marshall    ...  10-24 .  .  616 

I    From   Planet  X   Clark-Field   5-11 

I    With   My  Faet    (75)   kWson-Matthfws   6-1.. 

I,  The   (85)   Brando-Wright   11-21... 8-25 

I  Mexico   (Ans)   Bores-Maxwell   5-11 

I    A  Thief  (88)    Io»oro-Ha»oa   1-2  7-7. 

etaJIs  ander  title:  Once  Over  Lightly 

Bier.  Tie  (92)   HeBin-Keyes   4-24... 5-18 

ijllj  under  title:  Cost  of  Loving 

an  For  A   Oay   (107)   Atory-McCavIn   10-9... 4-13 

¥   The    (93)   Ireiand-Mccambridge    .  .4-24.  ..  .4-6.  . 

tails  ander  title:    dungeon.  The 

M  Woaian.  Tha  (91)   Yonng-Drake   2-51  . 

»i  Hashands   (78)   *il!iams-Arden   7-3..  Mot. 

Ii   Steps    Horth   BndjK.-Padavoni   7-3  .  6-8 

land  Get   Me    (SO)   Lovejoy-Ryan   5-22...  1-15. 

It.  ander  title:  Sound  of  Fury 

lenaorld  Story   Oiryea-Storm   7-21.. 


3-25 
.2-12 


UNIVERSAL- INTER  NATIONAL 


950-51  Features 


Completed  (34)     In  Production  (4) 


NEW  PRODUCTIONS 

■E  NEVER  KNOWS 
rutasy-Comedy — Started  March  20 

2.t:  Dick  PoweU,  Joyce  Holden,  Peggy  Dow,  Charles  Drake 
>ector:  Lou  Breslow  Producer:  Leonard  Goldstein 

lav:    Fantasy  about  a  dog  reincarnated  as  a  man  who  solves  own  murder. 

He  cave  (T) 

tetern— Started  March  26 

^t:  Alexis  Smith,  Macdonald  Carey,  Victor  Jory,  Hugh 
D'Brian 


lector:  William  Castle 

ty:    Murder  in  Carlsbad  Caverns. 

■E  DAY  (T) 
Hiedy— Started  March  28 
I4t:   Josephine   Hull,  Howard 
II  Stevens 
W?ctor:  Joe  Pevney 

pVr:    Old  lady  almost  loses  farm  to  vill: 

RELEASE  CHART 

IN  PRODUCTION 

TIH»    Itnaltg  Tlatt                             Cast             Data  lit 
■*'$  Green   «N>ters-Conte   3-12 

  1T950-51   

»  4  Coitello  Meet  the  Invisible  Man .  .  Abhott  &  Costello   11-6 

|p*»t   MeNally-Rassell   

m  Drams  (T)   Grey-McNally   8-28. 

■<e  for  Bomo   (83)   Re?.«an-Lynnn    9-11 

*l  Victor»   Dow-Kennedy   8-28 

Oils  ander  title:  Lights  (Jot 

■"jot"   (T)   M«crea_s«ockwetl   12-4 

■  the  Mountain   A  boot'   &   Costello-Shay  1-29 

Mib  ander  title:  The  Real  McCoy 

•Jd  (88)   Toren-Chandler   10-10 

W  Crossbones  (T)    (75)   O'Connor-Carter   10-10 

■  '•n.  Tha   Smart-Meadows   

Pf  (T)   MeCrea-Winters   5-« 

Goes  to  the  Races   u  Connor-White 

m  Horde.  The  <T)   Blytne-Farrar 

•J*  Wore  Spurs  (80)   Rogers-Carson 

*■]  <142)   Olitler-Simmons 

H  (104)   istowart-Holl  . 

•"Jod  Story,  Tha  . 

«•  »n.  The   

«*  Raiders   (T)  (80)   


Producer:  Leonard  Goldstein 

Duff,  Mona  Freeman,  Craig 
Producer:  Leonard  Goldstein 


.  Conir-Adams    . . 
.  Keyes-Chandlrr 
.  Msrrhv-Chapn-.an 
,  Blytne-stevens 


Kettle  at  the  Fair   

Kettle  Back  on  tha  Faro 

l  (78)   

i  Renegade  (T)   

nder  title:  D 


.  .  Ham-Kilbride 
. .  Main-Kilhride  .. 
.  .  Murray-Walsh 
.  .  MonLalDao-Charisse 


 1-29   

 7-31. 

.  Mar .  . 

. .114. 

. .2-26 

.  .101 

 5-8  . 

.  .Jan. . 

.  .107. 

10-23 

 12-18 

. Jane.  . 

 1-29. 

 6-5  . 

Not. . 

. . 104 . 

. 11-20 

 6-19 

Mav 

 2-27  

■  Sibaarlae   

»*>n  Disaster  (100)   

*»e  Wa.  A  Thief,  The  (T)  .... 
island   «T»  ... 
"»  Unknown  (90) 

M   On  the  Hill   

Ojls  ender  title:  The  High  Groond 
"■y*.  (T)  (82)   


.  .tVGonnor-Darante 

. . .  7-31  . 

.  .Nov.  . 
.  .Dec. . 

. .102  

. .106  

.  Mills-Cherry  . 

.  Jan.  . 

.113  1-29 

. .  Cartla-Uerie   

 9-25. 

.  Kcyes-Chandler    .  . 

. . . .7-17. 

.'itai^ 

.  .Sterjns-Nieol 

...9-11  . 

.  Fefc.  . 

! .  iii ! . .  ! ! 

,  Cotbert-Blyth  .... 

...11-2*. 

..Ft*.. 

.  .110. . .1-29 

Undtrto.-r   Girl  (83)   

...  jmith-era*/   

. . .7-31  . 

Boa 

.  ios 

Ucdwr  the  Gaa  (84)   

.  .  .  .  'eltir-Coate 

5-22 

Jan 

109 

Up  Frcnt  (92)   

Wjynt-t.ill 

.  10-9 

Aar 

118 

~~  .7r... 

f79)  AbJott  4  Costulo 

924 

Cartaln  ^alT'li'Vee'iV  Crtrt'B(86? 

.  .  .  .  O'Connef-Ardea 

228 

June 

Besort  Hawk,  The  (T)  (77)   

 DcCarlo-Creane 

.     4-10  . 

A°a"g' 

925 

LMha  (SO)   

 Bylngton-Reagan 

12-13 

Aug 

S.26 

Say   Hant  (75)   

Tcrtn-Delt   

...2-27  . 

.  Jar.a .  . 

920 

Debits    ander    title:    Panther  i  Moor 

Woaian  on  the  Ren  (77)   

SheriCan-O'Keefe 

.  5-22  . 

Oct 

932 

Wyoming  Mall    (T)  (87)   

team  ■eemtjlj  . 

5-22  . 

Oct 

931 

11-6 

l-> 
3-12 


8-14 

6-  19 

7-  31 


WARNER  BROTHERS 


1050-51  Features 


Completed  (.il)      In  Production  ('. 


Lovejoy,  Gene 
Anthony  Veiller 


12-30 
3-17 
2-24 


on 

017 
015 


10-28 
1-13 


007 
012 


2-26 
11-6 


NEW  PRODUCTrONS 

FORCE  OF  ARMS 
Drama  -Started  March  19 

Cast:    William    Holden,   Nancy    Olson,  Frank 
Evans 

Director:  Michael  Curtiz  Producer: 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 

rtHa — Rt.-ine   V-  eaat  Details 

boldijc,e.-s  ot  Las  Vegas   (T)   Morgan-Mayo   3-12 

  1950-51   

Aleatraz    Island    (64)   Ann   Sheridan   Relttae 

Along  the  Great   Divide   Ooeglas-Mayo   11-6 

Details   under   title:   The  Travelers 

B-eak  ng  Point.   The   (97)   Garfield-Neal   4-10 

Sreaktnreagh    i91j   Bnan-Agar   6-19 

Captain    Horatio   Hornblower   (T)   Peck-Mayo    2-13 

Dallas  (T)   (94)   Coa  er-Roman   

Dodge  City    (104)   Hynn-deHa»illand  Reissee 

Enforcer.   The    (87)   Bogart-Roberts   8-14 

Fort  Worth    (T)   Scott-Brian   1-15 

Class  Menagerie,  The  (107)   Lawrcnee-Wyraan   11-7 

Goodbye.   My  Fancy   Crawtord-Toang   9-25 

Highway  301   (83)   Cochran-Andre   2-13 

I    Was  A    Communist   Levejoy-Hart   1-15 

Inside  the  Walls  of  Folsom  Prison  Bnan-Coebrane   . .  .11-6 

Details  ander  title:  The  Folsom  Story 

Jim  Thorpe.   All-Americ?n   laneasler-Bickford    .  .  .  9-11 

Lellaty  of  Broadway   (T)    (92)   Day-Nelson   9-11 

Moonlight   Bay    (T)   MacKae-Day   1-29 

North   of  the   Rio   Grande    MtCrea-Maye   9-27 

Details  ander  title:  Colorado  Territory 

Only  The  Valiant   (105)   Peck-Payton   8-14 

Operation   Pacific    (109)   Waync-Neal   9-11. 

Pretty  Bahy    (92)   Seott-Morgan  1-2 

Rcton   Pass    (84)   Morgan-Ncal  7-31. 

Reeky   Motntain    (83)   Flynn-Wyeaore   6-19 

San   Qaentin    (70)   Boeart-Sheridan   Relstee 

Storm  Warning  (91)   Rogers-Reagan   12-5 

BeUlls   ander  title:  Storm  Center 

Strangers  On  A  Train   *alker-Roae,„  11-6 

Strortcar  Named   Desire.  A   Braada-Lelgh  8-28 

Sagarfoot   <T)    (80)   Seott-Jcrgens   

Tea  far  Two  <T>    (98)   Oay-BliaRaa   4-10. 

Throe  SetraU    (98)   Parker-Neal-Roman   

Tomorrow  Is  Another  Day   Boman-Coehran   1-15 

Virginia   City    (121)   Flynn-Ecgart 

Wart  Point  Story,  The  (107)   Cagney-Hlyo 

COMPLETED    1949-50   

Bright  Loaf   (110)   Coew-Neal   12-5 

50  Yean  Before  Vaar  Eyes   (70,   Doaomantary   

Ftaaae  aid  tha  Arrow  (T)   (88)   Laacas  er-Maya   

<M  la  Hy  Co-Pllot  (88)   Morgan-Clark   Reissee 

Kiss   Tomorrow   Goodbye    (102)   Ca«n«y-Adler   5-8 

Thlt  Side  of  the  Law  (74)   Lladfon-Sealth   10-25 


4-21 

1-  27 
9-16 

. .4-7. 
11-11 
.  9-9. 

2-  10 


022  3-12 

013  .1-29 
004  7-J1 
021 

008  

.003  

014  1-29 


.  .3-3 
.9-2 
10-14 . 


6-19  11-25 


016  .  2-12 
001.  .  t-M 
006  10-23 


. . 7-1 . 
7-15 
7-22 
6-3 

.8-19 
6-17 


928  .  6-5 

.931  7-3 

930  7-3 

.924  

932  8-14 
926  6-5 


Your  Service  —  Our  RetponsibUity 

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Member  Nstt'l  Film  Courier* 

250  X.  Juniper  St,  Phila.  7,  Pa.  —  LOcust  7  4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank:  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed    containers    and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

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A  R I L  9  ,  19  5  1 


17 


Watch  spring  grosses  spring  up  and  up,  as 
these  four  start  heading  the  best  boxoffice 
news  from  now  thru  May — and  beyond. 

"The  Mating  Season"  is  the  springtime's 
most  talked-about  comedy  (what  they're 
talking  about  most  is  Thelma  Ritter  as 
Mother  of  the  Groom).  And  "Samson  and 
Delilah,"  now  in  general  release,  continues 
to  be  The  Greatest  Grosser  of  Our  Time. 


Hope's  new  show,  "The  Lemon  Drop  Kid," 
is  funnier  Runyon  than  "Sorrowful  Jones." 
And  Ladd,  hotter  than  his  own  gun  since 
"Branded,"  is  due  soon  as  a  U.S.  Mail  crime 
fighter  in  "Appointment  With  Danger." 

All  these  in  Paramount's  boxoffice  spring 
.  .  .  followed  by  a  succession  of  ticket- 
selling  merchandise  scheduled  for  release 
right  thru  your  Paramount  summer. 


//  its  a  Paramount  picture,  it's  the  best  show  in  town  . 


BULLETIN 


APRIL  23.  1951 


What  Makes 
An  AA*  Picture? 


Cxctutiue   QL  BULLETIN  feature 


Page  Five 

Reviews  af  Netv  Films 

'ON  THE  RIVIERA'  WONDERFUL  MUSICAL  HIT 

'GOODBYE  MY  FANCY'  CRAWFORD  TRIPS 
'GREAT  CARUSO'  THRILLING  ENTERTAINMENT 
'HALF  ANGEL'  MIXED  B.O.  FOR  NOVEL  COMEDY 
'APPOINTMENT  WITH  DANGER'  GOOD  LADD 
'SEALED  CARGO'  MODERATELY  SUSPENSEFUL 
'RAWHIDE'  STRONG  OUTDOOR  MELODRAMA 

Pages  7,  8,  10 


OW  ADD  THIS  Tfl 
OUTDOOR  P 


IT'S  G 


starry  ROD  CAMERON  •  ADRIAN  BOT 

with  WILLIAM  CHING  -  JIM  DAB 

Written  by  Ctiarles  Marquis  Warren  •  Associate  Producer -Director  JOSEPH  Ml 


ES  PRODUCED  BY  REPUBLIC! 


>T  THAT 


WREST  TUCKER  •  CHILL  WILLS 

■V  CASSELL  •  JAMES  LYDON 

HIC  PRODUCTION  Republic  Pictures  Corporation— Herbert  J.  Yates,  President 

L — 


v. 


TIP-OFF  ON  M-G-M's 


Read  all  about  the  sensational 
Preview  of  M-G-M's  NEW 
GLORIOUS  TECHNICOLOR  MUSICAL! 

LOUELLA  PARSONS'  COLUMN  TELLS  THE  NATION: 

"Praise  from  Caesar,  I'd  say,  when  an  executive  from  another  studio  tells  me  'SHOVC 
BOAT'  is  the  greatest  box-office  attraction  since  'GONE  WITH  THE  WIND'!1 

★ 

FROM  FILM  DAILY'S  HOLLYWOOD  CORRESPONDENT,  MARCH  28th  ISSUE: 

"If  'SHOW  BOAT'  doesn't  prove  a  cinematic  Fort  Knox  for  Metro,  there's  no  justice!' 

★ 

And  read  every  word  of  this  marvelous  telegram: 

"M-G-M  launched  the  greatest  Technicolor  musical  entertainment 
in  years  with  'SHOW  BOAT'S1   first  sneak  preview  at  Bay  Theatre, 
Los  Angeles.  Highest  audience  reaction  in  Studio's  experience. 
Kathryn  Grayson,  Ava  Gardner,  Howard  Keel,  Joe  E.  Brown,  Marge 
and  Gower  Champion  head  superb  cast  and  we'll  guarantee  you 
never  heard  the  great  Jerome  Kern  numbers  sung  as  you  will  hear 
them  now.   Arthur  Freed' s  glorious  production  and  direction  by 
George  Sidney  bring  superb  pic turization  of  famous  play  with 
breath-taking  vistas  of  the  Mississippi's  most  romantic  era. 
Get  ready.  Here  comes  the    'SHOW  BOAT'." 

Cut  iicltfci  litnl  SMr»|.  »l»u  Ho»iitiu<.$t(H«  Pliy  t,  lohn  Iti  MUim . Btitd  m  the  Immoilil  Misitil  Plij  SHOW  BOAl"  b(  leiome  Kern  and  Oicv  HMimetjIfui.  lt«flM       Flltal'l  Hull 


"DPI  A  H"  TC?  miTT?  "  A  TTTTTT*  nTW  VATTT5  rLTTTT"        1  QE1 


What  Makes  an  'A'  Picture? 

7o  foxetfice  /W,  £atfJ  V-J>*  Al  h*M 


What  makes  any  particular  film  an  "A" 
)icture?  You  have  there  a  poser  that 
tas  long  defied  the  veterans  of  film  busi- 
ess  and  led  to  uncountable  disputes  be- 
ween  distributors  and  their  exhibitor 
ustomers. 

What  is  an  "A"  picture?  Is  it  a  high- 
udget  movie?  Is  it  one  with  top  mar- 
uee  names?  Is  it  the  film  that  win^ 
ritical  acclaim?  Or,  is  it  the  picture 
hat  clicks  at  the  boxoffice? 

The  film  salesman  can  justify  the  "A*' 
ag  for  his  pictures  on  any  of  the^t 
cores.  He  can  argue  with  fervor  that  a 
ligh-budget  movie  with  low-grossing  po- 
ential  must  go  into  the  top  bracket,  be- 
ause  we  spent  over  two  million  on  it. 
5o  it  turns  out  to  be  a  cluck,  but  the 
iroducer  has  to  get  his  money  out  of  it. 
f  it's  a  film  with  big  star  names,  the 
>eddler  is  eloquent  in  his  stress  on  the 
mportance  of  that  vaunted  boxoffice 
sset,  marquee  power.  If  he  happens  to 
>e  selling  a  moderate-cost  film  that  goes 
>ver  with  the  critics,  you  will  hear  him 
ave  about  the  "sleeper"  his  studio  has 
lelivered.  And,  should  a  low-budgeter 
urn  out  to  be  a  surprise  click  with  the 
icket-buying  public,  brother,  that's  an 
A"  picture! 

As  you  might  suspect,  Mr.  Exhibitor 


firm  advocate 


can  be  found  on  the  opposite  side  of  any 
of  these  positions  taken  by  the  film  ped- 
dier.  If  it's  a  high-budget  movie,  so 
what?  He  can't  stay  in  business  paying 
for  the  mistakes  producers  make,  he  says. 
It's  got  stars?  So  what?  I  wouldn't 
even  put  the  names  of  those  broken  down 
old  has-beens  on  my  marquee!  The  cri- 
tics like  it?  So  what?  Nobody  reads 
them  anyhow.  These  are  simple,  stock 
answers  the  theatreman  has  in  his  bag 
to  cope  with  those  sales  pitches.  They 
are  the  easy  arguments  to  knock  down. 

Low  Budget  B.  0.  Hit 
Salesman's  Secret  Weapon 
The  one  pitch  that  is  toughest  for  the 
exhibitor  to  handle,  that  calls  on  all  his 
native  bargaining  talent  and  taxes  his 
practiced  buyer's  resistance  attitude  to 
the  ^mit  is  the  salesman's  secret  weapon 
—  a  low  or  moderate  budgeted  picture 
that  develops  into  a  sock  boxoffice  hit. 
So  what?  It  didn't  cost  anything.  No- 
body's in  it.  It'll  be  milked  by  the  time 
I  play  it.  Your  outfit  finally  gets  a  pic- 
ture that  does  a  little  business  and  you 
want  my  shirt'  Yes,  you  can  bet  that 
our  exhibitoi  friend  will  use  every  re- 


buttal in  the  book,  but  he  knows  he  s  up 
against  his  toughest  situation  a  pic- 
ture that  he,  as  well  as  the  salesman, 
knows  is  doing  business. 

If  I  seem  to  treat  frivolously  this 
weighty  problem  of  what  makes  an  "A" 
picture,  it  is  not  for  any  lack  of  apprecia- 
tion of  the  great  stress  and  strain  it  puts 
on  all  the  hard-working  film  and  theatre 
men  of  the  industry;  it  is  merely  tint 
one  who  has  listened  to  negotiations  for 
films  for  a  time  must  adopt  a  light  atti 
tude  or  accept  an  ulcer. 

But,  seriously,  the  boxoffice  would  seem 
to  be  the  only  true  guide  to  the  classi- 
fication of  films.  Every  one  cannot  be  a 
six  million  dollar  "Quo  Vadis,"  or  a  hu:;e 
"David  and  Bethsheba."  You  are  bound 
to  get  pictures  like  "At  War  with  the 
Army,"  which  cost  about  S300.000  and 
will  gross  well  over  $3,000,000.  And  you 
are  bound  to  get,  too,  films  like  "Ma  and 
Pa  Kettle,"  which  roll  up  amazing  gross- 
es in  many  places.  And  we  all  know  that 
some  exhibitors  are  willing  to  pay  more 
for  a  Roy  Rogers  film  than  for  Holly- 
wood's most  lavish  musical.  So,  what 
is  an  "A"  picture? 

Perhaps  the  best  example  of  a  common- 

Continued  on  Pane  12 


nship,  speaks  to  U-I  "boxofficers' 


The  most  thrilling,  human 
interest  headline  drama 
of  the  decade  is  NOW 

READY  FOR  YOUR  SCREEH! 


Ben  Hogan  Wins  the  Mastei 
His  280  Completes  Cornel 


The  wife  behind  a  great  champion 


tells  you  BEN  HOGAN'S  story... 


You 
read 
it  in 
READER'S 
DIGEST! 


FORD  BAXTER •  0' KEEFE  HAVOC  Var-sssjsH-... 

'""SAMUEL  G.  ENGEl*™  SIDNEY  LANFIELD  to.™"™™.   ' 


Associated  Press  wirepbo 

A  story  of  such  i- 
credible  adventie 
and  amazing  cor- 
age,  it  would  !e 
unbelievable  —  ex- 
cept that  evey 
word,  every  seer  J, 
every  thrill  is  trvl 


CENTURY-FOX 


THE  GREAT  CARUSO'  THRILLING  ENTERTAINMENT 


;(ates  •  •  •  -—  except  for  action  houses 


IGM 

09  .Minute* 
yflario  Lanza,  Ann  Blyth,  Dorothy  Kir 
Uten,   Jarntila   Novotna,    Richard  Hagc- 
[nan,  Carl  Benton  Reid,  Eduard  Franz, 
■■dwig  Donath,  Alan  Napier,  Paul  Javor, 
art  Millctaire,  shepard  Menken,  Vincent 
£ « - 1 1 1  -  Nestor  Paiva,  Peter  Edward  Price, 
lark)  silctti  Angela  Clarke,  Ian  Wolfe, 
,nd     Blanche     Thebom,     Teresa  Celli, 
n'icola     Moscona,     Giuseppe  Yaldengn, 
f  -ucine  Amara,  Marina  Koshetz. 
|  )irected  by  Richard  Thorpe. 


I  "The  Great  Caruso"  fully  measures  up 
|o  its  promise!  Consider  this  the  highest 
I  >ossible  praise  for  a  thrilling  piece  of 
I  entertainment,  for  it  has  been  one  of  the 
I  nost  eagerly  awaited  films  of  recent 
I  'ears  from  Hollywood. 
I  "Caruso"  represents  the  perfect  mating 
I  »f  star  and  story,  and  in  this  superb 
I  letro  production,  the  young  tenor,  Mario 
I  ;anza,  really  comes  into  his  own.  Pro- 
I  luct-rs    Joe    Pasternak    and    Je~se  L. 

jasky  have  lavished  top-notch  produc- 
I  ion  qualities  on  the  picture  to  make  it 
I  .  glittering  showcase  for  Lanza's  undis- 
'  >uted  talent.  A  string  of  operatic  arias 
md  other  selections  too  fulsome  to  be 
i  nentioned  here,  are  rendered  so  magnifi 
I  ently  that  one  almost  resents  the  nec- 
I  ssary  chopping  of  most,  as  presented 
I  n  montage  form,  to  squeeze  them  into 
I  he  footage.  That  is  not  to  say  that  the 
tors  sutlers.  On  the  contrary,  the  career 
•f  the  flamboyant  little  man  with  the 
;olden  voice  was  full  of  human  interest, 
tumor  and  pathos  right  up  to  his  tragic 
ollapse  in  the  wings  of  the  Metropolitan 
)pera,  and  under  Richard  Thorpe's  ex- 
pert direction,  the  Sonya  Levien-Williain 
|L.udwig   screenplay  has    captured  that 
lavor  in  the  film. 

The  operatic  sets  and  costumes,  too, 
lire  impressively  eye-filling  under  the 
Technicolor  cameras.  Excellent  assists  in 


the  voice  department  are  offered  by 
Dorothy  Kirsten.  Blanche  Thebom. 
Teresa  Celli  and  several  others  from  the 
Met,  and,  in  the  non-musical  portions, 
from  an  excellent  supporting  cast  headed 
by  Aim  Blyth.  Essentially,  however,  it  is 
Lanza's  voice  that  supplies  the  big  thrills 
and  the  buik  of  the  film's  entertainment. 
There  can  be  little  doubt  that  "The  Great 
Caruso"  will  register  soundly  at  the  bo:< 
office  everywhere  except  the  action  spots. 
And  this  is  noted  with  full  realization 
that  opera  is  not  exactly  a  boxoffice  mag 
net,  especially  in  the  sticks.  Lanza's 
popularity  with  the  younger  set  and 
Caruso's  fame  as  a  draw  for  their  elders 
puts  no  limitations  on  the  age  group. 
Congratulations  are  due  everyone  con- 
cerned: MGM,  Pasternak,  Lasky.  Thorpe. 
Peter  Herman  Adler  for  his  staging  and 
conducting  of  the  operatic  numbers. 
Johnny  Green  for  his  musical  super\i- 


sion,  and,  of  course',  Lanza  for  bursting 
into  prominence  with  this  film  as  one 
of  the  brightest  stars  in  the  Hollywood 
firmament. 

While  it  is  difficult  to  pluck  individual 
selections  from  the  magnificent  score  for 
especial  kudos,  Lanza's  impassioned 
treatment  of  the  famed  "Vesti  La 
Giuboa"  from  "Pagliacci,"  the  "Celeste 
Aida"  aiia,  and  a  moving  rendition  of 
"Ave  Maria"  with  a  boy's  choir  in  a 
majestic  cathedral,  are  all  superb.  Miss 
Kirsten  is  seen  in  a  featured  straight  role, 
as  well  as  joining  with  Lanza  in  several 
numbers,  along  with  other  distinguished 
members  of  the  Met.  Ann  Blyth,  as 
Dorothy  Caruso,  from  whose  biography 
of  tier  husband  the  film  was  made,  is 
thoroughly  appealing  in  a  sensitive  and 
well-shaded  performance.  The  rest  of  V  e 
cast  is  uniformly  excellent. 

STORY:  Beginning  with  Caruso's 
birth  in  Naples  in  1873,  the  film  traces 
his  career  briefly  until,  at  20,  singing  for 
pennies  in  Naples  cafes,  his  infatuation 
with  the  daughter  of  a  flour  manufac 
turer  causes  him  to  give  up  singing  for 
a  job  delivering  flour.  After  a  famous 
opera  singer,  Ludwig  Donath,  hears  him 
sinpi  during  a  delivery,  and  starts  him 
op  the  road  to  success  with  La  Scala. 
After  a  continental  tour,  he  comes  to  the 
United  States  for  his  debut  at  the  Metro- 
politan Upera.  He  unwittingly  insults 
ODe  of  the  Opera's  patrons,  Carl  Benton 
Reid.  incurs  his  enmity  and  gets  a  cold 
reception  from  the  critics.  Determined 
to  leave  America,  he  is  dissuaded  by 
Reid  s  daughter,  Ann  Blyth,  and  goes  oi- 
to  fabulous  success.  They  are  married 
over  the  opposition  of  her  father,  and 
even  the  birth  of  their  daughter  fails  to 
effect  a  reconciliation.  Hiding  the  fact 
that  he  has  a  throat  ailment,  Caruso, 
now  acclaimed  an  immortal  of  the  opera, 
continues  to  sing,  ever  after  an  oral 
hemorrhage,  and  finally  collapses  and 
dies  as  the  curtain  falls  on  his  brilliant 
performance  in  "Martha."  BARN. 


HALF  ANGEL*  NOVEL  ROMANTIC  COMEDY  DUE  FOR  MIXED  B.  O. 

lates  •  •  -  or  better  generally;  less  for 


iOth  Century  Fox 
77  Minutes 

.Loretta  Young,  Joseph  Cotten,  Cecil  Kell 
way,  Basil  Ruysdael,  Jim  Backus,  Irene 
.Ryan,  John  Ridgely,  Therese  Lyon,  Mary 
iieorgc,  Marv  Tarcai,  Gayle  Pace,  Steve 
Pritko.  Edwin  Max,  Art  Smith,  Jack 
Pavilion,  Roger  Laswell,  William  John- 
stone, Lou  Nova,  Harris  Brown,  Herbert 
Vigran,  Freeman  Lusk,  Luther  Crockett, 
Junius  Matthews. 
Directed  by  Richard  Sale 

—  

"Half  Angel"  seems  destined  for  a 
mixed  reaction.  The  basis  for  this  roman- 
tic comedy  is  a  psychological  phe- 
nomenon in  which  a  "split  personality" 
so  dominates  a  young  woman  that  she 
becomes  two  separate  and  distinct  char- 
acters —  by  daytime,  a  primly  prudish 
Inurse;  at  night,  a  sensuous,  seductive 
Itemp cress— and  in  each  guise,  fails  to  re- 
|member  what  the  other  has  done.  The 
ensuring  romantic  complications  will,  be 
ja  delight  to  those  who  can  swallow  the 
'idea  and  just  go  along  with  the  fun,  but, 
for  many,  the  far-fetched  farcical  shen- 
anigans will  be  hard  to  take.  The  result 
is  very  likely  to  be  a  pole-to-pole  variety 
word-of-mouth  that  will  result  in 
spotty   returns.   The    accent,  however, 


action  spots 

should  fall  on  the  credit  side  because  of 
marquee  strength,  Technicolor,  and  just 
the  fact  that  it  will  be  talked  about. 
Too,  comedy  has  a  bull  market  cur- 
rently and  this  should  be  another  facto: 
in  the  film's  favor.  Production-wisr-. 
Julian  Blaustein  has  given  the  picture 
top  values. 

Loretta  Young,  never  a  slouch  when 
the  role  permits  an  opportunity  to  dis- 
play the  latest  in  fashion,  gives  th? 
ladies--and  men  -something  to  whistli? 
about  when  she  doffs  the  white  nurse's 
uniform  for  glamour  attire.  In  addition 
to  being  an  eyeful,  Miss  Young  essays 
the  Jekyll  and  Hyde  roles  with  consider- 
able eclat  and  persuasion.  Joseph  Cotten. 
successful  co-star  with  Miss  Young  in 
"The  Farmer's  Daughter,"  once  again 
makes  the  most  of  a  difficult  role — that 
of  a  rather  stuffy  bachelor  lawyer,  ro 
mantic  object  of  Lor^tta's  alter  ego, 
whose  ardor  is  fired  and  cooled  by  turns 
as  the  lady  changes  character.  The  re 
liable  Cecil  Kellaway,  as  Miss  Young's 
distraught  father,  is  good  for  a  high 
quota   of   laughs.  Another  standout  in 


the  capable  cast  is  Basil  Ruysdael  as  the 
psychiatrist  with  the  answers  for  the  un- 
orthodox behavior.  Director  Richard  Sale 
is  responsible  lor  some  bright  comedy 
sequences,  but  must  also  bear  the  re- 
sponsibility for  occasionally  letting  the 
proceedings  go  into  the  zany  zone. 

STORY:  At  about  midnight,  after  an- 
nouncing her  engagement  to  John 
Ridgely,  Loretta  Young,  a  prim,  prudish 
nurse,  dresses  in  a  seductive  manner  and 
pays  a  visit  to  Joseph  Cotten,  a  promi 
nent  attorney.  After  spending  a  few  ro- 
mantic hours  with  him,  Miss  Young  slips 
away.  When  Cotten  meets  Young  on  the 
street,  he  rushes  to  her  but  she  doesn't 
recognize  him.  In  their  second  meeting, 
Cotten  finds  out  Young  is  the  victim  of 
a  split  personality  and  realizes  that  she 
doesn't  know  him  by  day  even  though 
they  love  each  other.  On  the  eve  of  her 
wedding  to  Ridgely,  Young  slips  out 
again  and  marries  Cotten,  but  returns 
to  her  home  in  the  morning  to  carry  out 
her  wedding  plans  with  Ridgely.  In  the 
middle  of  the  wedding  ceremony,  Cotter, 
rushes  in  to  explain  that  Young  is  al- 
ready his  wife.  It  is  then  that  Your.g 
lealizes  that  she  has  married  the  man 
she  really  loves,  and  her  split  personality 
is  fused  ir.to  normalcy  as  her  frustrations 
are  dissolved.  GRAN. 


APRIL    23,  1951 


7 


fON  THE  RIVIERA'  WONDERFUL  MUSICAL  COMEDY  HIT! 

Rates  •  •  '  •  except  for  action  houses 

20th  Century-Fox 
90  minutes 

Danny  Kaye.  Gene  Tierney,  Corinne  Cal- 
vet.  Marcel  Dalio.  Jean  Murat  Henri  Le- 
tondal,  Clinton  Sundberg,  Sig  Buman, 
Joyce  MacKenzie,  Monique  Chantel, 
Marina  Koshetz. 
Directed  by  Walter  Lang. 


Here  is  the  best  Danny  Kaye  film  ever 
made!  Uproariously  funny,  delightfully 
eye-filling  and  ear-tingling,  this  superbly 
staged  musical  comedy  must  prove  a 
smash-hit  at  every  boxoffiee  from  here 
to  Eagdad  and  points  west  (if  only 
Moscow  knew  how  to  laugh!).  Lavishly 
produced  in  Technicolor  by  Sol  Siegel, 
"On  the  Riviera"  boasts  one  of  those 
rarities  in  musical  films,  a  bright,  always 
entertaining  plot.  The  inimitable  Kaye 
has  a  field  day  as  a  cabaret  artist  who 
doubles  as  a  famous  aviator  and  inno- 
cently pulls  off  a  30  billion  dollar  franc 
deal.  Embellishing  the  story  are  some 
of  the  most  sparkling  musical  numbers 
ever  screened  and  a  bevy  of  gorgeous 
females  that  will  have  the  boys  gasping. 
The  toe-tapping  tunes  were  provided  by 
Sylvia  Fine  and  director  Walter  Lang 
excels  himself  with  crisp,  effervescent  di- 
rection that  keeps  things  moving  at  a 
rapid-fire  pace. 

Mr.  Exhibitor,  you  can  best  express 
your  appreciation  for  a  wonderful  movie 
like  "On  the  Riviera"  and,  incidentally, 
benefit  yourself,  by  exploiting  it  to  the 
hilt.  This  is  the  kind  of  entertainment 
that  wiU  bring  millions  of  people  flock- 
ing back  to  the  theatres. 

The  entire  cast,    which  offers  added 


marquee  value  in  the  names  of  Gene 
Tierney  and  Corinne  Calvet,  measures 
up  to  the  picture's  excellent  quality. 
From  Kaye  on  down  the  list,  the  parti- 
cipants handle  the  situations  and  the 
musical  numbers  with  verve  and  ima- 
gination. There  will  be  roars  at  the  in- 
cident in  which  Miss  Tierney  thinks  she 
has  spent  the  night  with  Kaye,  whereas 
it  was  her  husband  all  the  time. 

STORY:  Danny  Kaye  and  his  girl 
friend  Corinne  Calvet  are  appearing  at  a 
restaurant  on  the  French  Riviera  when, 
amid  great  excitement,  dashing  Capitaine 
Henri  Duran  (also  played  by  Kaye)  lands 
on  his  great  new  plane  from  a  nonstop 
flight    around    the    world.     When  the 


crowds  have  dispersed,  the  restaurant 
proprietor  tells  the  entertainers  they  wfll 
be  fired,  come  Saturday  night,  unless 
they  provide  something  unusual  for  ha 
patrons.  Kaye  conceives  the  idea  of  ffi 
personating  the  gallant  Capitaine  at  the 
gala  event  given  in  his  honor.  The  avia-' 
tor's  wife,  Gene  Tierney,  doesn't  like  Dan- 
ny's  fooling,  especially  when  he  depicts 
the  Capitaine's  liking  for  the  ladies,  but 
the  Capitaine  himself  rather  enjoys  the 
situation,  and  asks  Danny  and  Corinne 
to  his  house  for  a  party.  Despite  hisj 
successes  as  a  flier,  the  Capitaine  has  fail- 
ed to  find  the  money  to  finance  a  major) 
'plane-building  deal,  thanks  to  the  mach 
inations  of  his  rival,  Jean  Murat.  He 
leaves  for  London  in  search  of  finance, 
and  warns  his  business  associates  not  to 
let  Murat  know.  But  Murat  arrives  on 
the  scene  unexpectedly,  and  Danny  is 
pressed  into  service  as  the  airman's  im- 
personator. He  does  the  job  very  effec- 
tively,  especially  with  the  Capitain's  wife, 
who  wrongly  "discovers"  next  morning 
that  the  man  she  has  spent  the  night 
with  was  the  entertainer.  The  Capitaine 
had,  in  fact,  impersonated  his  impersona 
tor,  in  order  to  test  his  wife's  loyalty 
Meantime,  Murat  has  been  negotiating 
with  Danny,  imagining  he  is  talking  to 
the  aviator.  Kaye's  ignorance  of  the 
situation  makes  him  so  carefree  that 
Murat  finally  closes  a  deal  with  him, 
and  the  affair  closes  happily  with  Kaye 
and  Corinne  doing  their  big  number  back 
in  the  restaurant,  and  the  Capitaine  and 
Gene  Tierney  in  the  audience.  LEON. 


GOODBYE  MY  FANCY"  CRAWFORD  TRIPS  ON  CHANGE  OF  PACE 


Rate 


on  star's  d"ra\ 


Warner  Bros. 
107  Minutes 

Joan  Crawford,  Bobert  Young,  Frank 
Lovejoy,  Eve  Arden,  Janice  Bule,  Lurene 
Tattle,  Howard  St.  John,  Viola  Boache, 
Ellen  Corby,  Morgan  Farley,  Virginia 
Gibson,  John  Qualen. 
Directed  by  Vincent  Sherman 

Joan  Crawford  has  been  given  a 
lighter  role  in  "Goodbye  My  Fancy" 
than  the  tragic  heroines  she  essayed 
since  her  triumphant  "Mildred  Pierce." 
Unfortunately,  however,  the  vehicle 
chosen  for  her  change  of  pace  is  so  bur- 
dened with  dialogue,  cardboard  char 
acters  and  heavy-handed  direction  that 
it  wili  fail  to  sustain  audience  interest 
lor  much  of  its  107  minutes.  While  the 
play  by  Fay  Kanin  was  primarily  a 
satirical  comedy,  the  film  version  has 
been  tailored  to  appease  Miss  Crawford's 
vaunted  talents  so  that  it  leans  much 
more  to  the  dramatic  side.  It  is  con- 
sequently, neither  farcical  fish,  fervid 
tow  I  nor  even  good  romantic  red  her- 
ring. Its  story— a  weekend  spent  by  a 
free-thinking  congresswoman  at  her  alma 
mater,  all  aglow  with  sentimental  and 
romantic  memories  of  her  college  days, 
and  her  ultimate  realization  that  young 
love's  halo  is  blotted  out  by  the  years 
—  blows  hot  and  cold.  The  film's  most 
rewarding  aspects  are  Eve  Arden's  in- 
imitable delivery  <  I  quips;  the  screen  in- 


troduction of  a  promising  young  new- 
comer, Janice  Rule,  and  —  for  the 
women  —  another  display  of  the  lavish 
Crawford  wardrobe  and  impeccable 
grooming.  Towards  the  end,  a  "signifi- 
cant" element — censorship  of  education 
and  teachers  in  colleges — is  dragged  in, 
and  resolved  briefly  and  rather  lamely. 
The  romantic  triangle  involving  Miss 
Crawford,  Robert  Young  and  Frank  Love- 
joy  is  an  obvious  affair,  with  Lovejoy 
marked  for  successful  wooing  from  the 
very  beginning.  The  Crawford  draw  will 
help  returns  over  the  average  mark,  but 
many  spots  which  thrived  on  the  star's 
dramatic  vehicles  will  find  their  patrons 
and  their  boxoffiee  disappointed. 

Director  Vincent  Sherman  has  failed 
to  give  any  of  the  characters  much  sub- 
stance. Much  of  this  is  due  to  the  syn- 
thetic roles,  of  course,  but  Sherman 
hasn't  done  anything  to  remove  the 
hackneyed  onus  from  the  portrayals. 
Miss  Crawford  occasionally  manages  tc 
rise  above  the  material  and  the  few 
glimpses  of  humor  she  elicits  gives  vent 
to  regret  that  the  comic  aspects  weren't 
more  deftly  accented  in  the  Ivan  Goff- 
Ben  Roberts  screenplay.  Robert  Young 
is  stymied  in  the  role  of  a  college  presi- 
dent who  has  succumbed  to  monied  in- 
terests, and  Warners'  highly  touted  Frank 
Lovejoy  disappointingly  unconvincing  as 
a  hard-bitten  war  photographer  who 
chases  and  gets  the  Congresswoman.  On 


the  credit  side,  Eve  Arden's  quippery 
gives  a  sorely  needed  lift  to  the  pro 
ceedings  and  a  fresh  new  personality 
with  considerable  promise  is  displayed 
by  young  Janice  Rule. 

STORY:  Congresswoman  John  Craw- 
ford returns  to  her  alma  mater,  Good 
Hope  College  for  Women,  to  receive  a 
degree  and  spend  the  weekend.  When 
she  arrives  with  her  secretary,  Eve 
Arden,  Crawford  learns  that  Robert 
Young,  the  faculty  member  on  whose 
account  she  was  expelled  after  a  secret 
romantic  escapade,  is  now  president  oi 
the  school.  While  both  are  ready  to  re 
sume  their  romance,  Life  photographei 
Frank  Lovejoy,  also  carrying  a  torch 
for  Crawford,  has  himself  assigned  to 
cover  the  event,  and  complicates  the  af- 
fair. Lovejoy  learns  that  Young  has  no 
authority  despite  his  position  and  fol 
lows  the  directives  of  Howard  St.  John, 
wealthy  board  member,  who  refuses  to 
allow  any  educational  freedom  in  the 
college.  Crawford  refuses  to  believe  this, 
but  when  a  film  she  had  made  overseas 
of  war's  horrors  is  cancelled  for  show- 
ing before  the  students,  she  finds  that 
Young  bows  to  St  John's  will.  She  forces 
him  to  permit  the  showing  by  threaten 
ing  disclosure  of  their  college  romance 
and  at  the  same  time  reunited  him  with 
his  disillusioned  daughter,  Janice  Rule. 
She  then  turns  to  Lovejoy  for  weddiu 
bells.  BARN. 


I 


FILM   B  UL  LETIN 


IflL    UllnllUL  Dragoons  roar  into  battlel 


THE  ATTACK  Mtst.'sk 


THE  KISS 


Indian  hordes  can- 
not keep  them  apart' 


THE  HOSTAGE 


Geronimo.  chief  of  the 
savage  Apaches,  is  pris- 
oner of  the  white  men 


As  the  defenders  of 
the  outpost  fight  a 
reat  frontier  action! 


THE  RESCUE  s 


Arrows  scream  through 
wagon  trains  and  wo- 
the  worst! 


Scene  after  scene 
is  proof  on  the  screen  that  PARAMOUNT  makes  the 
ggest  adventure  pictures     and  one  of  the  biggest  is 


starring 


RONALD 


RHONDA 


BENNETT  WILLIAMS 

NOAH  PETER 

BEERY  HANSON 

Directed  by  LEWIS  R.  FOSTER 

Written  for  the  Screen  by 
Geoffrey  Homes- 
George  Worthing  Yates 
and  Winston  Miller 
Produced  by  William  H.  Pine 
and  William  C.  Thomas 


ay's  the  month  of  Paramount  action!  This  plus  Alan  Ladd  in  "Appointment  With  Danger"! 


'RAWHIDE'  STRONG,  SUSPENSEFUL  OUTDOOR  MELODRAMA 

Rates  *  »  ®  generally 


20th  Century-Fox 
86  minutes 

Tyrone  Power,  Susan  Hayvvard,  Hugh 
Marlowe,  Bean  Jagger,  Edgar  Buchanan, 
-lack  Elatn,  George  Tobias,  Jeff  Corey, 
James  Millican,  Louis  Jean  Heydt,  Wil- 
liam Haade,  Milton  R.  Corey,  Ken  Tobey, 
Dan  White,  Max  Terhune. 
Directed  by  Henry  Hathaway. 


"Rawhide"  is  a  hard-hitting  suspense 
and  action  melodrama  as  far  removed 
from  the  "western"  label,  as  we  com- 
monly know  it,  as  was  the  unforgettable 
"Stagecoach."  Tautly  directed  by  Henry 
Hathaway  from  an  original  screen  play 
by  Dudley  Nichols,  the  film  builds  a  tight 
string  of  intensity  to  a  powerful  climax, 
knotted  along  the  way  with  brutal  epi- 
sodes. Its  story,  hardly  new  basically, 
is  devoid  of  the  usual  gun  battles,  horse- 
back chases  and  all  the  rest  that  goes 
into  the  "western"  format;  rather,  it  con- 
centrates on  the  fear  inspired  by  a  group 
of  four  desperadoes  who  hold  two  men, 
a  woman  and  a  child  captive  in  an  isol- 


ated relay  station  as  the  bandits  lie  in 
wait  to  rob  a  stagecoach.  Strong  in  star 
power,  brilliantly  performed  by  a  sterl- 
ing cast,  and  certain  to  reap  a  fine  crop 
of  word-of-mouth,  "Rawhide"  seems  des- 
tined for  the  better  grosses  generally 
and  should  give  the  action  houses  a  top- 
notch  money-getter. 

Director  Hathaway  has  elicited  the  best 
in  performances  from  the  entire  cast. 
Tyrone  Power,  finally  rid  of  the  gaudy 
period  costumes  that  handicapped  his 
dramatic  prowess  for  the  past  couple  of 
years,  is  much  more  convincing  and  ef- 
fective in  ievis  and  buckskin  shirt.  Susan 
Hayward  continues  the  string  of  fine 
performances  that  have  met  her  recent 
efforts  and,  incidentally,  takes  a  terrific 
pummeling  and  roughing  up  from  males 
with  varying  intentions.  As  the  killers, 
Hugh  Marlowe,  Dean  Jagger,  George 
Tobias  and  Jack  Elam,  are  a  fearful 
quartet.  Special  mention  should  be  made 
of  Milton  Krasner's  photography,  a  deft 
black-and-white  job  that  adds  measur- 
ably to  the  filmi's  effectiveness. 

STORY:  Tyrone  Power  and  Edgar 
Buchanan,  operating  the  lonely  Rawhide 


stagecoach  relay  station,  receive  wor| 
that  a  group  of  bandits  are  planning  t<\ 
hold  up  the  stage.  When  the  next  stage 
coach  arrives,  they  compel  Susan  Hay, 
ward  and  her  little  niece  to  get  off  an| 
await  proper  protection  at  the  station 
The  leader  of  the  four  desperadoes  | 
Hugh  Marlowe,  poses  as  a  sheriff,  irr  | 
prisons  the  little  group  in  the  station 
and,  with  his  three  henchmen,  force. 
Power  to  let  the  next  stage  go  by  so  that 
it  can  return  with  a  shipment  of  goldi 
When  Buchanan  resists,  he  is  killed 
Marlowe  and  Jack  Elam,  a  lasciviou:! 
plug-ugly  quarrel  when  the  former  con 
tinually  thwarts  Elam's  efforts  to  attacl' 
Hayward.  Just  before  the  arrival  of  tin! 
stage,  Power  gets  possession  of  a  gur 
and,  in  the  ensuing  fracas,  Elam  kill;  i 
both  Marlowe  and  George  Tobias,  an 
other  desperado.  While  the  fourth  ban1 
dit,  Dean  Jagger,  runs  into  hiding  in  the 
hil.is,  Elam  and  Power  fight  a  gun  duel! 
with  Power  forced  to  capitulate  wher 
the  gunman  threatens  to  kill  the  tot 
Hayward,  however,  ends  the  battle  b>| 
shooting  Elam  as  he  is  about  to  kil I 
Power.  GRAN. 


'SEALED  CARGO'  MODERATELY  SUSPENSEFUL  SEAGOING  MELLER 

Rates  *  •    -  in  action  houses;  Okay  dualler  elsewhere 


RKO 

89  minutes 

Dana  Andrews,  Claude  Rains,  Carla  Ba- 
lenda,  Philip  Dorn,  Skip  Homeier,  Eric 
Feldary,  Onslow  Stevens'  Arthur  Shields. 
Directed  by  Alfred  Werker. 

Although  its  story  is  dated,  "Sealed 
Cargo"  spins  a  fairly  engrossing  little 
yarn  about  Nazi  U-boat  activity  during 
World  War  II  and  the  unheralded  hero- 
ism of  a  handful  of  American  and  Cana- 
aian  civilians  who  helped  thwart  the  ene- 
my. Based  on  Edmund  Gilligan's  "The 
Gaunt  Woman,"  a  Saturday  Evening 
Pest  serial,  this  Warren  Duff  production 
for  RKO  release  moves  at  a  leisurely 
pare  that  creates  an  aura  of  mystery 
and  suspense  that  should  hold  aud'ence 
attention  most  of  the  way  through  to 
the  actionful  climax.  Roy  Huggins' 
screenplay  is  a  bit  contrived  and  often 


farfetched,  but  Alfred  Werker's  capable 
direction  and  some  fine  performances  help 
make  the  film  fairly  convincing.  Busi- 
ness prospects  for  this  seagoing  meller 
are  good  in  action  houses,  and  in  other' 
situations,  "Sealed  Cargo"  will  fill  the 
bill  nicely  as  a  top  dualler.  The  cheap 
title  will  hurt  its  chances  in  better  class 
spots. 

Dana  Andrews  and  Claude  Rains  head 
the  cast  with  properly  stalwart  perform- 
ances, while  Carla  Balenda.  a  lovely, 
fresh-looking  newcomer,  contributes  a 
fine  stint  as  the  romantic  lead.  A  good 
supporting  cast  is  led  by  Philip  Dorn, 
as  a  heroic  Danish  seaman,  and  Eric 
Feldary,  as  a  Nazi  agent. 

STORY:  A  fishing  boat,  skippered  by 
Dana  Andrews  and  carrying  Carla  Ba- 
lenda to  visit  her  father  in  Newfound- 
land, comes  upon  "The  Gaunt  Woman," 
a  square-rigged  Danish  schooner  which 
has  seemingly  been  disabled  by  a  storm 


'APPOINTMENT  WITH  DANGER'  GOOD  LADD  THRILLER 

Rates  *  •  •  for  action  houses;  slightly  less  elsewhere 


Paramount 
89  minutes 

Alan  Ladd,  Phyllis  Calvert,  Paul  Stewart, 
•Ian  Sterling,  Jack  Webb,  Stacy  Harris, 
Henry  Morgan,  David  Wolfe,  Dan  Riss, 
Harry  Antrim,  Geraldine  Wall,  George 
■l  Lewis,  Paul  Lees. 
Directed  hv  Lewis  Allen. 

Enough  excitement  and  suspense  to 
satisfy  even  the  most  fervent  of  Alan 
Ladd  fans  has  been  engendered  in  "Ap- 
pointment with  Danger"  to  assure  a  good 
boxomee  generally,  with  action  houses 
figuring  to  do  a  bang-up  business.  Al- 
though the  story  is  the  basically  stand 
ard  tale  of  the  law  enforcement  officer 
pretending  to  go  along  with  the  mob  in 
order  to  uncover  the  top  criminal,  the 
screenplay,  expertly  guided  by  director 
Lewis  Allen  with  crackling  pace,  has  un- 
usual twists,  plus  an  insight  into  the 
little  known  workings  of  the  postal  in- 
spectors, to  lift  it  above  the  run-of-the- 
mili  melodrama.    Robert  Fellows  has  ac- 


corded the  film  a  Grade  A  production. 
Although  the  competent  supporting  cast 
has  no  marquee  luster,  the  Ladd  lure 
should  be  sufficient.  On  top  of  that,  Para- 
mount has  arranged  an  unprecedented 
tie-up  with  the  Post  Office  Department  to 
give  its  b.o.  potential  an  added  exploita- 
tion boost. 

As  a  post  office  inspector  on  the  trail 
a*  the  gang  who  had  murdered  one  of 
his  co  -  workers,  Ladd  works  with  the 
same  cool,  dead-pan  effectiveness  that 
has  lifted  him  to  his  present  high  estate 
in  rnoviedom.  Phyllis  Calvert,  playing  a 
nun,  who,  as  an  unwitting  witness  to  the 
murder  becomes  embroiled  in  the  in- 
trigue, heads  the  capable  supporting 
cast,  with  Paul  Stewart,  Jan  Sterling, 
Jack  Webb,  Stacy  Harris  and  Henry 
Moryan  as  standouts. 

STORY:  One  night  in  Gary,  Indiana, 
two  gangsters,  Jack  Webb  and  Henry 
Morgan,  are  disposing  of  a  corpse  when 
a  nun,  Phyllis  Calvert,  walks  by.  She 
tells  the  police  of  her  suspicions,  but 
before  they  can  act,  the  crooks  have 


and  the  shellfire  of  German  submarines 
which  infested  those  waters  during 
early  days  of  World  War  II.    The  cap 
tain  of  the  schooner,  Claude  Rains, 
the  only  living  man  aboard.  Andrews 
radio  is  mysteriously  wrecked,  with  sus 
picion  falling  on  Miss  Balenda  and  tv 
Danish  crew  members,  Philip  Dorn 
Eric    Feldary.      When    they  tow 
schooner  into  harbor  in  the  tiny  village 
that    is  Miss  Balenda's  home,  Andrews 
discovers  a  cache  of  torpedoes  in  a  secret 
hold,  and  comes  to  the  conclusion  that 
Rains  is  the  master  of  a  supply  ship 
for  the  Nazi  subs.    Feldary  proves 
be  a  Nazi  agent,  joining  his  comrades 
when  Rains  takes  over  the  town, 
drews  and  members  of  his  crew  rout 
the    Germans    and,    after  moving 
townspeople  to  safety  and  waiting  until 
several  subs  come  alongside  "The  Gaunt 
Woman,"  blow  the  subs  and  their  supply 
ship  sky  high.  JACKSON. 


escaped.  The  body  is  found  to  be  thati 
of  a  postal  inspector.  Alan  Ladd,  a  cyni- 
cal p.o.  detective,  is  assigned  to  probe- 
the  mystery.  He  traces  the  nun,  who 
identifies  a  police  photograph  of  Henry' 
Morgan.  Ladd  meets  a  Post  Office  truck 
driver,  Stacy  Harris,  who  knows  Morgan, 
and  bluffs  Harris  into  believing  that  he, 
is  willing  to  co-operate  with  the  gang 
which  is  planning  a  major  robbery. 
Harris  introduces  him  to  the  boss,  Paul! 
Stewart,  and  Ladd  is  cut  in  on  the  deal. 
But  Jack  Webb,  who  was  with  Morgan 
when  the  nun  saw  them  with  the  body, 
is  worried.  He  thinks  that  she  may 
recognize  him.  On  the  day  of  the  rob- 
bery he  abducts  her  in  his  car.  Whenl 
she  sees  Ladd  with  the  gang,  she  unj 
wittingly  betrays  him.  The  gangsters 
agree  not  to  kill  her  on  condition  Ladd 
sees  them  safely  through  the  police  corj 
don.  But  before  they  can  escape  the| 
police  close  in,  and  in  a  fierce  gun  duell 
the  crooks  are  scrubbed  out,  the  nun 
goes  back  to  her  duties  and  the  case  is 
finally  closed.  LEON. 


FILM  BULLETIN 


Short  Subjects 


N 


lyHOSE  "INTELLECTUALS"  who  con- 
•  tinually  gripe  that  they  don't  go  to 
rthe  movies  because  there  are  so  few  "ad- 
;ult"  films,  and  then  fail  to  support  Hol- 
lywood^ efforts  to  meet  their  demands, 
•were  taken  to  task  by  COMPO  executive 
vice-president  Arthur  L.  Mayer.  Address- 
ing the  National  Board  of  Review  recent- 
ly, Mayer  noted  that  Hollywood  produced 
■a  variety  of  films  that  appeal  to  every 
Itype  of  community  group.  "As  a  whole," 
*he  said,  "these  pictures  represented  a  far 
higher  standard  of  average  merit  than 
that  supplied  by  popular  fiction,  maga- 
zines or  by  radio,  and  fully  as  high  as 
[that  of  current  books  or  drama.  The 
intelligentsia  to  the  contrary,  they  have 
a  more  consistent  standard  of  merit  than 
foreign  films.    I  would  not  demean  them 

home  story!" -film  daily 

"Noteworthy,  brilliant 
achievement!" 

-HOLLYWOOD  REPORTER 

'Brilliant!"  -daily  variety 

'Gripping,  excellent, 
exciting.  Exceptional 
prospects!" 

-SHOWMEN'S  TRADE  REVIEW 


television!  Unfortunately,  however,  it 
must  be  admitted  that  some  of  the  best 
3f  these  pictures  did  poorly  at  the  box- 
Dffice  —  far  poorer  than  those  of  inferior 
merit.  If  the  intellectuals  really  want 
the  adult  pictures  they  talk  so  much 
about  they  should  stop  talking  and  eo 
to  see  these  pictures  more  frequently, 
f  am  sick  of  the  good  people  who  pav 
(ip  service  to  the  movies  but  don't  pay 
admission.  If  and  when  they  are  pre- 
jpared  to  support  the  type  of  films  they 
pre  always  asking  for.  I  can  assure  them 
that  Hollywood  will  supply  them." 


THE  ROXY  experiment  which  proved 
that  symphony  ain't  spinach  to  mov- 
iegoers when  the  New  York  Philharmonic 
played  to  full  houses  during  the  engage- 
ment last  September,  will  be  repeated, 
-onductor  Dimitri  Mitropoulos  will  bring 
he  Philharmonic  back  to  the  Roxy  for 
•i  two-week  engagement  beginning  May 
£  The  news-making  engagement  last 
rail  worked  both  ways  —  it  brought 
music  lovers,  many  of  whom  had  tor- 
Rotten  or  had  never  known  movie  enjoy- 
ment, into  the  theatre,  and  it  introduced 
Rood  music  at  low  prices  to  thousands  of 
arsons.  Many  of  these  have  since  be- 
•ome  devoted  Philharmonic  subscribers. 


^ARNER'S  PITTSBURGH  theatre 
zone  will  be  the  testing  ground,  be- 
ginning April  28,  for  the  "Star  Discov- 
ery" contest  aimed  at  uncovering  ne*v 
talent  for  the  screen,  as  announced  by 
Jack  L.  Warner,  studio  chief.  The  com- 
pany sees,  as  an  important  by-product 
of  the  talent  hunt,  a  tremendous  box- 
office  hypo  for  the  theatres  cooperating 
in  the  contest.  The  Pittsburgh  area  re- 
sults will  set  the  pattern  for  the  nation- 
wide series.  For  five  weeks  there  will  be 
individual  theatre  eliminations  and  semi- 
finals in  the  entire  region.  Winners  of 
weekly  theatre  contest  and  regional 
finals  will  receive  S25.000  in  prize  awards 
of  products  (not  television)  from  RCA 
Victor,  which  is  cooperating.  Grand  final 
contestants  will  compete  for  the  six- 
month  Warner  studio  contracts  and  RCA 
recording  pacts. 


CTREAMLINED  PRESS  books  without 
"eye  wash"  are  hereafter  to  be  the 
thing  from  Monogram-Allied  Artists,  ad- 
publicity  director  John  C.  Flinn  advises. 
"Every  inch  of  space  in  the  books  will  be 
utilized  to  be  of  service  to  the  exhibitor, ' 
according  to  Flinn.  "There'll  be  no  mor^ 
eye  wash,  but  a  special  emphasis  will  be 
placed  on  exploitation  to  help  the  exhibi- 
tor get  more  patrons  into  his  theatre. 
In  this  manner,  we'll  be  able  to  devote 
more  time  and  preparation  to  our  sup- 
plementary sections  aimed  at  the  Drive- 
In  theatres  and  for  sectional  campaigns." 


THAT  SWITCH  in  the  title  by  20th-Fox 
from  "USS  Teakettle"  to  "You're  In 
The  Navy  Now"  seems  to  have  worked 
wonders  for  the  Gary  Cooper  starrer. 
Under  the  old  label,  the  comedy  was 
just  a  so-so  grosser  in  its  first  releases, 
despite  a  bright  critical  acclaim.  Since 
the  change,  however,  grosses  have  sky- 
rocketed. In  its  Miami  run.  it's  topping 
"Halls  of  Montezuma"  and  "I'd  Climb 
the  Highest  Mountain"  by  sizeable  mar- 
gins; at  San  Francisco,  it  is  surpassing 
"The  Jackpot"  by  a  full  75  per  cent,  and 
in  Richmond,  is  leading  that  film  by  28 
per  cent,  and  "Bird  of  Paradise"  by  22 
per  cent.  W.  Shakespeare  obviously 
didn't  have  the  movies  in  mind  with  his 
"a  rose  by  any  other  name  .  .  ." 


THE  MOVIE  industry  will  be  the  b!g 
A  gun  of  the  United  CereTJral  Palsy 
campaign  to  be  conducted  throughout  tne 
country  in  May.  With  United  Paramount 
president  Leonard  H.  Goldenson  as  head 
of  the  drive,  the  industry  is  lining  up 
solidly  behind  the  campaign  to  help  raise 
funds  for  more  than  half  a  million  child 
and  adult  victims  of  the  dread  disease. 
The  thiee-minute  trailer,  "House  on  Any- 


NO  TV  FILMS  FROM  FOX 

20th  Century-Fox  is  not  planning 
to  enter  distribution  of  films  for 
television,  president  Spyros  P. 
Skouras  declared  in  reply  to  reports 
to  the  contrary.  He  also  denied 
that  the  company  was  negotiating 
for  the  television  rights  to  a  num- 
ber of  British  features. 


street,"  first  ever  to  be  made  in  Tech- 
nicolor for  a  national  health  organiza- 
tion, will  have  Cecil  B.  DeMille  as  nar- 
rator. Paramount  president  Barney  Bal- 
aban  heads  the  Motion  Pictures  Commit- 
tee for  the  second  annual  "Micha*-1 
Awards"  Dinner  of  the  Academy  of  Radio 
and  Television  Arts  and  Sciences.  Film 
committee  members  include  Nate  Blum- 
berg.  Ned  E.  Depinet,  Charles  Mosko- 
witz  arid  Spyros  P.  Skouras.  Proceeds 
of  the  Michael  Awards  Dinner,  to  be  held 
at  New  York's  Waldorf-Astoria.  May  7th, 
will  go  toward  fulfilling  the  UCP's  $5.- 
000.000  goal.  The  "Mxhaels"  will  b> 
presented  at  the  dinner  for  outstanding 
achievement  in  27  categories  of  radio  and 
TV.  Thirteen  movie  stars  and  movie 
teams  have  been  nominated  on  the  final 
ballot  for  the  presentations. 


UA'S  YOUNGSTEIN 

Drive  C.tiptnin 

QF    MEN    AND    THINGS:    Max  E. 

Youngstein,  UA  vice-president  and 
ad-publicity  chief,  will  captain  the  cur- 
rent Grad  Sears  sales  drive  which  ex- 
tends through  June  2.  Youngstein  leaves 
for  a  swing  around  the  country  immedi- 
ately after  the  company's  Chicago  con- 
vention May  4-6  .  .  .  Paramount's  annu.il 
national  sales  meeting  tees  off  at  the 
Warwick  Hotel  in  New  York,  April  26 
for  three  days  .  .  .  Jess  T.  McBride  be- 
comes Minneapolis  branch  manager  for 
Paramount,  succeeding  tne  late  Ben 
Blotcky.  Replacing  McBride  as  head  of 
the  Milwaukee  branch  is  Irving  Worth- 
heimer,  assistant  to  J.  J.  Donahue,  Cen- 
tral division  sales  head  .  .  .  Monogram- 
Allied  Artists  New  York  City  district 
manager,  Nat  Furst,  has  been  given 
charge  of  national  sales  for  the  "Little 
Rascals"  shorts  series  .  .  .  Astor's  R.  M. 
Savini  has  closed  a  deal  with  Associated 
Artists  Productions  Ltd.  for  distribution 
rights  to  "India  Speaks"  in  this  country 
.  .  .  Jesse  L.  Lasky,  associate  producer 
of  Metro's  "The  Great  Caruso"  is  cur- 
rently on  a  tour  of  seven  key  cities  where 
he  is  conducting  special  screenings,  mak- 
ing radio  and  TV  appearances  and  put- 
ting in  some  valuable  plugs  for  the  film. 


\PRIL    23.  1951 


11 


What  Makes  An  A'  Picture? 


{Continued  from  Page  5) 
sense  approach  to  this  problem  is  pro- 
vided by  the  experience  of  Universal-In- 
ternational which  has  been  minting  con- 
siderable coin  for  itself  and  its  customers 
during  the  past  twelve  months.  Judged 
by  the  old,  outmoded  yardstick  of  heavy 
production  costs,  expensive  scripts,  over- 
paid stars  and  fancy  exploitation  notions, 
Universal  hasn't  been  making  "A"  pic- 
tures for  some  time.  But  its  offerings 
have  mostly  been  profit-earners  for  3il 
concerned,  and  Al  Daff.  Vice-President  of 
the  company,  and  Universal's  Director  of 
World  Sales,  contends  "We  have  been 
designated  by  many  of  the  big  exhibitors 
I  have  talked  to  during  the  past  few 
months  as  one  of  the  top  money  compa- 
nies in  the  business.  We  have  made  pro- 
fits for  the  exhibitor  by  consistently  of- 
fering him  products  of  wide  appeal  and 
immense  variety." 

49-Year  Old  Daff 
Spent  30  In  Industry 
Alfred  Edward  Daff  knows  what  hes 
talking  about  when  it  comes  to  pictures. 
He  has  spent  30  of  his  49  years  in  the 
business,  beginning  as  an  office  boy  with 
Progressive  Films  in  his  native  Mel- 
bourne, Australia,  where  his  father  was 
a  fruit  merchant.  He  learned  movies 
from  the  bottom  up:  shipping,  repairing, 
advertising,  accessories.  At  18  he  got  a 
job  with  Universal  as  booker  and  sub- 
urban salesman,  and  by  the  time  he  was 
20  had  become  manager  of  the  Victoria 
and  Tasmania  branch,  where  he  won  a 
£25  salesmanship  prize  and  bought  a 
ticket  to  America.  After  this  first-hand 
glimpse  into  Universal's  set-up  he  went 
back  to  Australia,  but  within  two  years 
had  been  moved  to  a  general  manager- 
ship in  Japan,  with  supervision  over 
Manchuria  and  Korea.  In  1942  he  was 
shifted  to  New  York  as  Foreign  Sales 
Supervisor.  Now,  with  an  album  of  snap- 
shots he  has  taken  in  India,  Africa,  thv? 
Far  East,  the  Middle  East,  the  Mediter- 
ranean countries,  Latin-America  and  the 
British  Isles,  he  directs  Universal's  world 
sales.  He  has  been  round  the  world  ?>y 
air  four  times,  flown  the  Atlantic  55 
times  and  the  Pacific  almost  as  often. 
His  total  log  for  three  years:  300,000 
miles. 

A  brawny  six-footer,  weighing  about 
200  j>ounds,  a  former  champion  wrestler, 
a  cigar  addict,  and  a  decidedly  good  com- 
panion with  a  rich  sense  of  humor,  Al 
Daff  has  been  spending  the  past  few 
months  touring  branches  and  exchanges 
throughout  the  United  States.  This  mis- 
sionary trip  will  be  finished  by  the  end 
of  April.  It  has  already  taken  him  to 
places  as  far  apart  as  Boston,  Los  Ange- 
les, Kansas,  Buffalo,  Memphis,  Chicago, 
Philadelphia,  Atlanta,  Milwaukee,  St. 
Louis,  Washington,  Albany,  Cleveland, 
Detroit,  Cincinnati,  Pittsburgh,  Minnea- 
polis, Charlotte,  New  Haven,  New  York, 
and  San  Francisco. 


"Everywhere  I've  been,"  he  says,  "I've 
been  given  the  same  pitch.  It's  the  same 
old  story:  the  distributor  always  charges 
too  much  and  the  exhibitor  always  pays 
too  little." 

But  Daff  has  heartening  news.  "The 
art  of  showmanship,"  he  declares,  "is 
coming  back.  And  it  is  not  before  time. 
If  we  ever  lose  the  art  of  showmanship 
in  this  business  —  and  we  were  tending 
to  forget  it  —  it  will  be  a  very  dangerous 
thing  for  the  industry." 

The  let-down  in  showmanship  came 
during  the  wartime  "boom,"  when  too 
many  people  were  doing  so  well  that 
they  didn't  bother  to  develop  new  exploi- 
tation ideas.  When  the  "boom"  subsided 
the  entire  industry  found  itself  without 
a  cushion,  and  by  slow  and  painful  stages 
has  had  to  fight  its  way  back.  Pro- 
ducers, distributors  and  exhibitors  alike, 
thinks  Daff,  should  as  a  result  of  that 
experience,  have  learned  a  useful  lesson: 
"The  time  to  protect  yourself  is  when 
you're  healthy." 

Advocates  More  Help 
To  Exhibitor  Showmen 

There  is,  of  course,  still  much  leeway 
to  be  made  up,  and  Al  Daff  thinks  the 
best  way  to  get  back  on  course  is  for  the 
distributor  to  give  increasing  help  to  the 
exhibitor,  to  win  him  back  into  the  mood 
of  showmanship.  The  devices  of  a  few 
years  ago  can  still  be  used  with  only 
minor  adjustments,  for  they  are  basically 
sound.  Universal's  publicity  and  exploi- 
tation experts  win  his  warm  praise,  and 
as  an  outstanding  example  of  the  aid 
offered  to  the  exhibitor  he  cites  the  work 
done  on  "Bedtime  for  Bonzo."  Three 
million  copies  of  a  photographic  comic 
strip  folder  for  public  consumption  were 
printed  for  distribution  by  the  exhibitor 
to  schools  and  shops.  The  cost  to  the 
distributor:  $4  per  thousand,  or  $7  a 
thousand,  imprinted  and  folded,  on  orders 
of  10,000  or  more.  The  leaflet  announ- 
cing this  offer  carried  the  slogan  "Some- 
body will  have  to  get  off  his  fanny  to  do 
this  —  but  it  will  pay  off  in  real  money." 

What  about  the  folk  who  won't  get  off 
their  fannies?  The  TV  audience,  for  in- 
stance. Al  Daff,  recognizing  that  televi- 
sion is  by  no  means  doomed  to  an  early 
death,  uses  it  quite  extensively  for  pro- 
motional campaigns.  But  on  his  tours 
around  the  United  States  he  has  found 
nothing  to  shake  his  belief  that  films 
have  made  too  great  an  impression  on 
the  day-to-day  life  of  the  community  for 
them  to  be  ousted  by  any  other  form  of 
entertainment. 

He  has  noticed  that  people  below  the 
age  of  30  form  the  backbone  of  most  mo- 
vie audiences,  and  that  in  the  past  few 
months  a  subtle  change  has  occurred  in 
audience  requirements.  There  is  a  trend 
towards  adventure  and  comedy  pictures 


—probably  a  form  of  escapism  from  the 
cares  of  a  strife-torn  world.  Idea  films— 
that  is,  movies  with  some  social  signifi- 
cance —  are  becoming  increasingly  popu- 
lar, too. 

Though  some  exhibitor  groups  have 
been  urging  the  industry  to  produce 
everything  in  color,  Al  Daff  sees  no  im-i 
mediate  prospect  of  color  becoming  uni- 
versal. It  is  being  used  this  year,  he 
estimates,  in  about  one-third  of  the  in-i 
dustry's  production,  and  he  has  good  rea- 
sons for  opposing  the  theory  that  Holly- 
wood  should  do  everything  in  rainbow 
tints. 

"Many  films,"  he  says,  "are  unsuitable 
for  color;  others  would  gain  nothing 
from  it.  The  only  fault  I  can  find  in  re- 
gard to  color  is  that  it  has  not  yet  been 
fully  exploited  in  those  cases  in  which 
it  has  been  used.  It  can  be  a  wonderful 
selling  point.  Every  picture  has  a  selling 
cue  gunman  threatens  to"  kill  the  tot 
Hayward,  however,  ends  the  battle  by 
shooting  Elam  as  he  is  about  to  kill 
i  Power.  GRAN. 

MELLER 

^nd  the  shellfire  of  German  submarines 
idiich  infested  those  waters  during 
Wly  days  of  World  War  II.    The  cap 
hin  of  the  schooner,  Claude  Rains, 
le  only  living  man  aboard.  Andrews 
idio  is  mysteriously  wrecked,  with  sus- 
cion  falling  on  Miss  Balenda  and  two 
anish  crew  members,  Philip  Dorn  and 
.tic    Feldary.      When    they  tow 
1  hooner  into  harbor  in  the  tiny  village 
vat    is  Miss  Balenda's  home,  Andrews 
Ascovers  a  cache  of  torpedoes  in  a  secret 
p'ld,  and  comes  to  the  conclusion  that 
orins  is  the  master   of  a   supply  ship 
.  r  the  Nazi  subs.    Feldary  proves 
ln  a  Nazi  agent,  joining  his  comrades 
seien  Rains  takes  over  the  town.  An 
mews  and  members  of  his  crew  rout 
m?    Germans    and,    after  moving 
moSf  naPncPof ,  tBuMffifefEL  waiting_until 
audience.    If  a  film  appeals  to  regul 
moviegoers  and  most  of  the  occasion 
visitors  in  all,  or  almost  all,  areas  of 
United  States,  it  can  draw  up  to  40,000 
paid  admissions,  Al  Daff  says.    "In  th 
case   you   have   a   smash-hit   on  yo 
hands."    If  it  appeals  only  to  the  tit 
center  segment,  it  can  be  written  off  as 
disaster. 

The  business  of  selling  films  is 
tougher  than  it  was,  Daff  asserts.  "No 
that  we  are  operating  under  the  so-call 
Paramount  decree  we  are  faced  with 
many  legal  problems  that  lawyers  fo 
an  important  part  of  the  industry's  sal 
organizations." 

Nonetheless,  showmanship,  salesm 
ship  and  exhibitor  exploitation  activi 
are  gradually  injecting  new  life  into 
business.  In  many  of  the  areas  he  hsl 
lately  visited,  Daff  has  found  a  slowl| 
subsiding  interest  in  television,  and  a  r«i 
vival  in  motion  picture  business.  He  won| 
be  quoted  on  it,  but  he  obviously  coji 
siders  that  an  "A"  picture  is  made  at  tr 
theatre  boxoffices,  not  born  in  Hollywood 


12 


FILM  BULLETI 


treat  Trade  Reviews!  ■  An  Academy- Award 

Picture  (ssl)  Team! 


"Strong,  gripping,  socks 
home  story!" -hlm  daily 

'Noteworthy,  brilliant 
achievement!" 

-HOLLYWOOD  REPORTER 


A  Smashing  Action, 
Suspense  Story! 


JOHN  IRELAND 
MERCEDES  McCAMBRIDGE 


"Brilliant!"  -daily  variety 

"Gripping,  excellent, 
exciting.  Exceptional 
prospects!" 

-SHOWMEN'S  TRADE  REVIEW 


/V<1  


 yr 


;::<  ~* 

\  ""'■—'*»„„„„/rtt» 


"Tense, 
very  capa 


sc..  \ 
blejob!"  \ 


-MP  DAILY 


SCARF 


JOSEPH  JUSTMAN  presents 
JOHN  IRELAND  •  MERCEDES  McCAMBRIDGE  •  EMLYN  WILLIAMS 

."THE  SCARF" 

co-starring  JAMES  BARTON  •  with  Lloyd  Gough  •  Basil  Ruysdael  •  David  Wolfe 
Harry  Shannon  •  a  gloria  film  production  •  Directed  by  E.  A.  DUPONT 
Produced  by  I.  G.  GOLDSMITH  •  Screenplay  by  E.  A.  Dupont 
from  a  story  by  I G.  Goldsmith  and  E.  A  Rolfe 
Associate  Producer  ANTHONY  Z.  LANDI  •  Released  thru  United  Artists 


All  the  material  for  areat  returns  thru  UA 


ELC  ACQUISITION  MASTER 
STROKE  FOR  UA  MANAGEMENT 

In  what  was  probably  the  quickest  ac- 
quisition deal  the  movk?  industry  has 
ever  seen,  United  Artists  took  over  Eagle 
Lion  Classics  in  toto  —  its  product,  pasl, 
present  and  future;  its  stock,  its  distribu- 
tion pacts,  and  its  foreign  distribution 
rights.  The  agreement  becomes  effec- 
tive April  28. 

The  deal,  conceived  and  executed  with- 
in two  days,  involved  no  actual  transfer 
of  cash,  although  approximately  half  a 
million  dollars  of  financing  was  reported- 
ly required  to  carry  it  through.  The 
estimated  purchase  price  ranged  between 
the  S2.000.000  to  $3,000,000  mark.  In  ad- 
dition, Pathe  Industries,  parent  company 
of  ELC.  was  given  a  ten-year  pact  to 
process  UA  films. 

ELC's  physical  distribution  facilities 
and  personnel  were  not  part  of  the  deal, 
although  several  of  the  sales  executives 
and  field  men  were  subsequently  hired 
by  UA,  among  them  ELC  distribution 
vice-president  Bernard  G.  Kranze,  who 
was  named  executive  assistant  to  distri- 
bution v.p.  William  J.  Heineman,  and 
general  sales  manager  Milton  E.  Cohen, 
who  became  UA's  Western-Southern  Di- 
vision manager.  Also  noted  as  not  part 
of  the  deal  were  ELC  liabilities,  to  be 
assumed  by  Pathe,  and  ELC  Studios, 
and  real  estate,  also  to  be  held  by  the 
parent  company. 

The  deal  was  considered  an  inspiration- 
al one  for  the  new  UA  management.  The 
rough  prospect  of  trying  to  fill  product 
requirements  for  the  next  several  months 
and  stem  the  flow  of  red  ink  was  verv 
largely  solved  by  acquisition  of  the  ELC 
product.  A  huge  reservoir  of  product 
became  immediately  available  and  the 
need  for  new  financing  to  meet  lasses 
from  past  and  current  operations  was 
obviated. 

President  Arthur  B.  Krim  told  a  trade 
press  conference  that  while  the  acquired 
films  would  provide  a  source  of  immedi- 
ate revenue,  it  would  merely  be  the  in- 
itial phase  of  the  new  management's 
plan,  permitting  the  comoany  to  concen- 
trate on  its  avowed  purpose  of  providing 
onlv  "A"  product  beginning  in  1952. 

Over  200  pictures  are  involved  in  tne 
deal,  all  but  50  of  them  already  liquidat- 
ed, it  was  estimated.  Talk  that  some  of 
them  might  be  sold  to  television  was 
auashed  by  Heineman,  who  emphasized 
that  all  are  scheduled  to  plav  theatres 
and  no  sale  to  TV  interests  is  contem- 
plated, at  least  until  long  after  its  com- 
mercial theatre  playoff  has  been  consum- 
mated. 

In  addition  some  eight  or  nine  have 
been  delivered  by  producers  and  are 
awaiting  release,  with  three  or  four  more 
committed  and  soon  to  be  delivered. 

Credit  for  engineering  the  deal  was  at- 
tributed to  Matthew  Fox.  associate  with 
Krim  in  the  new  management,  worked 
out  the  terms  with  Pathe  head  Robert 
Young,  ELC  president  William  C.  Mac- 
Millen.  Jr..  and  other  toppers  of  the  now 
defunct  company.  Fox  lauded  Robert 
Beniamin  and  Seymour  Peyser  as  key 
figures  in  helping  to  formulate  the  agree- 
ment. 

All  Eagle  Lion  branches  were  shut 
down  bv  the  end  of  last  week  as  sales 
and  field  personnel  received  their  notice. 
The  home  office  continual  to  operate 
with  a  skeleton  crew  until  the  takeover 
date. 


BULLETIN 


Volume  20,  Number  8 
April  23.  1951 


News 
and 


Opinion 


ROBERT  BENJAMIN 

Key  Figure 


COLOSSEUM  FILES  CHARGES 
AS  PACT  TALKS  BREAK  DOWN 

Complete  breakdown  of  negotiations 
between  the  Colosseum  of  Motion  Picture 
Salesmen  and  the  major  distributors  was 
indicated  in  the  disclosure  by  David  Bez- 
nor,  Colosseum  general  counsel,  that  the 
salemen's  union  would  file  unfair  labor 
charges  against  the  distributors. 

Beznor  said  that  the  companies  had  of- 
fered a  $4  weekly  increase  in  salary  and 
no  increase  in  expense  on  the  grounds 
that  the  industry  was  being  hurt  by  tele- 
vision. When  he  demanded  financial  rec- 
ords to  determine  the  validity  of  their 
contention,  Beznor  declared,  the  distribu- 
tors' committee  then  released  a  statement 
for  the  record  that  the  companies  are  not 
pleading  inability  to  pay  as  a  basis  for 
refusal  of  the  Colosseum  wage  requests 
and  refused  to  permit  examination  of 
company  earnings. 

"The  distributors'  refusal  to  bargain  in 
good  faith  as  shown  by  an  unwillingness 
to  disclose  earnings  will  constitute  the 
basis  of  the  unfair  labor  charges,"  Bez- 
nor said. 

The  Colosseum  is  asking  a  ten  per  cent 
wage  increase  plus  higher,  on-the-road  ex- 
pense allowances  to  meet  increased  costs. 


$12,351,000  NET  FOR  UPT 
1950  HIGHEST  FOR  INDUSTRY 

United  Paramount  Theatres,  in  its  first 
year  as  an  individual  company,  rolled 
up  a  net  of  $12,351,000  for  1950,  the  high- 
est profit  reported  by  any  single  company 
in  the  industry. 

While  the  1949  pro  forma  report  for 
the  Paramount  theatre  subsidiary  came 
to  $17,575,000.  there  was  actually  no  basis 
for  comparison  with  the  current  UPT 
profit  statement  because  of  the  juggling 
involved  in  divestiture  and  acquisition  of 
theatres  during  the  past  year,  in  fine  with 
provisions  of  the  divorcement  decree. 

During  the  year  the  company  terminat- 
ed joint  interests  in  approximately  700 
theatres,  and  acquired  full  interest  in 
some  160  houses  in  Texas  and  New  Mexi- 
co with  purchase  of  the  Karl  Hoblitzelle- 
R.  J.  O'Donnell  50  per  cent  share  in  In- 
terstate Circuit  and  Texas  Consolidated 
Theatres. 

In  reporting  the  company's  profits, 
president  Leonard  H.  Goldenson  noted 
that  consolidated  earnings  from  affiliated 
companies  came  to  $1,420,000:  net  capital 
gains,  after  taxes,  to  $2,144,000,  and  $209,- 
000  representing  the  company's  direct 
and  indirect  share  of  undistributed  earn- 
ings of  partly-owned  non-consolidated 
subsidiaries. 

Dividends  of  $2  per  share,  totaling 
$6,622,000  were  paid  to  stockholders  dur- 
ing the  year.  Stock  book  value  increased 
from  $14.06  per  share  to  $16.21. 

Net  for  the  first  quarter  of  1951.  Gold- 
enson reported,  will  approximate  the 
figure  for  the  same  period  last  year, 
which  came  to  $3,193,000. 

OVERPRODUCTION  HITS  TV; 
RCA,  PHILCO  LAY  OFF  3300 

That  ole  debbil  —  overproduction  — 
has  hit  television  where  it  hurts.  Manu- 
facturers' warehouses  are  bulging  with 
TV  sets  that  can't  get  onto  retailers' 
floors  because  they  are  so  overstocked 
they're  cutting  prices  to  cost,  and  below, 
to  get  floor  space. 

The  high  inventories  at  all  levels  — 


ELC  MEN  TO  UA 

Eagle  Lion-Classics'  executives 
and  field  heads  who  will  move  over 
to  United  Artists  on  April  30: 

Bernard  G.  Kranze,  ELC  distribu- 
tion vice-president,  to  executive  as- 
sistant to"  William  J.  Heineman,  UA 
distribution  v.p. 

Milton  E.  Cohen,  ELC  sales  man- 
ager to  UA  Western-Southern  sales 
manager. 

James  Velde,  ELC  Detroit  branch 
manager,  to  UA  Western  district 
manager. 

Richard  Carnegie,  ELC  Los  An- 
geles branch  manager  to  the  same 
post  at  UA. 

George  Waldman.  ELC  Metropoli- 
tan district  manager  to  UA  upstate 
New  York  and  New  Jersey  sales 
manager. 

Ralph  Amaoher,  ELC  San  Fran- 
cisco branch  manager  to  same  post 
at  UA. 

Charles  Powers,  ELC  Portland, 
Ore.,  branch  manager  to  UA  sales 
representative  in  same  city. 


14 


FILM  BULLETIN 


JVetvs  and  Opinion 


lanufacturer,  dealer,  retailer  —  has 
aused  huge  layoffs  at  some  of  the  top 
lanufacturing  plants,  as  output  is  being 
'ut  to  avoid  further  price  slashes.  Philco 
;sued  a  statement  that  it  has  laid  off 
,000  employes  in  one  week  because  of 
production  adjustments ;"1300  employes 
i  RCA  Victor's  television  receiver  manu- 
pcturing  plant  were  made  idle  "tempor- 
rily"  the  same  week,  with  RCA  explain- 
ng  the  layoffs  were  due  to  a  shift  to 
ar  production. 

A  steady  drop  in  unit  production  has 
een  reported  by  Radio-TV  Manufactur- 
es Association  since  March.  Last  figure 
/as  157,771  for  the  week  ended  March 
0. 

:  The  seriousness  of  the  situation  was 
,?flected  by  Ross  D.  Siragusa,  president 
f  Admiral  Corporation,  as  he  told  a 
.tockholders  meeting  that  the  company 
light  soon  be  forced  to  seek  bank  loans 
or  the  large  inventories  in  distributor 
nd  factory  warehouses. 
.  TV's  big  hope,  retailers  report,  is  that 
jiventories  will  be  lightened  in  the  next 
iree  months  after  which  the  industry 
an  take  advantage  of  a  new  shortage 
ue  to  materials  restrictions. 

OEW'S  NET  DIPS  WITH 
4.225,000  FOR  28  WEEKS 

Loew's,  Inc.,  net  for  the  28  weeks  end- 
1  March  15,  1951,  slipped  a  bit  as  a  mil- 
m-dollar  drop  during  the  last  16  weeks 
:  the  period  more  than  counterbalanced 
ie  gain  in  the  first  12  weeks.  Net  for 
,ie  28-week  period  was  84,225,000  com- 
ired  with  $4,986,000  in  the  same  period 
st  year.  For  the  16  weeks  ended  March 
i  last,  net  came  to  $2,230,000  compared 
ith  $3,334,000. 

Gross  sales  for  tba  28  weeks  were  $93,- 
)0,000  compared  with  $95,618,000.  For 
ie  16  weeks,  gross  this  year  was  $54,- 
>8,000  compared  with  $57,600,000. 

Federal  taxes  came  to  $3,446,000  for  the 
*  weeks  ended  March  15,  '51;  $4,178,000 
lie  year  before.  The  16-week  tax  this 
?ar  was  $2,230,000  compared  with  $3,- 
>3,000. 

Share  of  net  income  from  partly  owned 
ibisidaries  was  $299,000  for  the  28-week 
jeriod  last  year,  but  none  for  the  most 
pcent  28  weeks. 

'ARAMOUNT  REINSTATES 
ULL  TRADE  SHOWING  SETUP 

I  Paramount's  Al  Schwalberg  ordered  re- 
instatement of  trade  showings  on  a  100 
kr  cent  basis  after  exhibitor  complaints 
bout  the  limited  trade  showing  arrange- 
nent  by  the  company.  Paramount  had 
rdered  elimination  of  routine  projection 
oom  trade  showings  after  a  survey, 
vhich.  it  was  said,  indicated  that  the 
creenings  were  not  serving  their  pur- 
pose and  were  poorly  attended  by  exhi- 
itors.  Instead,  the  company  had  pro- 
posed specialized  trade  showings  based 
n  the  individual  film's  requirements. 
News  stories  about  the  "specialized'' 
lan.  Schwalberg  noted,  "were  not  all  as 
omplete  as  they  might  have  been"  and 
he  company  received  a  large  number  of 
?tters  from  exhibitor  groups  and  indi- 
ldual  theatremen  urging  reinstatement 
f  100  per  cent  trade  showings.  Bowing 
~>  exhibitor  wishes,  Schwalberg  ordered 
lull  scale  showings,  but  added  that  each 
icture  would  be  handled  individually. 
I   F°r  a  very  fine  important  drama  we 


A.  W.  SCHWALBERG 

Back  To  1007c 


will  want  to  use  the  'jewel  box'  theafe 
showing.  For  a  comedy,  we  will  un- 
doubtedly go  into  a  large  theatre 
with  a  large  audience."  he  said,  adding 
that  other  pictures,  such  as  action  west- 
erns, will  receive  regular  projection  room 
showings. 

"It  is  my  fervent  hope  that  the  publi- 
city which  has  attended  this  question  of 
Paramount  policy  over  the  past  few 
weeks  will  serve  to  bring  home  to  each 
and  every  exhibitor  the  importance  and 
value  of  seeing  a  picture  at  a  trade  show- 
ing, and  that  there  will  be  a  reflection 
of  this  realization  in  future  attendance 
figures,"  the  Paramount  distribution  head 
wrote  in  a  letter  to  an  exhibitor.  While 
■it  may  not  be  possible  for  a  theatreman 
to  attend  every  showing,  he  added,  "I 
feel  that  if  an  exhibitor  or  his  representa- 
tive does  attend  most  if  not  all  of  these 
showings  he  will  be  in  a  far  better  posi- 
tion to  determine  the  proper  presentation 
and  advertising  approaches  to  his  custo- 
mers." 

SLOW  FILM  PRICING  HIT 
BY  N.  J.  ALLIED'S  SNAPER 

A  speed-up  in  film  pricing  will  be  the 
object  of  a  campaign  by  Allied  Theatre 
Owners  of  New  Jersey,  Wilbur  Snaper. 
president,  declared  in  a  bulletin. 

Warning  that  with  the  "sudden  influx" 
of  drive-ins  in  New  Jersey,  exhibitors 
must  make  the  most  of  their  availabili- 
ties, Snaper  said  it  was  "most  imperative, 
that  film  companies  price  pictures  cor- 
rectly with  much  more  speed  than  they 
have,  so  that  theatre  owners  may  buy 
sooner  and  thus  be  able  to  take  advantage 
of  an  availability."  Those  who  fail  to  do 
so,  he  said,  will  find  themselves  playing 
last  run  in  the  territory. 

He  declared  the  organization's  inten- 
tion to  call  upon  the  branch  managers  to 
speed  up  their  film  pricing.  "We  no  long- 
er can  wait  for  what  they  call  'experi- 
ence' on  a  picture  before  they  know  what 
to  do  with  it."  Snaper  said,  adding  that 
"a  good  distributor  should  be  able  to  eval- 
uate a  picture  without  waiting  two 
months  for  final  designation." 


FCC  ORDER  NOT  AIMED  AT 
EXHIBITORS,  COY  TELLS  TOA 

"Who,  us?"  was  the  innocent  reply,  In 
effect,  given  by  Federal  Communications 
Commission  Chairman  Wayne  Coy  to  the 
film  inquiry  furore  aroused  by  the  FCC 
report  of  March  29.  The  document, 
which  declared  nat  film  companies'  fail- 
ure to  supply  its  "best  available  films 
and  .  .  .  best  available  talent"  to  televi- 
sion would  be  a  determining  factor  in 
issuance  of  TV  broadcasting  licenses,  was 
bitterly  condemned  by  all  factions  of  the 
industry. 

After  a  conference  with  TOA  execu- 
tive director  Gael  Sullivan  and  the  organ- 
ization's TV  experts,  Nathan  L.  Halpern 
and  Marcus  Cohn,  Coy  stated  that: 

(1)  The  FCC  report  was  not  intended 
to,  and  did  not,  have  any  connection  with 
theatre  television  and  the  hearings  to  be 
held  on  theatre  TV  channels. 

(2)  The  practices  of  motion  pictuie 
companies  in  the  report  was  not  intend- 
ed to,  and  did  not,  refer  to  exhibitor 
practices  or  to  any  present  or  future  TV 
broadcasting  applications  bv  exhibitors. 

(3)  All  applicants  involved  in  anti- 
trust violations  will  be  judged  on  a  case- 
to-case  basis. 

That  exhibitors  would  be  affected  di- 
rectlv  if  distributors  were  forced  to  give 
"best  available"  films  to  TV  interests  was 
not  discussed  by  Coy.  He  did,  however, 
express  the  hope  that  movie  oroducers 
would  make  more  films  specially  design- 
ed for  telecasting,  while  continuing  *o 
produce  feature  films  designed  solely  for 
theatrical  exhibition. 

REPUBLIC  HOLDS  '50  PACE. 
PROSPECT  BRIGHT -YATES 

A  brightening  of  industry  conditions 
with  further  improvements  in  prospect 
'  when  the  economic  scene  becomes  stabi- 
lized" was  reported  by  Republic  president 
Herbert  J.  Yates  at  rhe  company's  annu- 
al stockholders  meeting.  Republic's  busi- 
ness for  the  first  quarter  this  year  was 
running  on  a  par  with  the  first  quarter 
of  1950,  he  told  the  largest  stockholder 
representation  '  76'r  >  at  the  meeting. 

On  the  company's  new  distribution 
setup  in  Great  Britain  and  Eire,  Yates 
reported  a  "very  substantial"  increase  in 
eross  business  for  the  first  seven  weeks 
of  operation  of  Republic  International, 
in  the  British  Isles  as  compared  to  previ- 
ous operation. 

Five  directors  were  reelected  for  a 
three-year  term  by  the  stockholders: 
Yates.  James  R.  Grainger,  Albert  W. 
Lind.  Frederick  R.  Ryan  and  Richard  W. 
Altschuler.  At  a  subsequent  meeting  of 
ihe  board,  all  officers  were  reelected. 


COMPO  MEMBER  COMMITTEE 

A  seven-man  committee  will  pass 
on  the  qualifications  of  organiza- 
tions seeking  membership  in  COM- 
PO. The  committee  members  nam- 
ed last  week  by  COMPO  president 
Xed  E.  Depinet  are: 

Ellis  Arnall,  SIMPP.  chairman: 
Andy  W.  Smith.  Jr..  MPAA;  True- 
man  T.  Rembusch.  Allied;  Gael  Sul- 
livan, TOA;  H.  V.  "Rotus"  Harvev, 
PCCITO;  Harry  Brandt,  ITOA  of 
New  York;  Leo  Brecher,  Metropoli- 
tan MPTA. 


PRIL    23,  1951 


15 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 

ZxetiOfa  ^SBLLETIM  feature 


COLUMBIA 

CUT  IN  B'S  GETS  GOING 
AS  B-PRODUCERS  GET  GATE 

^LTHOUGH  Harry  Cohn  announced  al- 
most two  years  ago  that  his  company 
was  slashing  the  production  of  "B"  pic- 
tures, only  now  is  the  studio  beginning 
to  show  signs  that  such  a  policy  is  actual- 
ly going  into  effect.  A  general  house- 
cleaning  has  been  underway  in  the  ranks 
of  the  "B"  producers  the  past  few  weeks, 
which  seems  either  to  lend  substance  to 
the  announcement  that  the  1951  slate  will 

account  for  only  six  of  the  quickies   

or  it  may  just  mean  that  the  company  is 
doing  a  simple  cutting-down  in  produc- 
tion volume. 

The  ax  fell  most  recently  on  Producer 
Rudolph  Flothow  who  reportedly  receiv- 
ed omy  one  week's  notice  to  clear  off  the 
lot  —  terminating  a  16-year  affiliation 
with  t.ie  company.  In  still  another  per- 
sonnel change  resulting  from  the  shake- 
up  of  "B"  producers,  Milton  Feldman  was 
reduced  in  rank  from  a  full  Hedged  pro- 
ducer to  an  assistant  director.  Only  two 
producers  in  this  category  remain  on  the 
lot,  namely,  Robert  Cohn,  the  head  man's 
nephew,  and  Wallace  MacDonald. 

It  has  also  become  evident  in  the  past 
couple  of  weeks  that  a  high  percentage 
of  the  Columbia  product  on  the  new  slaie 
will  be  turned  out  in  Cinecolor.  With 
more  nnd  more  of  the  slate  being  ear- 
marked for  the  tint,  Cinecolor  executives 
claim  that  Columbia  now  stands  to  con- 
sume 60  per  cent  of  the  year's  total  out- 
put. 

"Ten  Tall  Men"  (Burt  Lancaster- Jodv 
Lawrence),  the  only  feature  shooting 
during  the  early  part  of  the  month,  was 
joined  by  three  new  productions  around 
mid-month:  "Man  In  the  Saddle"  (Ran- 
dolph Scott-Joan  Leslie),  a  high-budgeted 
western,  produced  by  Harry  Joe  Brown 
and  directed  by  Andre  De  Toth;  "War 
Cry"  (George  Montgomery),  an  Edward 
Small  production  being  filmed  in  Super- 
cinecolor,  with  Ray  Nazarro  directing  for 
acting  producer  Bernard  Small,  and 
"Hills  of  Utah,"  a  Gene  Autry  produc- 
tion, starring  the  cowboy  and  produced 
by  Armand  Schaefer.  Scheduled  to  roll 
tomorrow  (24)  is  "The  Dark  Page,"  a 
Iront  office  project  starring  Broderick 
Crawford  and  John  Derek,  with  Phil 
Karlson  directing. 

EAGLE  -  LION  -  CLASSICS 

SALE  OF  PRODUCT  TO  UA 
DRAWS  CURTAIN  ON  COMPANY 

j^KWS  that  United  Artists  had  purchas- 
ed Eagle  Lion  Classics  was  as  much 
a  surprise  in  Hollywood  as  in  the  East, 
and  was  received  with  mixed  emotions 
by  the  town's  sizeable  population  of  In- 
dependent producers.  The  sale,  which 
becomes  effective  on  April  28,  involves 


the  transfer  of  ELC's  entire  inventory  of 
feature  films,  as  well  as  all  future  com- 
mitments on  films,  but  does  not  include 
the  transfer  of  the  studio  proper  which 
goes  on  the  selling  block  as  a  separate 
transaction. 

One  reason  the  sale  came  as  such  a 
surprise  was  the  fact  that  ELC  has  been 
operating  in  the  black  for  the  past  few 
months.  As  a  matter  of  fact,  ELC  Prexy 
William  MacMillen,  Jr.,  on  his  recent  visit 
to  the  coast,  had  freely  predicted  that 
his  company  would  show  a  profit  of  $200.- 
000  for  the  fiscal  year  ending  June  12, 
and  that  the  company's  gross  rental  for 
the  year  would  approximate  $18,000,000. 
Last  year,  you'll  remember,  the  financial 
report  showed  a  loss  of  $800,000. 

Among  recent  ELC  acquisitions  which 
will  pass  into  the  hands  of  UA  are:  "The 
White  Road"  (Glenn  Ford  -  Geraldine 
Brooks-Sir  Cedric  Hardwicke),  a  Bene- 
goss  Production  which  went  before  the 
cameras  in  France  on  April  19,  with 
Rudy  Mate  directing;  "Slaughter  Trail" 
(Gig  Young-Andy  Devine-  Bob  Hutton), 
Irving  Allen's  forthcoming  Cinecolor  pro- 
duction; "Big  Night"  (John  Barrymore. 
Jr.),  which  Joe  Losev  will  direct  for  Phil 
Waxman  on  a  $500,000  budget;  and  pos- 
sibly "Double  Cross,"  a  Demyrtha  Pro- 
duction, which  Mickey  Rooney  has  been 
set  to  direct,  in  accordance  with  his  new 
plan  to  branch  out  from  his  acting 
chores. 

LIPPERT 

NOVEL  FILM  GOES  BEFORE 
CAMERAS  AFTER  HUSH  PREPS 

J^IPPERT'S  new  high-budget  exploita- 
tion feature,  "Lost  Continent"  (Cesar 
Romero-Hillary  Brooke),  got  away  April 
16,  with  principal  filming  being  done  on 
the  Samuel  Goldwyn  lot.  The  start  of 
actual  shooting  climaxed  four  months  of 
secret  effects  filming  on  the  unusual 
Murray  Lerner  production,  which  will 
combine  a  prehistoric  setting  with  the 
science  fiction  of  the  atom  age.  Serving 
as  active  producer  under  Lerner  is  Sig^ 
mund  Neufeld,  with  Sam  Newfield  direct- 
ing. Associates  of  Lippert  say  the  pic- 
ture will  carry  one  of  the  highest  budgets 
ever  accorded  one  of  the  company's  pro- 
ductions. 

Ts\o  films  have  been  completed  and 
placed  in  the  cans  during  the  last  fort- 
night both  shot  on  short  schedules. 
They  are:  "G.I.  Jane"  (Jean  Porter-Tom 
Neal-Iris  Adrian),  directed  by  Reginald 
LeBorg  for  Producer  Murray  Lerner. 
turned  out  in  just  under  two  weeks,  and 
a  musical  with  a  vaudeville-minstrel 
oackgrour.d,  "That's  Shovv  Business," 
produced  and  directed  by  Ron  Ormond. 

Coming  up  for  filming  is  "Leave  It  To 
the  Marines,"  a  Sid  Melton  starrer  to  be 
produced  and  directed  by  William  Berke, 
due  to  roll  this  week  (23),  and  an  addi- 
tional slate  of  three  and  possibly  four 
pictures  has  been  set  for  May. 


HOLLYWOOD  EDITORIAL 

Goldwyn  Again 

There's  only  one  thing  about  Sann 
Goldwyn  that  is  more  dependable  tin 
his  ability  to  consistently  turn  out  be  j 
office  hits  —  and  that  is  his  penchant  f 
stirring  up  controversies  whenever  i 
lakes  a  public  stand  on  some  issue  j 
lating  to  motion  pictures.  He  touched  i 
the  most  recent  argument  with  a  N« 
York  Times  Sunday  feature  article,  I 
which  he  charged  that  motion  picti 
advertising  is  defeating  its  own  purpolj 
and  actually  keeping  people  away  fr<[ 
movies. 

Mr.  Goldwyn  contends  that  the  morn 
ad-writers  have  so  over-used  their  limit  I 
vocabulary  of  superlatives  —  adjecth 
like  "sensational,"  "terrific"  and  "epic'  ' 
that  the  public  has  lost  all  confidence 
the  ads  as  a  guide  for  selecting  its  ent 
tain  men  t  fare.    His  critics  have  haster 
to  label  his  charges  "ridiculous,"  atl 
made  with  no  other  purpose  than  to  g  '-j 
ner  Mr.  Goldwyn  a  little  personal  p 
licity. 

Yet,  a  little  sober  reflection  on  the  si'-i 
ject,  might  greatly  benefit  the  indust, 
and  prove  that  his  gripe  is  not  withit' 
plenty  of  foundation  in  fact. 

Movies  have  shown  a  steady  impro  - 
ment  over  a  long  period  of  time  —  rea  -1 
ing  a  new  zenith  with  the  tremendous 
fine  group  of  pictures  nominated  for  A  J 
demy  Awards,  last  month.  Y'et  mo&j 
advertising,  for  the  most  part,  rema* 
unchanged. 

What  kind  of  sense  does  that  maw 
when  we're  living  in  a  world  whose  wli  e 
commercial  structure  is  based  on  adv- 
tising? 

Several  of  the  studios,  in  an  effort  o| 
cut  down  overhead,  recently  pared  tl  n 
advertising  budgets,  but  soon  learned  H 
much  to  their  dismay  —  that  it  is  ft 
important  to  selling  motion  pictures. 

The  answer  obviouslv  is  more  4 
BETTER  advertising.    JAY  ALLEN.  « 


METRO-GOLD  WYN-MAYUi 

MAYER  RIFT  REPORTED  ON 
VERGE  BUT  L  B.  KEEPS  MUK 

TTHE  friction  between  Louis  B.  MOTa 
c>nd  certain  other  high  ranking  exnlP 
tives  of  the  company,  exclusively  rew| 
ed  by  FILM  BULLETIN  almost  a  llty 
ago,  appears  finally  to  be  coming 
head,  with  Mayer  expected  to  annotflu 
plans  almost  any  day  now  to  exitMI 
company  early  this  fall.  NevertheWh 
he  continues  to  withhold  any  comnHg 
on  the  rumors. 

The  clash  of  authority  was  bounjH 
have  the  sort  of  repercussions  that  )M 
been  responsible  for  Mayer's  presentH^ 
happiness.  Since  Dore  tichary's  ad|T 
as  Metro's  production  chief,  the  stHH 
has  consistently  improved  its  stanHhi 
among  the  Hollywood  leaders.  There^k| 
be  little  doubt  that  Senary  was,  certf^B 
to  a  great  extent,  responsible  for  M-G^B 
present  high  estate,  and  was  entitleB^ 
the  contract  he  received,  along  withB^ 
tain  other  executives,  giving  him  bdjHw 
of  Loew's  stock.  Mayer,  on  the  oHrN 
hand,  one  of  the  founders  of  the  AM 
pany  and  a  mainstay  for  almost  a  qHHj 
ter  of  a  century,  can  hardly  be  bla^M 
for  feeling  resentment  thai  he  wasHMl 
accorded  the  same  stock  deal.  Mil 
Schary's  prominence  in  the  Metro  Bll 

(Continued  on  ^ogwYjl 


FILM   BULLE  lSH 


No  one 
holds  a 
candle 
to  Joan 


Goodbye 
My  Fancy' 
i  was  their 
password 
for  Hello, 
lover/ 


ft  JOAN  \g  ROBERT      1  FRANK 

Crawford  Young  Lovejoy 

(the  lovable  Sergeant  of  Breakthrough' J 

oodbye,  My  Fancy 

..EVE  ARDEN 


.VINCENT  SHERMAN  ^c^HENRY  BLANKE 

Screen  Play  by  Ivan  GoH  and  Ben  Roberts 


A  BIG-TIME  SEND-OFF  FOR  A  BIG-TIME  ATTRACTION!  WATCH  LOS  ANGELES 
.STARTING  IN  MAY  FOR  THE  START  OF  A  NEW  NATIONWIDE  SUCCESS  STORY! 


ONLY 

IRjr^a^i^fc^  A  WILLIAM  CAGNEY  PRODUCTION 


7  WAS  A 
C0MMUMS1 
FOR  THE  ; 


J  Along 
Divide 


L  STUDIO  size-ups 

(Continued  from  Page  16) 

duction  has  all  but  eclipsed  Mayer's  role, 

hardly  a  pleasant  matter  for  the  eclipses. 

Naturally,  Nicholas  M.  Schenck  can  be 
expected  to  make  overtures  toward  May- 
er to  heal  the  breach  but  there  is  a  strong 
feeling  in  Hollywood  that  the  rupture  is 
too  deep. 

Despite  the  front  office  rumblings  — 
or,  at  this  point,  perhaps  we  should  say 
"rumors"  of  them  —  production  contin- 
ues at  a  feverish  pace  on  the  M-G-M  lot. 
Throughout  most  of  the  month,  five  top- 
budgeted  features  have  been  shooting. 
In  the  music  department,  activity  is  at 
an  all  time  high  as  the  company  contin- 
ues to  swing  more  and  more  heavily  into 
that  field  of  production.  No  less  than  14 
films  are  at  work  in  the  department  — 
either  being  pre-recorded  or  scored. 
Technicolor's  two  representatives  on  the 
lot  are  also  working  over-time  as  Metro 
launches  into  its  heaviest  tint  slate  in 
history  —  with  26  features  earmarked 
lor  the  process. 

"Westward  the  Women,"  (Robert  Tay- 
lor-Denise  Darcel),  a  Dore  Schary  pro- 
duction, got  away  on  schedule,  as  report- 
ed last  issue,  and  "Angels  and  the  Pi- 
rates" (Paul  Douglas  and  Janet  Leigh), 
a  baseball  yarn,  with  Clarence  Brown 
producing  and  directing,  followed  a  few 
days  later,  on  April  9.  Pictures  complet- 
ed since  last  issue  were:  "Texas  Carni- 
val" (Esther  Williams-Red  Skelton),  and 
"The  People  Against  O'Hara"  (Spencer 
Tracy-Pat  O'Brien).  Scheduled  to  start 
during  the  remainder  of  the  month  are: 
"Lone  Star"  (Clark  Gable),  to  be  pro- 
duced by  Z.  Wayne  Griffith  and  directed 
by  Vincent  Sherman;  "Callaway  Went 
Thataway"  (Howard  Keel),  to  be  pro- 
duced and  directed  by  Melvin  Frank; 
"Man  With  the  Cloak"  (Louis  Calhern- 
Joseph  Cotten-Leslie  Caron).  directed  by 
Frank  Markle  for  Producer  Sidney  Ames, 
and  "Belle  of  New  York,"  (Fred  Astaire- 
Vera-Ellen)  a  Technicolor  musical  direct- 
ed by  Charles  Walters,  produced  by  Ar- 
thur Freed. 

MONOGRAM  -  AA 

BROIDY  SEES  MONOGRAM  AS 
CHIEF  SOURCE  OF  B  PRODUCT 

/^REATLY  increased  production  activi- 
tv  bv  Monogram  looms  as  a  result 
of  current  industry  developments,  accord- 
ing to  president  Steve  Broidy. 

ReD'ying  to  queries  concerning  Mono- 
pram's  future  as  a  result  of  United  Ar- 
tists taking  over  Eagle  Lion,  and  Colum- 
bia announcing  a  trimming  of  their  B 
product,  Broidy  said:  "With  one  compel  i- 
tor  'hopping  out  of  the  market  and  an- 
other cutting  down,  we  naturally  find 
ourselves  in  the  strongest  position  we've 
bepn  in  «ince  the  formation  of  our  com- 
pany. We  will  watch  the  market  cai'e- 
fu'lv  and  if  the  demand  from  exhibitors 
exists,  we  will  be  in  a  position  to  increase 
our  yearly  output  25  to  50  percent.  We 
ran't  make  all  the  B's,"  Broidy  added, 
"but  Monogram  is  going  to  make  the 
best  B's  that  are  made." 

Although  production  at  Monogram  has 
boon  al  a  stand  still  during  the  past  fort- 
night, activity  will  swing  into  high  gear 
during  the  next  three  months,  with  no 
I eiifl  than  14  features  set  to  go  before  the 
cameras. 

Two  of  the  14  productions  slated  to 
roll  during  the  spring  and  early  summ er 
months  will  be  made  for  Allied  Artists. 

18 


namely:  "Disc  Jockey,"  which  Will  Jason 
will  direct  for  Producer  Maurice  Duke, 
and  "The  Police  Story,"  a  Scott  Dunlap 
production. 

Among  the  color  releases  already  set 
for  Monogram  are  Walter  Mirisch's 
"Flight  To  Mars,"  and  two  Ben  Schwalb 
productions,  "Rodeo"  and  "The  Big  Top." 

Scheduled  to  roll  in  the  next  two  weeks 
are  five  features:  "Let's  Go  Navy,"  (Leo 
Gorcey-Huntz  Hall)  a  Jan  Grippo  pro- 
duction; William  Broidy's  "The  Sea  Ti- 
ger," to  be  directed  by  Jean  Yarbrough, 
with  a  cast  as  yet  unannounced;  Lindsley 
Parsons'  "Yukon  Manhunt,"  (Kirby 
Grant-Chinook)  directed  by  Frank  Mc- 
Donald; Vincent  M.  Fennelly's  next  Whip 
Wilson  starrer,  "Stagecoach  Driver,"  to 
be  directed  by  L.  D.  Collins;  and  Maurice 
Duke's  "Disc  Jockey,"  with  an  "all-star" 
cast. 

PARAMOUNT 

PARA  TURNING  TO  TUNE 
FILMS  ON  BIGGEST  SCALE 

TT  HAS  become  evident  that  Paramount 
A  intends  to  enter  the  field  of  musical 
comedy  production  on  a  larger  scale  than 
at  any  time  in  the  company's  history. 
The  story  department  has  been  combing 
the  field  for  suitable  tunefilm  material 
for  several  weeks  now,  and  only  this 
month  the  front  office  ordered  an  all-out 
search  for  a  top  flight  producer  to  take 
over  musical  production  chores.  FILM 
BULLETIN  hears  that  an  important 
MGM  producer  is  trying  to  secure  his 
release  to  take  over  the  new  Paramount 
post. 

As  a  forerunner  to  this  heavy  slate  of 
musicals,  the  million  dollar  Perlberg-Sea- 
ton  production  of  "Aaron  Slick  From 
Punkin'  Crick"  was  placed  before  the 
cameras  on  April  16.  Starred  are  Dinah 
Shore.  Alan  Young,  Robert  Merrill  and 
Adele  Jergens,  with  Claude  Binyon  hand- 
ling the  megging  for  the  two  executive 
producers  and  their  assistant,  Arthur 
Jacobson. 

The  other  new  feature  thus  far  this 
month  is  "The  Rage  of  the  Vulture,"  al- 
so carrying  a  budget  approaching  tne 
million  dollar  mark,  starring  Alan  Ladd, 
Deborah  Kerr,  Charles  Boyer  and  Cor- 
inne  Calvet.  Two  more  will  roll  on  the 
closing  day  of  the  month:  The  Techni- 
color feature,  "High  Vermilion"  (Ed- 
mond  O'Brien-Yvonne  de  Carlo)  goes  be- 
fore the  cameras  on  the  30th  with  Nat 
Holt  producing  and  Byron  Haskin  direct- 
ing. On  the  same  day,  Pine-Thomas 
launch  their  next  production,  "Hong- 
Kong,"  to  be  filmed  in  Technicolor,  with 
Ronald  Reagan  starred.  Lewis  R.  Foster 
will  direct. 

Several  important  contract  deals  were 
consummated  during  the  month  of  April 
—  all  pointing  to  a  continued  expansion 
in  Paramount  production.  Most  impor- 
tant of  the  new  pacts  was  one  with  Sam- 
uel J.  Briskin,  to  become  effective  when 
his  current  one  expires  on  August  1. 
The  new  five-year  producer  pact  ends 
speculation  on  what  Briskin  would  do. 
following  the  folding  of  the  old  Liberty 
Films  group  which  came  to  Paramount 
in  1947.  Other  pacts  include  an  exclu- 
sive term  deal  with  the  Epstein  brothers, 
Julius  and  Philip,  as  a  writing,  producing 
and  directing  team;  a  two-film  acting 
agreement  with  Richard  Arlen;  a  non- 
exclusive writer-director  contract  with 
Frank  Tashlin;  a  renewal  of  John  Far- 
row's contract,  and  the  appointment  of 
Y.  Frank  Freeman,  Jr.,  as  associate  to 
George  Pal,  who  is  currently  turning  out 
a  group  of  pictures  for  Paramount. 


REPUBLIC 

REPUBLIC  PRODUCTION  OF 
FILMS  FOR  TV  SEEN  UNLIKELY  ! 

TTALK  that  Republic  was  contemplath 
possible  entry  into  the  field  of  tel 
vision  production  was  revived  when  pre 
ident  Herbert  J.  Yates  made  a  statemei 
interpreted  as  indicating  that  certai 
movie  companies  may  have  to  join  til 
new  medium  rather  than  continue  i 
fight  it.  Some  are  inclined  to  constrt 
this  as  paving  the  way  for  Republic  1 
take  the  jump.  This  hardly  seems  likel- 
at  least  under  present  limitations  face 
by  TV.  The  new  medium  could  hard! 
pay  the  kind  of  money  for  films  *h- 
would  warrant  a  company  of  Republic 
size  switching  over.  Too,  even  partif 
production  may  endanger  the  company 
standing  with  their  exhibitor  customs 
and  it  is  certain  that  Yates  will  conside 
very  carefully  any  step  that  might  alier 
ate  Republic's  exhibitor  accounts. 

Purely  from  its  theatre  customers  Rc 
public's  financial  position  is  better  tha 
it  has  been  for  a  long  time,  certainly  n 
argument  in  favor  of  a  switch  to  TV 

Yates  continues  to  pass  out  new  lorn 
term  talent  contracts,  which  indicate 
that,  even  though  there  are  plans  fo 
entering  the  new  field,  it  will  not  mea 
the  total  abandonment  of  motion  pictur 
production.  A  new  pact,  for  exampl< 
has  just  been  tendered  John  Russell  call 
ing  for  his  services  over  a  long  perio 
of  time,  and  Allan  "Rocky"  Lane's  optioi 
was  picked  up  for  an  additional  tw 
years. 

In  the  past  fortnight,  one  big-bud»d 
feature  has  started,  a  western  has  starter 
and  finished,  and  the  most  recent  enrr 
in  the  Valley  Vista  kid  western  serie^ 
"Rangers  of  the  Golden  Sage."  starring 
Michael  Chapin  and  Eilene  Jansseii 
which  went  before  the  cameras  late  las] 
month,  has  also  been  completed  Tea 
ping  the  list  of  new  starters  for  thi. 
month  was  "Wings  Across  the  Pacific' 
a  high-budgeter  starring  Wendell  Corejd 
Vera  Ralston  and  Forrest  Tucker,  witfl 
Allan  Dwan  producing  and  directing 
"Unclaimed  Cargo"  (Ross  Elliott-PenJ 
Edwards)  started  April  4,  and  wound  li 
days  later,  with  George  Blair  directing 
for  Stephen  Auer. 

RKO 

ONE  OWN.  THREE  BIG  UNIT 
FILMS  FACE  APRIL  CAMERAS 

T^HE  cameras  have  turned  on  only  one 
RKO  production  this  month,  "Th« 
Half  Breed"  (Robert  Young-Janis  Car- 
ter), which  wound  its  24-day  shooting 
schedule  on  April  10.  Three  others,  pro- 
duced by  independent  units  tied  up  wi'.i 
the  Hughes-controlled  releasing  organiza- 
tion, have  been  in  work. 

Wald-Krasna,  which  started  shootii  - 
on  "Behave  Yourself"  (Farley  Granger- 
She: ley  Winters)  on  March'  19.  placed 
their  second  production  on  the  sound 
stages  April  9,  when  acting  producer 
Raymond  Hakim  and  director  Curtis 
Bernhardt  launched  "The  Blue  Veil," 
starring  Jane  Wyman.  Richard  Carlson. 
Charles  Laughton,  Joan  Blondoll.  Agnes 
Moorhead  and  Natalie  Wood.  And  of 
I  he  same  day.  Edmund  Grainger  Produc- 
tions teed  off  with  throe  units  shooting 
on  "The  Racket,"  a  $1,250,000  budgetej 
starring  Robert  Mitchum.  Lizabeth  Scott 
/'Continued  on  Pane  20) 

FILM  BULLETIN 


Iliver  Twist"  is 
low  being  booked 
ly  the  nation's 
eading  circuits! 

fire-  write  -phone 

Our  Eagle  Lion 

xchange 


STUDIO  SIZ6-UPS 

(Continued  from  Page  18) 
and  Robert  Ryan.    John  Cromwell  is  di- 
recting. 

A  fourth  feature  joins  the  above  group 
this  week  when  Producer  Robert  Sparks 
rolls  "The  Las  Vegas  Story,"  (Jane  Rus- 
sell-Victor Mature),  with  Robert  Steven- 
son directing.  The  troupe  will  spend  the 
first  ten  days  on  location  at  the  Nevada 
resort,  before  returning  to  the  sound- 
stages  for  the  final  two  weeks  of  shoot- 
ing. 

"Androcles  and  the  Lion,"  the  million 
dollar  production  to  be  based  on  the 
George  Bernard  Shaw  classic,  is  still  be- 
ing held  back,  after  one  false  step. 
Gabriel  Pascal,  the  producer,  has  now  set 
May  15  as  a  new  starting  date  —  but 
frankly  admits  it  is  tentative.  Signing 
of  a  director  still  seems  to  be  the  big 
hitch. 

20th  CENTURY-FOX 

SEVEN  BIG-BUDGETERS  GIVE 
STUDIO  HOT  PACE  FOR  MONTH 

DY  MONTH'S  end,  20th  Century-Fox 
will  he  operating  at  near  capacitv, 
with  seven  feature  films  shooting  simul- 
taneously —  all  of  them  high-budgeters, 
and  all  but  one  shooting  on  the  home 
lot.  One  picture  has  been  completed 
since  we  last  went  to  press,  two  new  fea- 
tures have  gone  into  production,  and 
three  more  are  in  the  final  stages  of 
preparation.  Completed  is  "Anne  of  the 
Indies,''  the  Technicolor  biggie  starring 
Debra  Paget,  Louis  Jourdan,  Jean  Peters 
and  Herbert  Marshall,  which  wound  Ap- 
ril 11,  following  41  days  in  front  of  the 
cameras.  Jacques  Tourneau  directed  and 
George  Jessel  produced. 

The  two  new  productions  are:  "The 
Desert  Fox"  (James  Mason- Jessica  Tan- 
dy), film  biography  of  Nazi  General  Ir- 
win Rommell,  and  "The  Day  the  Earth 
Stood  Still"  (Michael  Rennie-Patricia 
Neal)  science-fiction  yarn.  The  first, 
which  will  be  one  of  the  year's  big-bud- 
geters  for  the  company,  is  being  pro- 
duced by  Nunnally  Johnson,  with  Henry 
Hathaway  megging.  The  science-fiction 
exploitation  feature  is  a  Julian  Blaustein 
production,  directed  by  Robert  Wise. 

Coming  up  for  filming  during  the  final 
week  of  this  month  are:  "A  WAC  in  His 
Life,"  a  comedy  to  be  produced  by  John 
Buck.  "Lydia  Bailey,"  (Jeanne  Crain- 
William  Lundigan),  a  Jules  Schermer 
production  in  Technicolor;  and  George 
Jessel's  production  of  "Golden  Girl." 

UNITED  ARTISTS 

ELC  TAKEOVER  FREES  UA 
FOR  'A'  PROGRAM  NEXT  YEAR 

W/ITH  the  purchase  of  the  complete 
Eaglp  Lion-Classics  product,  it  looks 
like  the  long,  drawn-out  troubles  of  Uni- 
ted Artists  have  finally  come  to  an  end. 
and  the  company  can  move  to  the  fore 
as  the  No.  1  releasing  outlet  for  high- 
budget  independent  productions.  With 
that  in  mind,  Hollywood  hears  that  the 
company  toppers  are  looking  forward  to 
a  two-a-month  releasing  schedule  by  1952. 
with  only  A  product. 

The  general  reaction  to  the  purchase 
announcement  was  one  of  rejoicing  in 
Hollywood.   There  is  a  strong  need  for  a 


formidable  releasing  organization  dealing 
only  in  independent  product,  and  it  is 
generally  believed  that  the  industry  as  a 
whole  will  benefit,  through  the  strength- 
ening of  UA's  position  for  the  rest  of  the 
year,  giving  it  an  opportunity  to  concen- 
trate on  the  top-quality  films  it  has  plan- 
ned lor  1952.  The  only  dissension  comes 
from  one  segment  of  the  inde  producers 
who  feel  that  competition  is  a  healthy 
thing,  and  that  they  could  have  profited 
by  the  bidding  of  the  two  separate  com- 
panies for  their  product. 

Despite  the  fact  that  UA  is  taking  over 
50  ELC  pictures  which  have  already  been 
released  but  are  subject  to  re-release, 
plus  a  half-dozen  awaiting  release,  and 
three  more  scheduled  to  start  in  the  near 
future,  Arthur  Krim  is  extending  his 
wesc  coast  visit  to  line  up  additional 
product.  At  this  writing,  it  appeared  that 
one  important  film  he  will  likely  corral 
is  Ken  McEldwoney's  "The  River,"  which 
was  filmed  in  India  late  last  year.  Krim 
has  also  reached  the  bargaining  stages 
with  at  least  four  more  inde  producers 
on  both  single  and  multi-picture  pacts. 

UNIVERSAL-INTERNAT'L 

STUDIO  MESHES  NEW  FACES 
WITH  OLD  IN  STAR  PROGRAM 

PRODUCTION  maintains  its  strong  mo- 
*■  mentum  here,  with  four  and  five  pic- 
tures shooting  simultaneously  —  most  of 
them  on  budgets  slightly  above  the  aver- 
age for  the  past  year. 

There  has  been  some  question  as  to 
whether  Universal  is  modifying  its  much- 
publicized  drive  to  find  new  faces.  Many 
of  the  forthcoming  productions  are  em- 
ploying stars  who  have  been  around  for 
a  good  while  as  the  tp  names  in  a  large 
number  of  films  currently  shooting  or 
preparing.  On  closer  analysis,  however, 
it  will  be  seen  that  co-starring  or  fea- 
tured with  the  established  stars  are  a 
host  of  new  players,  some  of  which  have 
already  proved  their  mettle.  Such  promi- 
nent stars  as  Dick  Powell,  Linda  Darnell. 
Macdonald  Carey,  Claudette  Colbert,  and 
Richard  Conte  are  paired  up  with  new- 
comers already  acclaimed  as  star  mater- 
ial or  on  the  threshhold,  e.g.,  Jeff  Chand- 
ler, Shelley  Winters,  Peggy  Dow,  How- 
ard Duff,  Stephen  McNally,  and  the  little 
lady  who  won  such  acclaim  in  "Harvey,-' 
Josephine  Hull. 

Thus  it  can  be  seen  that  instead  of 
abandoning  its  drive  for  new  talent,  U-I 
seems  to  be  seasoning  the  fresh  material 
in  films  with  established  names.  Which 
sounds  like  a  pretty  good  idea. 

The  company  suffered  a  tough  break 
this  month,  when  Ethel  Barrymore  found 
it  necessary  to  withdraw  from  the  cast 
of  "Oh!  Baby,"  after  the  first  weeks' 
shooting,  because  of  the  strenuousness 
of  the  role.  The  set  has  completely 
closed  down,  awaiting  re-casting. 

Currently  before  the  cameras  are: 
"One  Never  Knows"  (Dick  Powell-Peggy 
Dow),  "The  Cave"  (Macdonald  Carey- 
Alexis  Smith),  in  Technicolor,  and  "Fine 
Day"  (Howard  Duff-Mona  Freeman-Jo- 
sephine Hull),  also  in  Technicolor  —  ell 
carrying  over  from  late  March  starts  — 
plus.  "The  Lady  Pays  Off,"  (Linda  Dar- 
nell-Stephen McNally)  which  went  before 
the  cameras  on  April  5,  Douglas  Sirk 
directing  and  Albert  J.  Cohen  producing. 
The  Maureen  O'Hara  starrer.  "Flame  of 
the  Desert"  rolls  on  April  22,  with  Jeff 
Chandler  also  starred.  Charles  Lamont 
directs  for  producer  Leonard  Goldstein. 

"Fiddler's  Green"  (Shellev  Winters- 
Richard  Conte-Stephen  NcNally),  direct- 


ed  by  George  Sherman  for  Producer  I  i 
on  Rosenberg,  wound  on  April  3,  foil  k 
ing  a  long  shooting  schedule  which  dtik 
cleat'  back  to  February  24.  The  picti  k 
incidentally,  on  the  basis  of  daily  rus]  j:, 
may  turn  out  >to  be  one  of  the  ye  ij 
surprise  boxoffice  films. 

WARNER  BROS. 

JACK  WARNER  LAUNCHES 
NATIONWIDE  TALENT  SEARCtj 

TTHE  Warner  Brothers  are  going  all-  I 
in  a  new  campaign  to  discover  fn  L 
screen  faces  for  their  forthcoming  pi. 
ductions,  in  answer  to  repeated  appe'i 
from  the  country's  exhibitors.  On  Aj'l 
28,  Jack  Warner  launches  a  coast-to-co  : 
search  for  new  talent,  with  contests  to  ; 
staged  through  the  company's  thea  ■ 
chain. 

Warner  makes  it  clear  that  this  is  k 
promotion  idea  to  get  his  company  so  [• 
newspaper  space,  but  an  honest  effort 1 
uncover   a  substantial  number  of  n| 
contractees  to  bolster  the  current  tal  i 
roster.  In  the  initial  contest,  to  be  stafjl 
in  Pennsylvania,  RCA-Victor  is  also  beij  i 
tied  in  on  the  campaign,  with  contra  M 
to  make  two  Victor  recordings  awaitilj 
the  winning  contestants  in  the  vocalii 
field. 

Moreover,  Warners  are  casting  null 
and  more  new  faces  in  pictures  curren|| 
going  into  production.    Six  new  play< 
are  making  their  screen  debut  in  "Foi 
of  Arms."  playing  supporting  roles  , . 
William  Holden,  Nancy  Olson  and  Frali 
Love  joy.     The   newcomers   are:  Frajj 
Canto,  a  high  school  drama  student;  Slfj( 
Taylor   and   Ron   Hargrave,  stage  aj 
nightclub    entertainers;    Amelia  Co'll 
European  actress;  Joe  Marston,  curren  j 
appearing  in  a  Hollywood  stage  shoj^ 
and  Jay  Richards,  studio  messenger 
who  is  getting  his  first  big  break  in  t]\ 
film. 

We're  all  for  this  "new  faces"  policy,  i  j 
we  have  mentioned  many  times  befo: 
Judging  by  the  quality  of  Warner  outpiji 
there  can  be  no  doubt  that  this  studio'1 
direly  in  need  of  new  talent  —  and^i 
should  not  stop  with  the  faces  on  tl| 
screen.  It  should  be  extended  to  the  pi,  j 
duction  departments,  particularly  t  y 
story  unit  and  the  directorial  staff.  T  , 
many  valuable  star  properties  have  be|| 
dissipated  in  poorly  written  and  direct ; 
films  and  a  re-examination  of  the  taleil 
both  on  the  screen  and  behind  it,  is  dfM 
nitely  in  order. 

Two  new  features  have  gone  before  tfl 
cameras  since  last  issue,  and  three  mo 
are  slated  to  roll  between  now  and  Mayli 
The  most  recent  starters  are:  "Distal1 
Drums"  (Gary  Cooper-Mari  Aldon),  a  m. 
lion  dollar  Technicolor  feature  with  Rao( 
Walsh  directing  for  Milton  Sperling,  a 
"A  Babv  For  Midge"  (Gene  Tierney-R;( 
Milland)  with  William  Jacobs  producii 
and    William    Keighley    directing  tl. 
comedy. 

Set  to  start  during  the  final  week  I 
this  month  are:  Bryan  Foy's  productit 
of  "The  Tanks  Are  Coming";  "Starlift", 
Robert  Arthur  production  to  be  direct; 
by  Roy  Del  Ruth,  and  starring  Ruth  P 
man;  and  Cagney  Productions'  "Bugles 
the  Afternoon",  produced  by  Willia 
Cagney  and  starring  his  brother  Jimmy.! 

No  pictures  have  been  completed  sin 
last  issue.  The  currently  shootii 
"Goldiggers  of  Las  Vegas",  Technicol; 
musical  starring  Dennis  Morgan  and  Vi 
ginia  MJayo,  reverts  to  its  original  lab( 
"Painting  the  Clouds  with  Sunshine". 


20 


FILM  BULLETI 


3ig  town  or  small  town  — 

it  makes  no  difference! 


ill 

HSH 
INESS 

POPULATION 

IL,  ILL   3,396,808 

MA,  IOWA  31,570 

V  BURG,  PA  13,100 

MNES,  IOWA  159,819 

iTILL   42,365 

FNCISCO, CAL  .. .  634,536 

BNVILLE,  OHIO   37,651 

IUG.W.  VA  61,099 

VRK,  N.Y   7,454,995 

BUY,  PA.  26,192 

Li,  TEXAS   295,734 

/{TEVILLE,  N.C  17,428 

[&OH.W.VA  B7.9U 

H'K0RY,H.C   A66261 

0*+ 


J 


/ 


,  and  these  are  just 

the  first  of  the  437  NATIONALLY 
ADVERTISED  APRIL  ENGAGEMENTS 
from  Coast-to-Coast  for 

Hilarious  War  Comedy! 


EXPLOITATION  PICTURE 


WILLIE"  AND  "JDE"  FDR  LAUGH 

Pre-Sold  Audience  For  Army  Comedy  mmmm~ 


DAVID  "JOE' 


WAYNE  &  TOM  "WILLIE"  EWELL 

War  Can  Be  Funny,  Too 


If  there  is  anything  one  can  he  sure  of  in  these  troubled  times,  it  is  that 
people  want  to  laugh.  Universal-International's  iilm  version  of  probably  the 
funniest  book  to  come  out  of  "World  War  II,  Bill  Mauldin's  "Up  Front",  is  a 
sure  bet  to  fill  the  bill  in  that  direction,  and  that,  friend  exhibitor,  is  the  big 
exploitation  angle.  Whatever  else  the  campaign  utilizes  to  pull  the  public  in 
should  be  attached  to  that  hub.  And  there  are  plenty  of  spokes  on  which  to 
roll  a  bang-up  campaign. 

The  fame  of  the  book,  of  course,  with  its  tremendously  popular  cartoon 
heroes,  '  Willie"  and  '  Joe",  make  one     —  „ 


of  the  most  important  selling  points. 
Known  and  loved  by  more  than  six- 
million  G.I.'s,  when  the  cartoons  ran 
as  a  regular  feature  of  the  Army 
newspaper  "Stars  and  Stripes,"  the 
pair  of  dogfaces  are  a  natural  for 
this  audience,  pre-sold  and  eager  for 
a  chance  to  meet  the  boys  on  the 
screen.  With  David  Wayne  and  Tom 
Ewcll  playing  the  roles  with  a  deft 
comic  sense,  the  expectant  ex-G.I.'s 
won't  be  disappointed. 

In  addition  to  the  serviceman's 
audience,  however,  are  two  more  im- 
portant factions  that  will  respond  to 
a  laugh  campaign.  First,  those  who 
have  read  the  best-seller  and  Pulitzer 
Prize-winning  story — over  a  million 
and  a  half  in  its  original  form,  plus 
the  thousands  more  who  bought  the 
dollar  edition.  They,  too,  are  ripe 
for  the  film's  draw.  And,  finally,  all 
of  those  who  have  heard  about  the 
Itook,  read  about  young  Mauldin  in 
national  magazine  and  newspaper 
features,  and  have  seen  the  cartoons. 

Universal  has  used  a  unique  (for 
films)  method  of  giving  the  original 
plav  dates  an  advertising  assist.  In  a 
double-page  spread  in  Life,  and 
$atevepOBt,  all  these  angles  are  play- 
eel  up  PLUS  a  listing  of  individual 
playdales  for  the  film's  opening 
throughout  the  country. 

All  exploitation  roads  lead  in  one 
direction— laugks!  Vnd  that's  the 
I5i»  Bertha  oi  it." 


The  posters  available 
from  National  Screen 
Service  offer  a  wealth  of 
display  opportunities  for 
pushing  the  film's  most 
saleable  angles.  At  right, 
the  three  sheet  is  shown 
for  a  special  cut  out  dis- 
play for  your  lobby  or 
marquee.  Another  dis- 
play to  sell  the  vivacious 
beauty  of  Marina  Berti, 
popular  and  eyetickling 
Italian  star,  is  also  avail- 
able, with  the  copy: 
id  Joe"  —  They 


DISPLAYS 


"Willie 
staged  i 
Emi  .  . 


private  war  for 
and  why  not?" 


CONTESTS 


A  series  of  five  Mauldin  cartoons  (three 
shown)  can  be  planted  with  the  local  news- 
paper for  a  contest  offering  prizes  for  the 
funniest  new  captions.  They  are  available  in 
2-column  mat  form  from  U-I's  home  office 
exploitation  department. 

Other  competitions  good  for  newspaper 
space  or  in-theatre  use  would  be  to  utilize 
original  cartoons  with  prizes  for  the  best  illus- 
trating a  G.I.'s  war  experience,  and  a  variation, 
"My  funniest  G.I.  experience  .  .  ."  as  a  related 
yarn  about  the  big  yaks  they  had  in  the  Army, 
Navy  or  Marines. 


4^ 


NEWSPAPER  ADS 

Above,  an  example  of  the  variety  of  display  and  j 
teaser  ads  available.  Principal  selling  points,  with 
varied  emphasis  on  each,  are:  best-selling  hook, 
famous  characters,  the  Marina  Berti  cheesecake, 
and,  invariably,  that  the  film  is  chock-full  of 
"LAUGHS!" 


Above.  W  illie  and  Joe  relti.x  in  a  shattered  Naples  shopuindou  after  lonely  vigil  ,,n  the  battle- 
field <  left  >  that  has  Us  share  of  humor. 


UP  FRONT 

The  three  most  familiar  names  in  American  non-commissioned  soldiery 
during  World  War  II  were  cartoon  characters  that  caught  with  knowing,  in- 
cisive and  hilarious  effect  the  problems  of  the  "dogface",  the  infantry  soldier 
One  of  these,  George  Baker's  "Sad  Sack",  was  perpetuated  in  civilian  life 
and  became  a  regular  syndicated  cartoon  strip.  The  other  two.  Bill  Mauldin's 
'"Willie"  and  "Joe",  having  attained  immortality  in  book  form,  are  now  record- 
ed for  posterity  in  Universal-International's  film.  "Up  Front."  Inspired  casting 
has  placed  David  ^  ayne  as  "Joe  "  and  Tom  Ewell  as  "^  illie"  and  their  antics 
in  the  film  have  won  them  wide  acclaim  from  the  critics  as  the  ideal  pair  for 
the  roles.  The  storv  has  the  two  famous  slogfoots  taking  their  licks  in  Italy's 
foxholes,  then  taking  off  for  Naples  with  one  pass  between  them.  Joe's  eye 
for  a  prettv  girl  entangles  them  in  a  black  market  deal,  in  which  the  lady's 
Poppa,  distilling  and  bootlegging  bad  cognac,  is  hauled  off  to  court.  Through 
the  boys'  fantastic  testimony,  the  old  man  is  acquitted,  but  they  become  the 
object  of  the  MP's  ire.  Their  efforts  to  escape  lead  to  a  hilarious  denouement 
which  finds  the  MP's  drafted  for  active  service  and  the  two  dogfaces,  their 
steam  blown  off  by  the  escapade,  ready  for  a  new  joust  with  the  enemy  — 
mostly  American  officers. 


PRODUCTIOn 
&  R€L€flS€ 


R€CORD 


COLUMBIA 


Features  Completed  (44)      In  Production  (1) 

Serials  Completed  (2)      In  Production  (0) 

Westerns  Completed  (11)      In  Production  (0) 


IN  PRODUCTION 

Tltff — Running  Tlm« 


Ten    Tall  Me 


COMPLETED 

H«  Gusher.  Tke  ... 
•am  Yesterday  .... 
Brave   Bills,    The    .  . 


RELEASE  CHART 

Cast  Details 

Lancaster-Lawrence     .  .  .  .4-9. 

1950-51   


 Morris-Foster   3-12. 

 Crawford-Htlllday   7-3 

 Ferrer-Qnin   3-27. 

Chain    Gang   Kennedy-Lawrente   6-5. 

China  Cettair   HaJJ-Ferraday   2-26 

Bill   MeGllro-Moore    .  <5-lC 

Criminal    Lawyer   0  Bricn-Wyatt   12-18. 

Dick  Tnrpin's    Ride   Htyward-Mcdina   11-6 

Emergency  Wedding   (78)   Parks-Hale   4-10 

Firefighters.   The   Williams-Reynolds  2-27 

Flying    Missile.    The   Ford-Linfors     ...  7-31 

Fart   Savage   Raiders   Starrett-Burnotte   9-25. 

Furv  of  the  Congo   Weismuller-Talbot   7-3. 

Harlem    Globetrotters,    The   Gomez-Dandridge   11-6. 

Her   First   Romance   O'Brien-Martin   8-28 

Her  Wonderful    Lie   Klepura-Eggerth  11-10 

Details  under  title:  The   Eternal  Melody 

He's  a  Cockeyed   Wonder    (77)   Rooney-Moore 

Hurricane    Island   Hall-Windsor   10-23 . 

Lorna  Doone  (T)    Hale-Greene    .  6-5 

M   Wayne-DaSilva    

Magic  Carpet   BalUAgar    12-18 

My    True   Story   ParKer-Walker   12-18 

No  Sad  Songs  For  Me   (89)   Su II ivan-Corcy   10-24. 

Operation   X    (78)   Raoinson-Cummins 

Petty  Girl,   The   (T)    (87)   Cummings-Caolfield  ...9-26 

Prairie   Roundup   Starrett-Burnette   7-31. 

Bevenon  Agent   Kennedy-Willes   7-31. 

Ridin'   the  Outlaw  Trail   Starrett-Burnette   8-28. 

Riders  of  the  Whistlino   Pines   Autry-White  i-5 

Details  tinder  title:  Wing;  Westward 

Santa  Fe   (T)   Scott-Carter    7-3 

Saturdays    Hero   uereii-DaRc   6-19. 

Secret,    The   Derek-Cobu   2-26 

Silver   Canyon   :  Autry-Davis   .3-26. 

Sirocco   Bogart-ioren   11-20. 

Son   of   Dr.   Jekyll   Hayward-Knox   3-26 . 

Sonny  Side  of  the   Street   Lane-Daniels   1-29 

Texas    Rangers   Geo.  Montgomery   

Valentino   (T)    (103)   Parkker-Dcxter   6-19. 

Valley  of  Fire   Autry-Burnette   

When  the  Redskins  Rode   Hall-Castle   ...8-28. 

Wtiirlwind   Autry-Burnelte  12-18 

Yank  in   Korea,  A    (73)   McAllister-Phillips  l]_6 

  1949-50   

Across  the  Badlands   Starrett-Bnrnette  4-10 

Nazlng  Son   Autry-Gwynne    5-8 ' 

Captive   Girl   Welsmuller-Crabbe    .  10-24 

David  Harding,  Coonter  Spy   (71)   Parker-Long    1-30 ' 

roller  Brush  Girl,  The   Ball-Albert    2-27 

In  a   Lonely   Place   Bogart-GrahamY 11-7 

Indian   Territory   Auiry-Buttratn    ....  4-lo' 

Bogues  of  Sherwood  Forest  (T)    (80)   Dorlck-Lynn  9-12 


12-50  344. 

.5-51  

11-50... 313. 
. 6-51  


.1-51... 335. 

.3-51  

.4-51  


12-50  340. 

. 7-51  

.6-51  

.3-51  


3-51 


.2-51. .  2-26 

.9-50. . . .317  

.1-51.... 363  

.3-51. . . .312  

2-51  


.5-51. 
.4-51. 
. .2-51. 

.9-50. 
11-50. 
.7-50. 
.7-50. 
10-50. 
.8-50. 
.9-50. 
.7-50. 


.262. 
.246. 
.240. 
.220. 
.239. 
.242. 
.249. 
.243. 


EAGLE-LION-CLASSICS 


1950-51 


Completed  (  3)      In  Production  (0) 


'N  PRODUCTION 

Titl*— Rimninu  Time 
Hocdlum.  The 


COMPLETED 

•N'»  In  Wonderland  (A) 
Badman  s  Gold 

Blarkjarv   

Border  Outlaws  (58i 

r-airo  Road   

Catlle  Oueen   

Circle  of  Danger 

Cloudburst   

Destination  Moon  ffi 
Eye    Witness  (104) 

fiohting  Rebeli   

Golden  Salamander  (96) 

Good  Time  Girl 

High   Lonesome   (T)  (81 

Hoi.dlum,  The 

I    Killed  Geronimn 

I'M  Be  Seeing  Yog 

Kangaroo    Kid  (73) 

Korea  Patrol   

Long    Dark    Hall.  The 
Lovable  Cheat.  The  (77) 

Hy    Outlaw  Brother 
Narcotic  Agent    .  . 
Oliver  Twiit  (115) 
One  Mintti  to  Twelve  <7 


RELr,"  SE  CHART 


Cast 

.  Ticrn-.y-Roberts 

1949-50-51  — 


.Marsh-Murrav   Foreign...  Feb. 


r.l..rvr,,il|-Sandc-s 
.  Coalry-Hart    , . ... 
.  Eric  Portman 
.  Hart-smith  .... 
.Milland-Roc 
,  Prciton-Scllars   .  . 
.  Ancerson-Archer 
.  Montgomery-Banks 


.  Anouk-Howard    . ... 

.Ker.t-Robson   

.  Barrymorc  Jr.-Butlcr 

.  Ticrney-Roberts 

.  Elllson-Herrick 

.  Rogers-Gotten  .... 

.  0  iwanoncy-Borg  . 

.Einory-Fong 

.  Harrison-Palmer 

.  tuggles-Garner 

.Carson-Paige 

.  Rooney-Hendrlx 

.Henry-Blake 


Foreign . 

.9-50  

. 11-2  

.  5-8  '. 

10-23 

■  3-6.  .  ..'.'.'.'.'.I'.'.'.'. 

.  1-29 

.11-21 

b-50..  k !!;!"."!! 

.9-50  

Foreign 

■  12-1..........'..'. 

5-50  

ll-i6' ! 

.9-50  044  

3-26 

.  6-19  . 

.8-50. '.'.'.'„'.'.'..".'..'.* 

Reissue 

10-22.'.'.';..'.'.'.';.'.;; 

. .10-9. . 

.1-15  

4-10  

.1-31 

4-15  4-11 

1-10  

2-27  

3-27 

Foreign 

'.4-ii '.'.'. 

Foreign 

. 10-1  

In  the  Release  Chart,  the  date  under5  "Details"  refers  to  \\ 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  J 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  1 
Release  Number.  "Rev."  is  the  issue  in  which  the  ReviJ 
appeared.  There  may  be  variations  in  the  running  time 
States  where  there  is  censorship.  All  new  productions  s\ 
on  1950-51  programs  unless  otherwise  noted.  (T)  immeij 
ately  following  title  and  running  time  denotes  Technicoh 
(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 

Pager  Gallows   (80)   Anderson-Bentley   ....  Foreign .   .3-22  1 

Passport  to  Pimlieo   Ritherford-Holloway    ..Foreign  010  

Prehlstorle  Waaen   Luii-Nlxon   5-8...  11-1  

Project  "X"    (60)   Colton-Andes   10-7  

Robeeea    (SRO)   FantaJne-OJivler   Relseui.  .  . July  

Rogue   River   Calhoon-Lldell   8-14..  11-15  I 

Sarumba   (65)   Dowling-Whalen   Jan  .  .  .  .014.  .  .J( 

Searth  far  Danger  (63)   Calvert-Dall   1-3.... 4-8  

Second   Face,  The   Bennett-Johnson   5-8.  .  .1-51  

Skipalong  Rosenbloom   Bacr-toagan   4-3  

So  Long  at  the  Fair  (90)   Slmmons-Bogarde   Farelgn.  .  .3-89  ■ 

Stronghold   Lake-Scott   I 

Sun  Sets  at  Dawn,  The  (71)   Parr-Shawn   2-27... 1-22    2. 

Taming  of  Dorathy  (75)   Kent-Beatty   Fore'gn .  .  .9-29  1 

They  Were  Not  Divided   Underdown-Clanton    ..Foreign  2-1  

Time  Running  Out   Clark-Signoret   Foreign ..  10-31  1 

Tinderbox   (C)   Cartoon  Feature   12-3"?  I 

Two  Guys  and  A  Gal   Paige-Alda   5-15  

Two  Lost  Worlds   (61)   Elliott-Arness   10-29  2-1 

Vicious  Years   Cook-Mcrritt    I 

Volcano   Magnani-Brazzi     ....  Foreign  ....  5-1  1 

Wicked    City   Montez-Aumont   1-2  

When   I   Grow  Up   Preston-Scott   12-18... 4-20  ! 

Wind  Is  My  Lover,  The   Lindfors-Kent   


1950-51 


LIPPERT 


Completed  (  4)      In  Production  (1) 


NEW  PRODUCTIONS 

G.l.  JANE 

Comedy— Started  April  2 
Cast:    Jean  Porter,  Tom  Neal,  Iris  Adrian,  Jeanne  Mahoneyl 
Director:  Reginald  LeBorg  Producer:  Maury  Lerm[ 

Story:    Not  available. 

RRFASE  CHART 
  1949-50-51   

COMPLETED 

Title — Runninu    Time  Cast  (Mails  Rel 

Bandit   Queen   Bntmn-f arker   9-25..  12-15. 

Border    Ranger   Barry-Lowery   10-6. 

Colorado   Ranger   Ellison-Havden   4-21. 

Danger    Zone   Beaumont-Travis   4-20. 


.1-2. 


. .5-8. 
. .6-5. 
. .5-8. 
.2-26. 
. 2-26 . 


 rllison-Hayden 

 Travis-Ryan 

.  .  .  .arry-Lowery 

 Davis-Jones 

 Hughes-Street 

 Barrv-Lowery 

 Colonna-Porter 

 Ireland-Bridges 

.....Travis-Ryan   12-18 

 Castle-Nigh   3-13 

Pier  23   Beacmunt-Savage   

Return  of  Jesse  James  (75)   Ireland-Dvorak   6-5 

Roaring  City   Beaumont-Travis   1-15. 

Savage  Drums    Sabu-Earon   3-26  

Steel    Helmet,   The   Edwards-Brodic   11-6  2-2... 5006 

Stop  That  Cab   Melton-Adrian   3-31... 501 

3  Desperate  Men   Foster-Davis   10-23  1-5  

That's  Show  Business   Rose-Carroll   4-9  

Train   to   Tombstone   Barry-Lowery   5-8.  .  .9-15.  .  .4934 

West  of   Brazos   Ellison-Hayden   12-19  6-2... 4930 


Fast  on  the  Draw 
Fingerprints   Don't   Lie  .... 

Gunfire   

Hijacked   

Holiday  Rhythm   

I  Shot  Billy  the  Kid  (58) 

Kentucky  Jubilee   

Little  Big  Horn   

Mask  of  the  Dragon   

Motor  Patrol  (67)   


.5-19. 
. .3-3. 
.8-11. 
. 7-14 . 
10-13 . 
. .9-8. 
.5-18. 
.6-18. 
.3-17. 
.5-12. 
.4-27. 
. .9-8. 
. .2-2. 


METRO-GOLD  WYN-MAYER 


1950-51  Features 


Completed  (90)      In  Production  (5) 


NEW  PRODUCTIONS 

ANGELS  AND  THE  PIRATES,  THE 
Fantasy— Started  April  2 

Cast:    Paul  Douglas,  Janet  Leigh,  Keenan  Wynn,  Pittsbur, 
Pirates 

Director:  John  Sturges  Producer:  William  H.  Wrigr 

Story:    Angels   appear  at  a  baseball  park,  reform  the  rough  and  tough  * 
manager  and  change  his  luck. 

WESTWARD  THE  WOMEN 
Western— Started  April  9 

Cast:    Robert   Taylor,   Denise   Darcel,   Hope  Emerson,  JoW 

Mclntire 
Director:  William  Wellman 

Story:    Pioneer  women  crossing  the  pla 


1 

»urg, 
rigr 


Producer:  Dore  Schar; 


IN  PRODUCTION 
Title— Banning  Tim 

Bannerline   

North  Country   

People    Against  O'Hara   

Kaln,   Rain.   Go  Away   


country. 

RELEASE  CHART 


Cast 

. .  Forrest-Brascllf 
.  .  Granger-Corey 
.  Tracy-O'Brien 
.  .  Wlutmore-Oavis 


Details 

 4-9. 

. . 3-26 


FILM  BULLETI 


3MPLETED 

Wide  Mleeemrl  ( 
i  Parli  (T)  . 

Ill   BklHofl  Dnimmo^ 

„  for  Alarm  (75)  .. 
I  Doorway   (84)    .  .  . 

1119  (75)   

(T) 


1960-51   

.  baote-Hotiak   B-14. 

.  Killy-Caron   8-14  . 

,  Pidgeuii-Liighton   8-28. 

.  Yocno-Solllvan   

.  Tayler-Reymond   8-29. 

.  I  nompson-Neld   3-27  . 

.  s  «rl '  i  n  -  I  ,  r  r .  ■  t   11-6 . 

10-23 
. . 10-9 
. 9-26  . 
...6-5  . 


. .9-25. 
.  4-24. 
.12-19 
. . 12-4 . 


.2-13.. 
12-16 . . 
.7-17. . 
10-10  . 
.8-14. . 
.3-13  . 

1-1 
.4-24  . 


.  Mar 
July. 
Apr 


her'i  Llttla  Dividend  (82)   Tracy-Taylor 

Far  Broke  (92)   Johnson-Anderson 

It  Caraaa.   Tie    <T)   Lann-Blvth 

■adi  For  Marriage   (91)   Johnson-Gayion 

nc  Town  Story   (61)   trisp-Keynolds  . 

«  Straight   (90)   Brian-Oahl  ... 

A   Big   Ceentry   *H  Star   

(T)    (112)  Flynn-Stoekwell 

^   Lift   Barryrnore-tvans 

Salomon','  Mlin'<T)    (102)   Iterr-brang.r 

and   Lady   Loverly,   The   Garson-wnaing 

ef  Her  Own,  A  (108)   Tarner-Cerey  .. 

«  li  Batter  Than  Etrer   layicr-parks  .. 

faltcent  Yankee   (89)   Cainern-Harding 

il«er  Story.  The  (104)   Garson-Pidgeon  . 

.   Imparl. m    (T)   Tnrner-Pima 

d  Velee  Yea  Hear.  The  (82)   Whitmore-Davis 

Questions   Aiked   Sullivan-Dahl 

Inted   Hills,   The    (T)    (68)   Williams-Keel  . 

ndora  and  the  Flying  Dutchman   (123)  .  .  Mason-Cardner   

pi.   We  Love,   The   Milland-Hcdiak   12-18.. 

,  Vedli   (T)   Taylor-Kerr   6-5. 

i  Badge  ef  Coarage  (81)   Murphy-Mauldin   9-11. 

a    Yoeng  and  Pretty  (T)   Powell-Camcnc   12-4. 

rht  Cross    (90)   eowea-niontaiban   4-J.u  . 

rel  Wedding   (T)    (92)   Astaire-Powcll   7-17. 

(  ow  Boat   (T)   Garancr-Keel   12-4. 

I  Idler's  Three   (S2)   Granger-Pidgeon   11-6  . 

letly  Dishonorable   Plnza-ieigl  1-29. 

Ip,  The   Rooney-Forrest   1-29. 

P,  Target.  The   Powell-Raymond   1-29. 

Details  under  title:  Han  on  the  Train 

Ma  (101)   Angeli-Erickson   

.as  Carnival   Williams-Skelton   2-26. 

I  [in   Knife.    The   Pidgeon-Haiding   1-20. 

I  lortails  ander  title:  The  Bradley  Mason  Story 

ree  Gays  Named  Mike  (90)   WyiMn-Johnson   8-14. 

Please  A   Lady   (92)   Gahlt-Stanwyek   4-24 

aet  of  New  Ortearo,  The  (T)   (97)    . . .  Grayson-iarua   1-16. 

«  Weeks  with  Lo»*  (T)    (92)   Powell-Montalban   4-10  . 

agaance  Valley  (T)   (83)   Lancaster-Walker   6-19  . 

iteh  the  Birdie  (70)   Skelton-Brtton   5-22. 

  1949  •  50  

ale  Get  Year  Gan  (T)   (107)   Hutton-Keel   10-24  . 

ell  (96)   Grant-Ferrer   1-16. 

■  hist  ef  Idaho  (T)  (98)   Williams-Johmon   11-7 

ther  of  the  Bride.  The  (93)   Bennett-Traey   1-30 

pay  Yean.   The   (T)    (110)   Steekwell-Beckett   9-26. 

dy  Without  Passport  (72)   Lamarr-Hodiak   1-16. 

Ipper  Surprises  Hit  Wife.  The  (85)    . . .  Walker-Leilie   11-21 

an  In  My  Crown   MeCrea-Drew   6-20 

amir  Stock   (T)    (109)   Garland-Kelly   12-5. 

ree  Little  Worde  (T)    (102)   Attalre-Skelten   12-19 


MONOGRAM  -  ALLIED  ARTISTS 


118. . .2-12 
102. . . .6-5 
107  10-23 

1.24.  .  .2-26 

 4-9 

.127  

114  12-18 


.115.  12-la 

iiw . . .  io-y 

.101... 9-25 

! 116.!. 1-15 
.106. .10-23 

.110. . .8-2? 

.112... .1-1 


Mar.  . 

.119. 

.2-12 

.Oct.. 

.105. 

Seot .  . 

.103. 

*-28 

Nov.  . 

10-23 

. Feb . . 

.117'. 

.2-12 

Jan.  . 

.113. 

.12-4 

.Aag.. 

..39. 

.4-24 

Jniy.. 

.  .41. 

.7-17 

.Aug.. 

. . .33. 

. .6-19 

Jane.  . 

.30. 

...6-5 

.July.  . 

. . .32. 

.  .  6-5 

.Aug.. 

..37. 

.7-31 

June.  . 

..31. 

.5-22 

...40. 

'.Aug.  . 

.38. 

.8-14 

Aug.. 

.36. 

.7-17 

1950-51  Features 
Westerns 


Completed  (  3) 
Completed  (  1) 


In  Production!  (0) 
In  Production  (0) 


RELEASE  CHART 

  1950-51   

OMPLETED 

TrUe—  Roanln*   Tlpne  Catt  netaNi 

lajardlng  to   Mrs.  Hoyle   Byington-Chandler  ...11-20. 

'•ilng  Bullets   Brown-Hall   

■ha  and  the  Hidden  City   Shelve  id-En  gland  ......6-5. 

•ery  Battalion   Gorcey-Hall   8-14. 

ny*n  Raiders  (55)   Wii<nn-Od»   2-13. 

la    Manana   ForPes-OHerlihy   3-12. 

nralry  Stoat   (C)   Cameron-Long   10-9. 

•attarTait   DrFae-KIng   7-3. 

anty  Fair   (C)   talhoan-Nigh 

tther  Takes   The  Air   Walburn-Gray   4-9 

iita)er*i  Wild  Game  (61)   Walburn-Gray   10-9.. 

fart   Chasers   Goreey-Hall   1-29.. 

gbwayman,  The   (T)   Hsndrix-Cobarn   3-12.. 

ft  Paleoka  la  Hemphrey  Taku  a  Chance    K irkwned-Errel   3-13.. 

an  Hunten.  Tile   Sheffield-Whitfield   1-1.. 

■a  From  Sonera    (54)   Brown-Hall   11-20.. 

ixleaa    Sliver   Wllseo-Ctyde   6-5.. 

edern   Marriage,   A    (66)   Clarke-Field   2-13.. 

"Y  BMad   Neal-Toomey   11-6.. 

«ada  Badaaa   Wllson-Koight   2-26.. 

Ion   Frane-Grant   12-18.. 

arra   Passage   Merrls-Hale   

•«  »ait   ...  Albright-winter*   10-23.. 

alew  Yean.  The  (79)   cook-Moore   

n—».   The   Klrkwood-GleaMo   9-11.. 

iLLIED  ARTISTS 

i»e  Ruth  Story,  The   Bendlx-Treeor   Reissue. 

Was  Aa  American  Spy   Dvorak-Evans   1-29 .  . 

Happened  On  Fifth  Avenae   DeFore-Storm   Reiswe. 

•ttelde  1-1000  <73)   DeFere-Kinn   

•t  Sraii   Rex  Cameron   

  1949-50   

■Hone   Trill    (64)   W  I  on   9-11.. 

«aaii    Territory   Wllsoa-C'yde   6-5.. 

I  Timber   MacDowell-Donnell  ...6-19.. 

aa  Bleed  (C)   Williams-Nigh   9-25.. 

•ha  and  the  Last  Volcano   iheroele-Urd   3-27.. 

W  of  the   Klondike   Grant-Chinook   10-9.. 

■eretae   Uprising   (57)   Wil'on-Clyde   8-28.. 

lerado  Ambush   Brown-HMi   10-23.. 

"»   Fury   Vrveca-Llndfors   

*  *•*    (61)   Lydon-Wlnters   8-14.. 

e  Palooka  ia  the  Squared  Circle  (63)   . .  Kirhwoed-Gleasao   

itlaw  Gold  (51)    Brown-Adams   7-31.. 


. .5-6. 
.9-24. 
.1-21. 
. .4-9. 
6-10. 
.5-13. 


.4906. 
.5111. 
.4941. 


4-24.... S-l... 4903. 


. .6-4. 
.3-25. 
.3-11. 

io-i.5. 

.2-25. 
.5-27. 
.2-11. 

.1-7. 
12-31. 
.2-18.. 


.4912. 
.5109. 
.5141. 

'5199.' 
.5120. 
.5152. 
.5115. 
.5107. 
.510". 


..May. 
.4-15. 
.May. 

11-  12 

12-  04. 

.  .2-4. 
..7-2. 
.9-10. 
.1-28. 

6-25. 
12-17 . 
.10-8. 
.1-14. 

3-18. 
10-22. 
.11-5. 


4°0*. 
.4920. 
.4*44. 
.4955. 
.5192. 
.4918. 
.5117. 
.4954. 


.  Wilton-Clyde  . 

«ir»-'  aePaM 
Lindv-Call.li  . 
Grant-Vrrdage 

Gereev-Hall 
.  Wil.on-Knight 


9-11     12-10  4945 

4-10      6-1"  4*»»4 

leluao  .     7-9  4923 

.5-8      -716  4919 

5-8      8-1 J  .4915 

2-12  4-8  .5151. 


PAR  AMOUNT 


1950-51  Feature) 


Completed  (40)     in  Production  'I 


NEW  PRODUCTIONS 

AARON  SLICK  FROM  PUNKIN  CRICK 
Musical  -Started  April  16 

Cast:  Dinah  Shore,  Alan  Young,  Robert  Merrill,  Adele  JergeiM 
Director:  Claude  Binyon  Producers:  Perlberg-Sea  u>n 

Story:    The  old  rural  comedy  stage  hit  with  a  musical  background. 

RAGE  OF  THE  VULTURE,  THE 
Drama  -Started  April  2 

Cast:    Alan  Lactd,  Deborah  KeiT,  Charles  Boyer,  Corinne  Cal- 

vet,  Mark  Ca%'cil 
Director.  Charles  Vidor  Producer:  Everett  Riskir. 


Sto: 


A:r  Force  officer 


in  Indi 


war  to  establish  private  air 


RELEASE  CHART 

IN  I  KODUCTION 
Title— tannine  Time 

Greatest   Show   on  Earth 
My  Son  John 

COMPLETED 

A-«  In  T*e  Hole  (112) 
Appjintment  With  Danger 

•"Hit   onder  title:  Peetal  Inspector 

At  War  with  the  Army  (93)   M.irtin-Lrwis 

Branded    (T)    (103)   Ladd-Frecdman 

Details  under  title:  Montana  Rides 

Carrie   Olivler-lonei 

Casslne  to  Korea  (59)   Doeonientary 

Conner  Caayen   (T>   (85)   Mllland-Lamarr 

Crosswinds    (T)   Payn?-Flcmlng 

Darllag.   How  Could  Yoa!   Fo.-.taiiie-Lund 

Dark   City    (f8)   Heston-Seott 

Dear  Brat    (82)   Freemai.-Arnold 

Detective   Story,    The   Douglas-Pa  ke. 

Fancy   Pantj   (T)    (92)   Hope-Ball 

Fort  Sa»age  (T)   Hayoin-Rmh 


.  4-25 

1-  29 
11-20 

. . 4-24 
.11-6 

2-  26 
. . .7-4 
.  12-4 


Great  Missouri  Raid,  The  (T)    (85)  Corey-Carey   6-5 

Here  Comes  the  Groom   Cro<>  y-Wvman   12-4 

Last  Outpost,  The   (T)   Reagan-Fleming   10-23. 

Lemon  Drop  Kid.  Thr  (91)   Hope-Maxwell 

Let's    Dance    (T)    (112)   Hutton-Astalre   7-18 

Mating   Season,   The   Tierney-Land   6-5 

Details  under  title:  A  Relative  Stranger 

Molly    (83)   Bcrt-Loeh    8-28 

Rev.   under  title:  The  Goldbergs 

Mr.    Music    (108)   Crosby-Heney  11-7 

My   Favorib  Spy   Hope-Lamarr   

Passage  West   <T)    (80)   Payne-0  Keefe   

Peking  Express   Cotton-Calvet   3-12. 

Place   In   The  Son,  A   Clift-Winters   10-24 

Qearrtrell't  Ralden    (T)   Lada-Kcnnedy   11-20 

Quebec   (T)    (85)   Barrymere  Jr.-Calvet  ...7-3 

Redhead  and  the  Cowboy   (82)   Ford-Fleming   

Hngbarb   mniano-sieriing   

Samoaa  and  Delilah  (T)    (128)   Larrarr-Matere   10-Z5 

September  Affair   (104)   Fontalnc-Cotten   8-29 

Heeethmg  Ta   Live   For   FootaJne-Miltand   6-5 

Belaid  ander  title:  Mr.  and  Mae.  Anonymo-js 

Stooge.   The   Martin-Lewis    2-26 

Sabmarlne   Command   Holden-Olion   1-15. 

(Details  ander  tltlo:  Submarine  Stody,  The) 

That's   My    Boy   Martin-Lewis   12-18 

Trie    (91)   SImnions-Rennle   Foreign 

Tripoli    (T)    (95)   O'Hara-Payne   3-27 

•nlaa   station    (80)   Helden-Fltrgerald  ...1-30 

Waraatk   (T)   O'Brien-Jagger   9-11. 

When  Worlds  Collide  (T)   Dm-'-BkI,   1-1. 

  1949-50   

Eagle  and  the  Hawk,  The  <T>    (104)   Payne-fuming   8-15. 

Forlee.  The  (109)   Stanwyck-Corey   12-5 

Lawless.    The    (831   Carey-Ressell   11-7. 

My  Friend   Irma  Goes  West   (90)   Wilson-Lend   2-13 

taaeat  Boulevard   (110)   Holdoe-Swaeeea   4-25. 


RELEASE  CHART 

  1949-56-51  

Title— Banning   Time  i*st 

All  talot  aa  the  Western  Front  (103)   .  .  .  »yroe-Wollieln   

■oynod   the  Saneet   Fard-fl'Brlen   

••very  to   Broadway    (94)    . . 

read  Man'i  Eyas  (64)   

East  Side  of  Heaven  (88)  . 
Flesh  aad  Fantasy  (94)  ... 

FeUew  the  Bays  (109)   

Framed  (60)   

Frltee  Sal  (94)   

Guilty  of  Harder  (80)   

Gypsy  Wildcat  (T)  (75)  .  . 
Here  Come  the  Coeds  (90)  . 

If  I   Had   My  Way  (93)   Crasny-Jeaa  ... 

Imitation  of  Life   (109)   Colbert-Barren 

I  TtoJt  a  Million   (80)   Raft-Trwer   

Keep  'Em  Slugging   (61)   »oad   End  Klae 

Leather   Pushers    (64)   Arlen-Berlne 

Magnificent    Obietsion    (103)   Danae-Taylar  . 

Harry  Monahans    (91)   O'Ceneor-Blythe 

NVfhtaare  (82)   

■r.  Dynamite  (68)   


M 

■• 

Ha*. 

7-ri. 

.  .5-51 

5023 

1-51 
. . 1-51 . 

!014 
5003 

12-1* 
12-1JJ 

10-50 
10-12 
8-51 

5008' 
5003 

io-» 

8-14 



10-50 

...6-51. 

5004'. 
.5021 

....9-4. 

5001 

8-14 

...2-51. 

.5013. 

.  ..J>1 

...5-51 
4-51. 
11-23 
...3-51. 

.5020 
5018 
006 
.5016 

3-2f 
S-8JJ 
1-29 

...4-51. 

.5011 

.  12-4 

. . 12-50 

.5007. 

8-f» 

7-51. 

.5022 

...8-51... 5025... 



...4-51. 
. . .3-51. 

i017 
.5015. 

...1-1 

. 3-51 . 

...2-51. 

.  5010 
.5012. 

.11-11 

..1-15 

 11-*- 

.5005.  10-2dJ 
5002. . .7-*! 


.6-50. 
.8-50. 
.7-50. 
.7-50. 
.8-30. 


.4916. 
.4926. 
.4923. 


.2-13 
.7-17 
.4-10 
.6-19 


 Chaaey-Partar 

. .  .  Cmty-BlMdeJI  .  . 

 Rotinsen-Stanwyek 

...  Baft-Dlotrleli    . . . 


.  Foiter-Bey   

Sandors-Frtzterald 
.  Montu-Hall     . . . 


Bel.        No.  ■«*. 
.8-50  

»-M> 

. .027  

5-5«  . 

. .834  

1-K 

.  .020  

.4-9*. . 

..03*3  

.2-M. 

.  «T3  

3-50 

.  016  

.2-50. 

.  .022  

6-50. 

. .041  

.6-50. 

.031  

S-SO 

or? 

1-50  051 

12-49 

.018  

3-50. . 

. .017  

.039 

4-50. . 

. .037  

.1-50.. 

.028  

.6-50. . 

.035  

.5-50  . 

.033  

.4-50.. 

.038  

PRIL    23,  1951 


25 


(96)   

rif.it  (67)   

Wsfeet.    The  (85)   

Shadow  of  a  Doubt  (108)   

Billrvans.  The   

Tough  As  They  Com.  (61)   

Walk   In    the   Sin,  A   

Tot  Can't  Got  Away  With  It  (29) 


.  Henter-Preste*  . 
.  Laaghtoa-Ralies 

.  Wrtht-Corten 
.Baxter-Mitehell 
.  Quad   End  Kids 


.1-51.. 

.i-sr 


..3-50.... 015.. 
.  6-50  . .  042. . 
.12-49  019.. 

5-50.'.'.  .040.'. 

3-50. .030. . 


.Holt-Martl«   11-50 


1930-51  Features 
Serials 
Westerns 


REPUBLIC 


Completed  (18)  In  Production  (1) 
Completed  (  1)  In  Production  (0) 
Completed  (9)      In  Production  (0) 


WINGS  ACROSS  THE  PACIFIC 
Drama— Started  April  3 

Cast:    Wendell  Corey,  Vera  Ralston,  Forrest  Tucker 
Director:  Allan  Dwan  Producer:  Allan  Dwan 

Story:    The  big  bombers  and  the  men  who  fly  them. 

RELEASE  CHART 

  1950-51   


COMPLETED 

Title — Banning  Tim' 

Mia  Le  Grand   

Buctaroo  Sheriff  of  Texas  .  . 
Balllghter  and  tha  Lady   .  . 

California  Passage   

Situ  Flrekall   

Dm  Daredevil  Rides  Again  . 

Fighting  Coast  Guard   

Fugitive  Lady   

Havana  Rosa   

■  tan  a*  tha  Rattles   

Bit  Parade  of  1951   (85)  . 

(Tr.)   


. . .  Rahton-Carroll 
.  .  .  Cliap.n-Janssen 
.  . .  Stack-  Page  . .  . 
.  . .  roeker-Mara 
. . .  Estelita-Vlncent 


.7-31 


.5006. 


R»l 

.1-27. 

 5-1  

.  .6-5    5009.  . 

.3-27. 12-15... 5005.. 
.9-25. . . .3-5. . .5007. . 
.3-12  


Insurance   Investigator  (60) 

Lady  Possessed   

Maeheth   


Missing  Women  (60)   

Night  Raiders  of  Montana  << 
Oh,   Susanna!    (Tr)  (90) 


.  .  Donlevy-Tucker 

.'.i-i 

.  .  Paige-Barnes  .... 

.5-26. 

.  .  Rogers-Rodriguez 

. 5-15 . 

Rogers-Edwards 

.  .10-23. 

.3-30. 

.5042. 

.  .MacDona'd-Carroll 

...5-22. 

10-15. 

.5002. 

11-20 

.  .  Canova-Foy,  Jr. 

.  .  .11-6 

.  May 

Koqen-Koarigoez 

.  May. 

12-18. 

.3-23 

5026 

4-9 

.  .  Mason-Havoc   

.   . .3-26. 

. .June. 

.  .Welles-Nalan   

10-20. 

.5003. 

Edwards-riagg 

'3-12.' 

5-30. 

. . 11-20 

. 2-23 . 

.5025^ 

. .3-12 

12-4. 

2-28. 

.5059 

. . .4-9 

.  Cameron-Tucker 

6-19. 

3-10 

.5008. 

. .3-26 

..Clements-Stewart  . 

.  10-9. 

. 1-20 . 

.5023. 

.1-29 

.  5004 . . 11-20 


.3-12 


Rangers  of  the  Golden   Sage   Cnapin-Janssen   4-9  

■la  Grande    (105)   Vvayne-O'Hara   7-3.. 11-15. 

Rodeo   King  and   the  Senorita   Allen-Kay   3-26.  .  .June. 

Rough   Riders  of  Darango   Lane-Towers   10-23. 

Oliver  City  Bonanza     Allen-Ebsen   11-6 

Szwilers  of  the  Plains   (66)   Rogers-Ecwards   8-28. 

surrender   Carroll-Mara   3-14. 

Details   under  title:  Untitled 

Thonder   in   God's   Country   Rex-Allen   4-8. 

Wells   Fargo  Gunmaster   Lane-Chapin    2-12  .5-15 

  1949-50   

Avengers,    The   Carrol  I- Ralston   3-13...  6-26. 

CnW   Wagon   Raid   Lane-Walter   3-13... 6-30. 

Destination  Big  House   Patriek-Roekwell   6-1. 

Frtseo    Tornado   Lint-Waller   6-5  9-6. 

Jaigle    Stampede   Native  Cast   7-29. 

PrtaMtn   In   Pettleeats   Perkins-Rockwell   5-8... 9-18. 

Redwood    Forest   Trail   Allen-Dsnntll   11-7  9-18 

Sautters  on   Horseback   Lane-Waller   7-31 .  .  10-23 

S**wd»wn.   The   Elflott-Brenaan   8-15.. 

Soeth  of  Cahente   Roge;s-Evans   3-26  .Jane 

•uieet  In  the  West  (C)   Rogers-Edwards   3-27.  .  .9-25. .  4943. '. 

Trail  of  Ratd  Hood  (C)   (67)  Rogers-Edwards   7-3.  .12-15  .  4946  1-15 

Trial  Wltheit  Jury   Patrick-Rockwell   2-27  7-8... 4921  

Trigger,    ir.    (Tr.)   Rogers-Evan,   12-19 ...  6-30 ...  4945  

(Oder   Mexican   Stan   tllen-Patrick   11-20... 4954  ..  .. 

Metit   Lane-Waller   5-8.  ..  .8-6. .  .4966  


.1-30. . .5058. 
. .3-1. . .5051. 
..2-5... 5041. 
.9-15... 5001. 

. .4-8. . .5052. 


.4920. 
. .4965. 
. .4918. 
.  .4967. 
. .4922. 
. .4929. 
..4953. 
. .4968. 
.4924.. 


RKO  RADIO 


1950-51  Features 


Completed  (48)      In  Production  (3) 


NEW  PRODUCTIONS 

BLUE  VEIL,  THE 
Drama    Started  April  9 

Cast:    Jane  Wyman,  Richard  Carlson,  Charles  Laughton,  Joan 
Blondell 

Director:  Curtis  Bernhardt  Producers:  Wald-Krasna 

Story:    Genera]  down-hill  road  traveled  by  governess-nurse,  as  told  against  the 
background  of  the  families  she  worked  for. 

RACKET,  THE 
Drama    Started  April  9 

Cast:    Robert  Mitchum,  Lizabcth  Scott,  Robert  Ryan 
Director:  John  Cromwell  Producer:  Edmund  Grainger 

Story:    Corruption  in  a  metropolitan  city. 

RELEASE  CHART 

IN  PRODUCTION 

Till* — f)*nnino    Tlmr  r>"  Details        Rel.        Nt.  Ret. 

 SlmmoiiwNewton   2-26  

 Winters-linger   4-9  ...".*.*."..  "."'*! 

  1950-51   


GROUP  ONE 

lerder  Treaiare   

•em   To  Be  Bad  (93)   

■ttet   Sttad  (67)   

••traao  '75)   

Walk  Softly.   Stranger  (81) 

GROUP  TWO 

Eiierhatnt  Altatraz   

■ever   a    Dull    Metnrnt  . 


Holt-Martin   

.  Fontaine-Ryan 

Storlinn-Dliron  . . 
.  Anfr-w^-Powers 

Cotlen-Valli   

.  Howard-Dixon  .  . 
Dunm-KacMurray 


. .8-50. . 

. .105. 

. .7-4. 

. .8-50. . 

. .101. 

.9-11 

.2-27. 

. .9-50. . 

. . 104 . 

8-28 

.2-27. 

.10-50. 

.103. 

.  .9-45 

.11-50. . 

. .102. 

.9-11 

.11-50. . 

. .107. 

.1-15 

11-50. 

.106 

NOT  DESIGNATED 
UkM  hi   Woadariud   (T)   Disney  Cartoon   

Best  of  the  Badmen   Ryan-Trevor   

Caatere.  The  (Bl>   Ayres-Wriiht   8-29. 

Com paay  She  Keets   Breer-0' Keef e   3-13. 

Details   under  title:  The  Wall  Outside 

Crack   Down   Willlams-Aruutreng  ...6-19. 

Cry  Danger   (79)   Powell-Heming   6-19. 

Double   Deal   (64)   Denning-Windsor   7-31. 

Edge  of  Doom   Andrews-Granger   12-3. 

Ptrtng  Leathernecks   (T)   Wayne-Ryan   12-4. 

Footlight  Varieties    (61)   Paar-Buttons   8-14. 

Gambling   House    (80)   Bendlx-Matore   2-13 

Details  under  title:  Alias  Mike  Fury 

San    Notches   Holt-Martin   11-6. 

Bin  Thunder    Holt-Martin   10-24. 

Details  under  title:  Mother  of  a  Champion 

Half   Breed,   The   Young-Carter   3-26. 

Hard,  Fast  and  Beautiful   Trovor-forrest   7-31 

Hunt  the  Man  Down  (68)   Young-Anderson   5-22. 

Details   under  title:    Seven  Witnesses 

Ifs   Only    Money   Stiatra-Biiagll   12-6 

Jet   Pilot    (T)   Wayne-Leigh   12-19 

Kon-Tiki    (73)   Travel   

Maeao   Russell-Mitthom   9-11. 

Mad  Wednesday  (80)   Lloyd-Walhorn   10-1. 

Mad  With  Much  Heart   «yan-Lu«ino   5-». 

Man  He  Found,  The   Reid-Tittle   6-5. 

My  Forbidden  Past  (81)   Gardner-Mitehum   10-10. 

On  The  Loose   Evans-Barl   1-29. 

Our   Very  Own    (93)   Granger-Blyth   9-12. 

Payment  on   Demand    (90)   Davis-Sullivan   2-27. 

Details   under   title:  Story  of  a  Divorce 

Pistol  Harvest  (60)   Hoit-Martln   12-4. 

Roadblock   MeGtaw-Dixon   10-23. 

Bustler's   Range   Holt-Martin   1-29. 

Saddle    Legion    (61)   Holt-Martin   7-31. 

Sealed  Cargo   Colbert-Ryan   11-7. 

Details  under  title:  The  Gaunt  Woman    Andrews-Rains   8-14. 

Secret  Firy  (86)   

Sons  of  the  Musketeers  (T)   WIIde-O'Hara   1-2. 

Target   Meeraw-Whita   6-19. 

Tarzan's  Peril   (79)   Barker-Huston  11-6. 

Texas   Trlggerman   Holt-Martin    7-3 

Thing,  The    (81)   Tcbey-Sheridan   11-6. 

Tokyo   File  212   (84)   Marly-Peyton   

Treasure   Island    (T)    (96)   Driscoll-Newton   

Two  Tickets  to  Broadway  (T)  Leigh-Martin   11-20. 

 Domergue-Dolenz   8-19 . 


.6-51 
.6-50 
.1-51 


.4-51. 
.2-51. 
10-50. 
.6-51. 


.4-51. 
.5-51. 
.7-50. 


lOtti  CENTURY-FOX 


1951  Feature 


Completed  (33)     In  Production  (5) 


NEW  PRODUCTIONS 

DAY  THE  EARTH  STOOD  STILL,  THE 
Drama — Started  April  9 

Cast:    Michael  Rennie,  Patricia  Neal,  Billy  Gray 
Director:  Robert  Wise  Producer:  Julian  Blaustei 

Story:    Robot-like  character  from  another  planet  lands  on  earth  and  warns 
other  planets  will  destroy  us  unless  we  quit  warring  among  ourselves. 

DESERT  FOX,  THE 
Drama — Started  April  9 

Cast:    James  Mason,  Desmond  Young,  Jessica  Tandy 
Director:  Henry  Hathaway  Producer:  Nunnally  Joh~ 

Story:    Life  of  Nazi  General  Irwin  Rummell. 

RELEASE  CHART 

IN  PRODUCTION 

Title— Running   Time  Cast  Details        RoL        Do.  R 

Dr.   Praetorious  Story,  The   Grant-Crain   4-9  

House  On  the  Square   Power-Smith   2-12  

Mr.   Belvedere  Blows  His  Whistle   Webb-Dru   4-9  

COMPLETED    1950-51   

Anne  of  the  Indies   Jordan-Paget   3-12  

As  Young  As  You  Feel   Woolley-Ritter   1-1. 

Details  under  title:  Will  You  Love  Me  in  December? 

Bird  of  Pa'adise  (T)   (100)   Jordsn-Paget   8-14. 

Call  Me  Mister  (T)    (95)   Grahlc-Dailey   7-17. 

David  and  Bethsheba   (T)   Peck-Havward   12-4. 

Decision  Before  Dawn   Merrii|-Ba:ehart   9-25. 

Details  under  title:  Legion  of  the  Damned 

Follow  the  San   Ford-Baxter   10-9 

Fourteen  Hours  (91)   Douglas-Basehart   

Friendly    Island    (T)   Lundigan-Greer   3-12 

Freq   Men.   The   Wiilm.irk-Andrews   1-1 

Golden    Goose,   The   MacMuiray-Parker  ....1-29. 

Guy  Who  Came  Back,  The   Douglas-Darnell   12-18 

Details  under  title:  Guy  Who  Sank  the  Navy 

Half  Angel    (T)    (80)   Ycung-Cotten   7-17 

Halls  of  Montezuma,  The  (T)   (113)   Widmark-Gardner   6-5 

Holy    Year,   1950    (42)   Documentary   

House   on   Telegraph  Hill   CO' tesa-Lundigan   9-11.. 

I  Can  Get  It  For  You  Wholesale  (91)  .  .  D.iiley-Hay*ard  10-23 
I'd  Climb  the  Highest  Mountain  (T)   (88)  .  Hayward-Lundigan  6-5 

Kangaroo    (T)   OHara-Lawford   11-20  

Kefauver   Crime    Investigation   Now>    Fealuro    4-51 

Lucky  Nick  Cain   (87)     Ralt-Gray  3-51 


.6-51... 

.3-51. . . 
.2-51. . . 
.8-51... 
.8-51... 


5-  51. 

1-  51. 
Aug. 

6-  51. 
4-51. 

2-  51. 


Man  Who  Cheated   Himself,  The  (81) 

Meet  Me  After  The  Show  (T)   

Mudlark.  The  (99)   

No  Highway   

Of  Men  aad  Music   (85)  ... 

On  the  Riviera   (T)  (90)   

Rawhide  (86)   

Secret  of  Convict  Lake   ........... . 

Sword  of  Monte  Cristo,  The  (80) 
Take  Care  of  My  Little  Girl   (T)  ... 

Thirteenth   Letter,  The  (85)   

You're  in  the  Navy  Now  (93)   

Rev.   under  title:  U.S.S.  Teakettle 

  1949-50  - 

AH  About  Eve   (138)   Davis-Baxter 

American  Buerllla  In  Philippines  (T)    (105)  Power-Prelle 


.1-29 

.6-5 
9-25 


.Cobb-Oall 
.  Grable-Carey  . 
.  Ounne-Guiness 
.  Stewart-Dietrich 

.  Concert  Feature   

Kaye-Tierncy   9-25 

Powcr-Hayward   1-30 

.  Ford-Tirrney   2-12 

.  Mentoomcry-Corday     .  .  .9-25 

.  Cram-Peters   11-6 

.Damell-Boyer   8-25 

.Cooper-Albert   11-6 


1-51. 


1-51. . . .101. 

.7-51  

.3-51  

.5-51  

.5-51  

.7-51  

.3-51... 106. 

.8-51  

. 2-51 ....  107 . 
.4-51. .. .110. 


FILM   B  ULLETI 


>    laea.   Two   (T)    (120)   '•"-»■»"»   5-23 

n  Dim  (T>    (93)   Itmrt-fmt   «-20 

m   Trail    (C)   Seott-V/llliam,   9-12  . 

I  tarn's  tab  (92)   WeDb-Bannett   

IM  By   (T)    (82)   Ht.er-LiMlgm   

r  880    (90)   Mo6ulre-Laneaster   4-24 

■  Hit  Hearen   (T)    (97)   Grable-Dailey   12-19. 

ifay  Out   (106)   Darnell-Widmark   11-7 

I    In  the  Streets  (93)   Widmark-Bel  Geddes   1-2. 

I   Sberidan-Matarc   Aoi 

I  the  Sidewalk   Ends    (95>   Andrews-Tierney   1-30.  ..Jill 


Sect 


020 
033 
927 
02  t 
021 
025 
022 
018 


7-J 
.6-19 
.12-4 
10-t3 
.9-11 

8-  28 

9-  11 
.7-17 
.8-14 
.7-17 


nder    title  Panther' 


UNITED  ARTISTS 


950-5 1  Features 


Completed  (    )      In  Production  (0) 


RELEASE  CHART 

CMPLETED    1949-50   

Title— «i.»lne    TlB>  Cast 

feral  Wat  a   Lady.   The    (87)   Hindrli-E.  O'Brien 

tills   under   title  Tbe   Iron  Cage 

j  light.   ehaplin-Cherrlll 

i>ia  Da  Jorgerae   (112)   Ferrer-Power*   

ft  ill   Michele  Morgan 

fi    Laglon   Boyer-Bett|er 

■  Raa  All  the  Way  (77)   CarBtld-Winters 

II  nli  Be  Sin   (72)   Uy-Caaanliu   

Inch  Trail.    The    (85)   Montioeaery-Minhall 

■  From   Planet  X   Clark-Field   

■  With   My  Fate    (75)   Nelson-Matthews 

k    The   (85)   Brando-Wright   

■  Mexico   (Ans)   Sores-Maxwell   

■  A  Thief  (88)    Romaro-Hasee   

etalls  inder  title:  Once  Over  Lightly 

f  ler.   The  (92)   

•tails  under  title:  Cost  of  Loving 

I  n  For  A   Day  (107)   

»r,   The  (93)   

■talis  onder  title:   Dongeon.  The 

and  Woman.  The  (91)   

S  Benny,   the  Dip  (80)   

le  Hesbands  (78)   

Te   Steps  North   

I  and  Get   Me  (SO)   

ev.  snder  title:  Sound  of  Fury 
tlerworld   Story   Doryea-Stotn 


.  Relssee 


Chap 


.9-50 
7-17  .7-20 

.  Foreign       6-1.  .  .Lev.  . 

 5-11  .Sirk 

 7-13  Poh 

 9-8  flat 

. .10-24. .  616  Sm 
 4-27  .  Cor.  . 


Heflin-Keyo 


Young-Drake 
,  rocn-Haymes 
*,lliams-Arden 

Bridges-Pada»t>ni 
,  Lcveioy-Ryan 


.11-21... 8-25 

 "...  .5-18 

...1-2  7-7. 

. . . 4-24 . .  5-25 

. .10-9  .  4-13 


 2-51  . 

 6-22. . 

...7-3  .  «... 

.7-3. .  6-15 
.5-22  5-A. 


Poi. 
Oan 
G-C 


7-17 
9-2 


3-23 
.2-12 


.7-21. 


UNIVERSAL-INTERNATIONAL 


960-51  Features 


Completed  (35)      In  Production  (4) 


.11-6.  .  Mar.  . .  .116. 

 Mar  115. 

.8-28. . .June  

.9-11  . .  Feb.  .  . .112. 
.8-28  


.3-12 


NEW  PRODUCTrONS 

\DY  PAYS  OFF.  THE 
Omedy— Started  April  5 

11st:    Linda  Darnell,  Stephen  McNally,  Gigi  Perreau,  Virginia 
Field 

jirector:  Douglas  Sirk  Producer:  Albert  J.  Cohen 

pry:    School  teacher  takes  on  ready-made  family. 

RELEASE  CHART 

IN  PRODUCTION 

TlrU — a,nnlng  Tlate  Cut  Details        Rel.        No  Bat. 

p,  The   (T)   Smith-Carey   \  .  .4-9  

U   Day    (T)   Hull-Duff   4-9.  

I  Never  Knows   Powell-Dow   4-9  

flers  Green   Usenters-Conte   3-12  

  1950-51   

■oft  &  CosteJIo  Meet  the  Invisible  Man..  Abbott  &  Costeflo 
i  Cadet   MeNally-Russell    .  . 

■ehe  Drums  (T)   Grey-McNally   

'ime  fnr   Bonio    (83)   Re?.can-Lynnn    .  .  . 

1  iht  Victory   Dow-Kennedy  .... 

Details  under  title:  Lights  Out 

tie  Drive    (T)   MeCrea-S»ockwfll   12^1  

"in'  Round  the  Mountain   Abbott  &  Costello-Shay  1-29  

Details  under  title:  The  Real  McCoy 

•rtdd   (88)   Toren-Chandler   10-10  ...  Nov ....  103  

ible  Crossbones   (T)    (75)   O'Connor-Carter   10-10... Apr  117  

I  Man.  The   Smart-Meadows   May  120  

aekiu  (T)   McCrta-Winters   5-8... Jan  108  

mels  Goes  to  the  Races   uxonnor-white   12-4  

den  Horde.  The   (T)   Blythe-Farrar   1-29  

om  Wore  Spurs  (80)   Reoers-Carson   7-31...  Mar  114.2-26 

i»Het  (142)    Olivier-Simmons   Nov  101  

Uj  (10»)   Stewart-Hall   5-8  . .  Jan.  .  .  .107.  10-23 

Hywood  Story.   The   Conle-Adams   12-18 ...Juno  

u  Man.  The   Keyes-Chandler   1-29  

"sas  Raiders   (T)    (80)   Marrhv-Chapman   6-5...  Nov  104. 11-20 

tie  Did   It   Blythe-Stcvens   6-19.     May  122 

tie  Eavpt    (T)   Fltming-Stevens   12-4  

.  and  Pa  Kette  at  the  Fair   Maln-Ki!bride   2-27  

I  and  Pa  Kettle  Back  on  the  Fans  . . . .  Main-K(ltr:de   2-27  ...Apr  117  4-" 

enet.  Tbe   (78)   Murray-Walsh   Foreign  ...  Feb  181.  .3-26 

:rk  of  the  Renegade  (T)   Montalban-Charisso 

Details  under  title:  Don  Renegade 

IkBMB.  The   (87)   D'Connor-Burante   5-8  . .  .Not.  .  .  .102  

•sttry  Subatarlne   Carey-Toren   7-31... Dee  106  

•ration  Disaster   (100)   Mills-Cherry   Foreign  ..  Jan.  ..  .113.  .  .1-29 

■nee  Who  Was  A  Thief,  The  (T)   Cartls-Uirie   9-25  

eHler-i   Island    (T)   Kcyes-Chandler   7-17... May  

raet  Unknown    (90)    . .  .Stevjns-Nieol   9-11  ...  Fob ...  Ill  

(■Her  On  the  Hill   COibert-Blytti   11-2*  

Details  under   title:   The   High  Groaid 

■ahawk   (T)    (82)   Heflln-OeCarlo   6-5  ...  Feb. ..  .110.  .  .  1-29 

dereorer  Girl    (83)   Smith-Brady   7-31... Dee  10"... 11-6 

*ar  the  Gin   (84)   Totter-Conte   5-22.  ..  Jan  109  1-1 

Front  (92)   Wayno-Ewcll   10-9  .  .  .  Apr  118  3-12 

COMPLETED  — 1949-50   

tat  l  Bostello  In  Oil  Foreign  Lesion  (79)  Abbott  &  Costello   5-8  ...Aug...  .924  

taJa  Call  at  Caetis  Creak  (86)   O'Connor-Arden   2-28  .  .June  918.  .. 

«art  Hawk,  The  (T)  .  (77)   Dcearlo-Greono   4-10...  Aid  925  .  .  . 8-14 

*<*   (SO)  Byington-Beasan   12-13...  Aug  926... 6-09 


>her,i"n-0-Ke«fe 


WARNER  BROTHERS 


1950-5)  Feature*! 


Contplelei  (34)     in  Profjuftilnii  (2) 


NEW  PRODUCTrONS 

DISTANT  DRUMS  (T» 

Drama  - Started  March  26 

Cast:    Gary  Cooper,  Mari  Aldon.  Ray  Teal 

Director:   Raoul  Walsh  Producer: 

Story:    Indian  wars. 

BABY  FOR  MIDGE,  A 
Comedy-  Started  April  13 

Ray  Milland,  Gene  Ticrney 

Product 


Cast: 

Director:  William  Keighley 

Story:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 

Tltla — Banning   Tlaa>  Cut 

Force    of    Arms   Holdeit-OKon 

Pam  i-c.   the   C'ouds   with   Sunshine  .  Mayo-Mcraan 

De  ails  under   title:   Golddigoers  ol   Lai  Vegas 

  1950-51   

Aleatru    Island    (64)   Ann  Sheridan 

Alois*  tho  Great   Divide   Oooglas-Mayo 

Details   under   title:   The  Travelers 

Breakmg  Po  nt.   Tho  (97)   

Breakthrough  »91t   


Milton  Sperling 


William  Jacobs 


Cio'al 

Dal laa  <t>  (94) 

Dodge  City  (104) 
Enforcer.  The  (87 
Fort  Worth  (T)  . 
Class  Menagerie 
Gcodbye, 


(T) 


The 


.  Certleld-Neal  ... 

Brian-Aoar   

.  Peck-Mavo 
.  Coo  tr-ftoman 

Hynn-deHa»il|and 
,  Bogart-Roberts 
.  Scott-Brian  .... 
.  tawrcnce-Wvman 
Crawtord-Toong 


4-10 
6-19 
2-13 


8-  14 

1-  15 
11-7 

9-  25 

2-  13 


11-6 

9-11 
2-13 
9-11 


Hithway  301   (83)   Cochran-Andre 

I   Was   A  Commjnist    (83)   Lovejoy-Harl 

Inside  the  Walls  of  Folsom  Prison       .     .  Brian-cochrane 
Details  ander  title:  The  Folsom  Story 

Jim  Thort>e.   All-American   laneaster-Blckford 

Lightning  Strikes   Twice    (91)   Roman-Hdd 

Lallaty  ol   Broadway   (T)    (92)   Day-Nel  on   

Moonliofit   Bay    (T)   MaeKae-Day    1-29 

North   of  the    Rio   Grande   MeCrea-Maye   .-27 

Details   ander   title:   Colorado  Territory 

Only  The  Valiant   (105)   Peek-Payton  8-14 

Opration   Pacific    (109)   Waync-Neal   9-11 

Pretty   Baby    (9?)   Seott-Morgan   l-> 

R.-.ton   Pass   (84)   Morgan-Heal   7-31 

Roeky   Mountain    (83)   Fiynn-Wymere  6-19 

San   Oaentin    (70)   B*oart-«heridan    .  Reissue 

Storm  Warning   (91)   Rooers-Reagan   12-5. 

Details   under  title:  Storm  Center 

On  A  Train   *alker-Romnn  11-6 

Named   Desire,   A   Brando-Leigh    8-28 

(T)    (80)   Seott-Jtrgens   

Tea  Far  Two   (T)    (98)   Day-MaeRae  4-10 

Thru  Sotrets    (S8>   Parker-Neal-Roman   

Tomorrow   Is  Another   Day   Roman-Cochran   1-15. 

Virginia   City    (121)   Flynn-Eegart  Re'ssee 

Wart  Point  Story.  The  (107)   Cagney-Mayo  6-19 

COMPLETED    1949-50   

Biigtrt   Loaf    (110)   Cnoper-Neal  12-5 

50  Years  Before  Yoor  Eyes  (70)  Documentary   

Flame  and  the  Arrow  (T)    (88)   Laneas  er-Mayo   

Rod   Is  My  Co-Pilot  (881   Monan-Clark  Reissue 

Kiss   Tomorrow   Goodbye    (102)   Cagney-Adler    ...  :-8 

This  Side  of  the  Law   (74)   Lindfors-Smith  .10-25. 


12-30 
3-17 
2-24 

10-28 
5-19 
1-13 


Oil 

017 
015 

007 

024 
012 

023 


4-21 

1-  27 
9-16 

4-7 
11-11 
9-9. 

2-  10. 


013 

004 

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.3-12 
1-29 
.7-31 

4-9 


.  .3-3 
9-2 
10-14. 


. .2-12 
8-28 
10-23 


7-1 
7-15 

7-  22 
6-3 

8-  19 
6-17 


92t 
931 
930 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l   Him  Cesrriewa 

250  N.  Juniper  St.,  Phila.  7.  Pa.  —  LOcust  7  4J323 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed   containers    and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  lost  show. 

HIGHWAY  EXPRESS  LINES,  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St..  Phil*.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


PRIL    23,  1951 


17 


IN  MERCHANTS' WINDOWS-COUNTERS 
-HOTEL  LOBBIES -TERMINALS  


A  complete  away-from-theatre  service 
...  to  sell  your  attractions  from 
merchant's  windows  and 
counters  . . .  hotel  lobbies  and 
terminals... wherever  there  are  PEOPLE  to 
be  turned  into  PATRONS!  New,  beautiful. 
Framed  DISPLAY  AW  AYS  provide  color- 
ful DISPLAYS  .  .  .  beautifully  FRAMED, 
and  ready  to  get  you  MORE  PATRONS  at 
your  BOXOFFICE ! 


nnnonfli 


PBirf  gatr  Of 


SERVICE 

THfmousmv 


GREATEST  POINT-OF-SALE  PROMOTIQ 


n  unbeataoie  combination ...  a  power! 
backed  by  an  intensive  pre-sellii 


TOR  A 

-  DA? 


St 


WORLD  PREMIERE  CITY  NAMED  BY  VOTES  OF 
MILLIONS  OF  MUTUAL  RADIO  LISTENERS! 

NATIONTOTOjm^  "QUEEN  FOR  A  DAY"'  TROUPE! 

8(^S?^BEA  SATURATI°N  PREMIERES  SOLIDLY 
SOLD  WITH  "QUEEN  FOR  A  DAY"  CONTESTS! 


[  THE  HISTORY  OF  THE  BUSINESS! 


iwoffice  attraction 
lunpaigii! 


"Will  easily  prove  to  be  one  of  the 
highlights  of  the  film  year.  Splendid 
entertainment,  will  move,  delight 
every  segment  of  the  audience. 
A  great  offering  in  every  sense!" 

-FILM  DAILY 

"A  commercial  winner.  Limitless 
exploitation  possibilities!" 

—BOXOFFICE 

"Notable  boxoffice  success. 
Enthusiastic  word-of-mouth ! " 

—SHOWMEN'S 

"Tightly-knit,  suspenseful,  novel, 
arresting.  Will  hit  fine  grosses!" 

—DAILY  VARIETY 

"Excellent!"— m.  p.  herald 

"Appeal  to  film-goers 
of  every  classification!" 

—M.  P.  DAILY 

"Touching,  heart-stopping,  topnotch!" 

—VARIETY 


Great  "DAY"  thru 


*.  She  s  from  • 

Mississippi  \\W<*°\ 


ti6*  *\o»»* 


r  ]  'I 


•  J 


vcry  section  of  tU 
COUmry/' 

Rad,°  City  Music  HaU 


BOOKING  PICTURES  FOR  THE  NATION! 

Mr.  and  Mrs.  America  and  Family  come  from  everywhere  to  Radio  City  Music  Hall,  N.  Y.,  and 
that's  why  every  attraction  at  this  famed  theatre  must  be  judged  for  its  drawing  power  to  an 
audience  representing  a  true  cross -section  of  the  U.  S.  A. 


FOUR  IN  A  ROW  WHERE  MILLIONS  GO! 


M-G-M's 

"ROYAL 
WEDDING" 

(Technicolor) 
5  Happy  Weeks 


M-G-M's 

"FATHER'S 

LITTLE 
DIVIDEND" 

Now  Playing  To 
Packed  Houses 


M-G-M's 

"THE 
GREAT 
CARUSO" 

(Technicolor) 
NEXT 


M-G-M's 

"MR. 
IMPERIUM" 

(Technicolor) 
NEXT 


They've  got 
They've  got 
They've  got 
There's  one 


to  be  BIG! 

to  have  STAR  draw! 

to  have  NATIONAL  appeal! 

product  that  FITS  THE  BILL! 


I  ORE 

G  REAT 

Movies  ! 


How  the  exciting  bull  sequence  in  M-G-M's  spectacular  "Quo  l  adis"  was  filmed.-  Six  thousand  extras,  portray  ing  ancient  Romans,  sit  in 
the  stands  ivatching  as  Buddy  Baer  approaches  the  beast  to  protect  Deborah  Kerr,  mho  is  tied  to  the  stake.  Cameramen  are  stationed 
in  the  icooden  box  at  lower  right,  while  a  trained  matador  stands  bv  in  case  the  bull  becomes  too  vicious. 


A  N  OLD  SAW  and  a  new  song  have 
*»  come  to  have  a  special  meaning  to 
the  motion  picture  industry  in  the  pasl 
year  or  two.  The  song,  with  the  rather 
unique  title,    "I've   Got   Tears   in  My 

Ears  Lying  on  My  Back  Crying  Over  You,"  could  very  well 
have  been  dedicated  to  many  —  too  many  —  of  the  na- 
tion's motion  picture  exhibitors  and  distributors  in  recent 
years.  It  describes  an  attitude  that  has  padlocked  more 
theatres,  probably,  than  any  other  single  factor  and  has 
endangered  the  very  existence  of  the  movie  industry.  It 
has  seriously  hamstrung  the  efforts  of  those  fighting  elem- 
ents in  film  business,  Including  the  alert,  aggressive  movie- 
men,  to  remedy  an  ailing  boxoffice  and  revive  the  movie- 
going  habit.  It  is  certainly  one  of  the  most  pertinent 
reasons  why  public  relations  have  fallen  off  and  public 
apathy  has  risen.  There  was  never  a  salesman  who  could 
peddle  a  product  that  he  cried  over  or  failed  to  have 
faith  in. 

And  the  ancient  aphorism,  "He  can't  see  the  forest 
for  the  trees,"  is  significantly  appropriate  as  an  explana- 

MAY7,  1951 


By  BARNEY  STEIN 


tion  for  much  of  this  breast  -  beating 

attitude. 


CxcluMHe         BULLETIN  feature 


We  in  the  movie  industry,  being  so 
ciose  to  the  business,  have  lost  our  per- 
spective of  production.  We  have  come 
to  take  for  granted  the  multitude  of  detail,  research,  tech- 
nical work  and  cost  that  go  into  months  of  pre-production 
planning.  Exhibitors  come  into  an  exchange  like  a  house- 
wife going  into  a  grocery  store  with  a  shopping  list  for 
the  week  —  "Give  me  a  can  of  that  —  if  it's  not  too  ex- 
pensive." They  are  just  as  oblivious  to  the  huge  machinery 
that  produced  the  contents  of  their  can  of  film  as  is  the 
housewife  her  can  of  beans.  And  all  too  often,  the  dis- 
tributor, like  the  grocer,  doesn't  know  or  doesn't  bother 
to  explain  what  miraculous  forces  produced  the  contents. 
The  grocer  and  the  housewife  can  afford  to  take  their 
merchandise  for  granted.  The  distributor  and  the  exhibitor 
cannot. 

Production  miracles  are  one  of  the  great  advertising- 
publicity-exploitation  facets  of  our  business.  It  was  large- 
ly through  ballyhoo  of  the  fascinating  intricacies  of  movie- 

(Continued  on  Page  7) 


Ill  the  above  .scene  from  "David  and  Bathsheba  "  which  requires  r  tin  to  begin  falling  during 
had  to  be  hauled  across  the  desert  and  storeii  in  reservoirs. 


some  10.000  gallons  of  water 


(Continued  from  Page  5) 
making  that  the  glamor  associated  with 
the  movies  came  into  being,  and  helped 
make  the  industry  the  greatest  entertain- 
ment medium  in  the  world. 

Anyone  who  thinks  the  public  isn't  in- 
terested in  movie  production  need  only 
be  reminded  that  the  average  person 
would  rather  be  admitted  through  the 
magic  portals  of  a  movie  studio  than  go- 
to see  the  finest  show  on  earth.  Nor  is 
the  lure  limited  to  this  country.  In  Italy, 
for  example,  during  the  filming  of  "Quo 
Vadis,"  thousands  came  from  all  parts 
of  the  country  to  watch  the  production 
in  preparation  and  in  work. 

Through  the  painstaking  research  and 
attention  to  authentic  detail  in  our  films, 
millions  of  moviegoers  have  learned  more 
than  they  ever  did  from  text  books.  Even 
living  standards  have  been  elevated  as 
the  movies  unfolded  lush  wonders  on  the 
screen  and  created  the  demand  in  the 
onlooker  for  the  real  thing.  Top  screen 
designers  set  the  mode  for  the  fashion 
industry,  and  for  interior  decorators. 
The  mechanics,  the  implements  and  the 
talents  of  movie-making  and  movie- 
makers have  truly  shaped  the  American 
people's  manners  and  mores. 

Contrast  the  pitifully  inept  produc 
tions  that  pass  for  entertainment  on 
television  with  even  the  lowest  budgeted 
Hollywood  films.  And  remember  that 
TV  cannot  hope,  at  least  in  the  foresee- 
able future,  to  present  anything  resemb- 
ling the  quality  of  the  average  theatre 
film  because  of  prohibitive  cost. 

Showmen  must  not  miss  the  vital  ex- 
ploitation values  in  the  wealth  of  Holly- 
wood production  lore  in  these  days  when 
every  conceivable  cranny  of  showman- 
ship must  be  explored  and  utilized  to  its 
fHllest.  Each  faction  of  the  industry 
must  do  its  part.  Studios  should  send 
out  detailed  accounts  of  production  in- 
formation to  their  sales  and  promotion 
forces,  who,  in  turn,  should  stimulate 
exhibitors  to  ballyhoo  efforts. 


It  is  to  be  hoped  that  the  agenda  of 
the  forthcoming  producer-exhibitor  round 
table  discussions  in  Hollywood  next 
month  will  give  a  prominent  spot  to  this 
fundamental  need.  Together,  production- 
distribution  exhibition  can  point  up  the 
intriguing  vastness  of  Hollywood's  pro- 
duction mechanics  to  the  great  benefit 
of  the  boxoffice. 

What  promises  to  be  the  most  impres- 
sive screen  spectacle  of  all  time,  M-G-M's 
"Quo  Vadis,"  represents  an  ideal  example 
of  production  ballyhoo  potential.  Three 
years  of  active  preparation,  in  addition 
to  more  than  five  months  of  shooting  in 
Italy  has  spawned  a  veritable  mountain 
of  "engrossing  production  data.  Let's 
take  a  look  at  a  few  of  the  accomplish- 
ments that  so  many  of  us  have  taken 
for  granted. 

Although  preparation  was  begun  in  the 
late  1930's,  it  was  tabled  when  World 
War  II  broke  out.   In  the  Spring  of  1948, 


Henry  King  instructs  the  young  David  in  the 
art  of  slinging  in  preparation  for  the  giant- 
killing  scene.  The  Philistines  and  their  cham- 
pion are  at  upper  right. 


art  director  William  Horning,  costume 
designer  Herschel  McCoy  and  set  decora- 
tor Hugh  Hunt  arrived  in  Rome  to  pre- 
pare for  the  actual  shooting  two  years 
later.  Horning  had  completed  more  than 
10,000  sketches  covering  each  of  the  115 
sets  in  detail.  McCoy  and  a  staff  of  eight 
had  labored  long  designing  the  elaborate 
clotnes  to  be  worn  by  Robert  Taylor,  De- 
borah Kerr  and  the  32,000  players  who 
were  to  be  used  in  the  cast.  Hunt  was 
to  round  up  some  150,000  individual 
items  to  be  used  in  decorating  the  sets 
from  Roman  chariots  to  a  stuffed  octopus 
to  be  used  at  Emperor  Nero's  banquet. 

Working  out  of  Cinecitta  Studios,  eight 
miles  from  Rome,  with  its  148  acres  and 
nine  large  sound  stages,  the  advance 
guard  started  the  huge  job  of  contract- 
ing for  delivery  of  the  props,  costumes 
and  construction  equipment.  A  huge 
amphitheatre,  the  great  Circus  of  Nero, 
large  enough  to  seat  30,000,  had  to  be 
built;  four  city  blocks  of  Ancient  Rome 
was  to  be  reconstructed  in  minute  detail. 
A  huge  bridge,  capable  of  supporting 
5000  persons  had  to  be  erected  (and  later 
burned  in  the  famous  fire);  the  exterior 
of  the  ornate  palace  of  Nero  faced  an 
avenue  along  which  rose  seven  40-foot 
statues  of  pagan  gods;  an  elaborate  ban- 
quet hall  for  Nero's  250  guests  and  a 
like  number  of  servants,  with  couches 
for  each  reveler  —  all  of  these  and  a 
hundred  more  were  to  be  completed  in 
full  color  for  the  Technicolor  cameras 
that  were  to  start  grinding  two  years 
later. 

20th  Century-Fox,  with  Darryl  F. 
Zanuck's  "David  and  Bathsheba"  offers 
another  fine  example  of  production  pyro- 
technics. Though  Zanuck  prefers  that 
his  company  be  known  as  a  "filmer  of 
gieat  dramas  instead  of  a  specialist  in 
spectacles,"  his  Technicolor  film  of  the 
biblical  love  story  is  nothing  if  not  spec- 
tacular, production-wise. 

(Continued  on  Next  Page) 


MAY  7 


9  5  1 


Stop  Taking  All  This  For  Granted! 


(Continued  from  Page  7) 

Filmed  at  Nogales,  Arizona,  on  the 
sun-baked  desert  so  like  the  area  around 
Palestine,  the  studio  recreated  the  an- 
cient city  of  Jerusalem  at  a  cost  of 
$250,000.  Over  2000  were  taken  on  loca- 
tion to  work  on  the  film,  setting  up  a 
miniature  city  with  its  own  fire  and  po- 
lice departments,  hospital,  commissary, 
and,  of  course,  beauty  parlors. 

The  biggest  wardrobe  in  20th's  history 
—  2500  biblical  period  costumes  —  was 
stiiched  for  the  film,  badly  depleting  the 
goat  and  sheep  herds  as  2000  soldiers 
representing  David's  host,  the  Philistine 
and  the  Ammonite  armies,  required  the 
skins  for  authentic  attire.  In  addition 
to  the  thousands  of  shields,  spears, 
swords  and  ornaments,  the  prop  depart- 
ment had  to  make  one  of  the  holiest 
objects  in  history  —  the  biblical  Ark  of 
the  Covenant. 

The  huge  mass  scenes  were  directed 


by  walkie-talkie  apparatus.  Studio  engi- 
neers extended  the  broadcast  radius  of 
one-mile  transmitters  to  facilitate  direc- 
tion of  scenes  as  far  as  nine  miles  from 
the  cameras.  Because  nature's  rain 
couldn't  be  controlled,  technicians  hauled 
10,000  gallons  across  the  desert  for  the 
miraculous  rain  scene.  A  modern  track- 
laying  record  was  set  for  trucking  cam- 
era shots  as  25,000  feet  of  track  was  set 
down  over  which  the  camera  was  pulled 
for  panoramic  scenes  and  unbroken  ac- 
tion shots. 

For  Metro's  "Across  the  Wide  Mis- 
souri," one  of  the  most  exhaustive  re- 
search jobs  ever  performed  by  a  studio 
for  an  outdoor  production  was  under- 
taken, under  head  researcher  Dorothy 
Luke.  For  six  months  the  group  worked 
collecting  data  on  the  life  and  customs 
of  Indian  scouts  and  trappers  with  Black- 
feet,  Nex  Perce,  Snake  and  Crow  tribes 
in  the  early  nineteenth  century. 


Above,  at  top,  extras  in  period  naval  uniform 
in  the  cast  of  "Captain  Horatio  Hornblower" 
mill  about  on  the  Portsmount  dock  preparatory 
to  boarding  the  old  frigate  "Victory" ;  in  lower 
photo,  Hornblower  (Gregory  Peck  J  directs  the 
firing  during  the  furious  sea  battle. 


A  construction  crew  of  expert  techni- 
cians went  to  Durango,  Colorado,  to  con- 
struct a  tent  city  for  the  large  cast. 
After  the  housing  quarters  were  com- 
pleted, work  began  on  three  master  sets 
in  the  mountains,  one  at  11,000  feet,  an- 
other at  9,000  and  the  third  at  6,000. 
Sites  inaccessible  by  car  or  truck  had 
to  have  the  equipment  packed  on  mules. 

For  transporting  the  cast,  headed  by 
Clark  Gable,  and  crew,  Metro  engineered 
the  largest  aerial  location  trip  in  its  his- 
tory, chartering  planes  to  move  the  com- 
pany to  the  high  location  headquarters. 
At  the  end  of  the  seven  weeks  of  filming, 
the  entire  group  was  back  in  Hollywood 
—  except  a  small  clean-up  crew  —  the 
next  day  thanks  to  the  planes. 

The  six-man,  wooden-floored  tents, 
were  shipped  disassembled  from  Holly- 
wood, with  each  a  complete  unit,  hot  and 
cold  running  water,  shower,  lights,  etc. 
Nearly  five  miles  of  standard  galvanized 
pipe  were  used  to  send  water  to  the  45 
separate  units.  Some  30  packing  crates, 
each  weighing  250  pounds  were  needed 
to  transport  the  wardrobe.  Forty  more 
crates  filled  with  guns,  knives,  buffalo 
hides  and  Indian  equipment,  had  to  make 
the  arduous  location  trip. 

One  of  Warner  Bros,  most  ambitious 
productions  in  years,  "Captain  Horatio 
Hornblower,"  is  worthy  of  special  men- 
tion in  the  exemplar  epics. 

Five  complete  ships  were  required  for 
filming  of  the  British  naval  hero  of  the 
popular  C.  S.  Forester  series  of  Saturday 
Evening  Post  stories.  These  included  a 
38-gun  frigate,  a  50-gun  Spanish  warship, 
a  74-gun  ship  of  the  line;  the  admiral's 
lOOgun  command  and  a  small  12-gun 
two-masted  brig.  In  addition  to  these 
(Continued  on  Next  Page) 


FILM  BULLETIN 


Stop  Taking  All  This  For  Granted! 


(Continued  from  Page  8) 

nautical  settings,  the  scenes  included  the 
half-timbered  cottage  of  the  hero,  the 
thatched-roof  cottage  of  his  lady-love;  the 
garish  Central  American  palace  of  the 
villainous  El  Supreme;  the  Admiralty  in 
London,  a  fort  on  the  coast  of  France, 
an  entire  street  in  a  French  seaport  town 
and  the  town  and  harbor  of  Plymouth, 
England. 

The  huge  cast  had  to  be  trained  by 
technical  experts  in  the  arts  of  sailing, 
rigging,  fencing,  gunnery,  navigation, 
and  a  host  of  other  crafts. 

Outfitting  the  officers  and  men  of  His 
Majesty's  Navy,  French  and  English 
civilians,  Central  American  natives  and 
Spanish  grandees  —  all  in  the  nineteenth 
century  period  costumes  was  a  task  that 
was  well  rewarded  by  discerning  critical 
kudos  in  the  film's  London  world  pre- 
miere, attended  by  royalty  and  notable.; 
of  the  British  empire. 

But  let  us  get  back  to  M-G-M's  big 
"Quo  Vadis."  There  is  a  wealth  of  fas- 
cinating detail  in  connection  with  this 
production  as  there  is  with  practically 
every  worthwhile  picture  made. 

As  500  carpenters,  plus  hundreds  of 
painters  and  other  artisans,  worked  stead- 
ily, the  32,000  costumes  were  farmed  out 
to  individual  workers  throughout  Italy. 
Once,  while  checking  on  Miss  Kerr's  ban 
quet  gown,  McCoy  climbed  five  flights 
of  stairs  to  find  a  dozen  women  from  the 
neighborhood  gathered  in  a  circle  sewing 
on  the  5000  tiny  beads.  Over  50,000  yards 
of  material,  most  of  it  specially  woven 
went  into  the  costumes.  Some  15,000 
hand-sewn  sandals  were  turned  out  in 
three  months.  12,000  items  of  jewelry, 
each  piece  copied  from  photographs  of 
the  authentic  gems  on  exhibit  in  the 
Naples  National  Museum;  4000  breast- 
plates and  helmets  of  brass,  alumanum 
and  tin;  2000  shields  and  innumerable 
other  costumes  were  to  be  made.  The 
thousands  of  props  were  fashioned  also 
from  photographs  of  the  real  thing  in 
museums. 

One  of  Hollywood's  foremost  animal 
experts,  George  Emerson,  covered  35,000 
miles  through  Europe  in  the  year  pre- 
ceding shooting  to  round  up  the  hun- 
dreds of  animals,  including  63  lions  and 
seven  fighting  bulls  from  Portugal. 

More  than  250  tons  of  electrical  equip- 
ment was  packed  in  Hollywood  and  ship- 
ped to  Italy.  Even  a  generator  from  the 
decommissioned  Italian  battleship,  Vit- 
torio  Veneto,  had  to  be  requisitioned 
from  the  Italian  government  to  handle 
the  load  of  electricity  required  for  the 
production. 

In  the  fire  scenes,  arranged  so  that 
the  sets  would  not  burn  down  since  the 
six-day  burning  of  Rome  actually  took  24 
nights  of  filming,  the  true  genius  of 
Hollywood  technical  talents  was  evident. 
Special  pipelines  through  which  an  in- 
flammable mixture  was  led  to  specific 
points,  with  valves  adjusting  the  flow  as 
the  cameras  caught  the  bursts  of  flame, 
were  constructed  and  hundreds  of  fire- 
men stood  ready  to  douse  the  flames  so 
that  the  next  day's  filming  could  be  pre- 
pared. Windows  and  doors  had  to  be 
repainted  each  day  for  the  next  night's 
burning. 


All  this  is  only  an  inkling  of  the  prob- 
lems encountered  and  overcome  during 
the  filming  of  "Quo  Vadis."  The  tremen- 
dous casting  and  make-up  jobs,  the  in- 
volved camera  work,  the  processing  of 
the  film  (flown  to  England  and  returned 
so  that  rushes  could  be  seen  before  the 
next  scenes  were  filmed)  and  a  host  of 
other  details  were  handled  so  expertly 
that  the  production  was  brought  in 
weeks  under  schedule. 

While  '  Quo  Vadis"  represents  the  peak 
of  production  mastery,  every  piece  of 
Hollywood  product  has.  to  varying  de- 
grees, its  own  production  magic. 

No  treatise  of  epic  production  would  be 
complete  without  the  mention  of  Cecil  B. 
DeMille.  Pioneer  in  the  mammoth  pic- 
ture for  35  years,  and,  significantly, 
every  one  of  his  expensive  productions 
a  money-maker,  DeMille  has  climaxed 
his  enviable  record  with  "Samson  and 
Delilah."  For  14  years  DeMille  delved 
into  Minoan  civilization  before  the  film 
became  reality. 

The  key  scenes  in  "Samson"  were  ideal 
for  the  DeMille  touch.  Samson  slaying 
a  thousand  Philistines  with  the  jawbone 
of  an  ass,  killing  the  lion  in  a  hand  to 
claw  battle,  the  fearful  wedding  feast 
brawl  and  the  awesome  destruction  of 
the  Temple.  The  latter  scene  was  De- 
Mille's  supreme  achievement.  Shot  in 
eight  days,  under  lights  that  poured  a 
record  total  of  51,000  ampheres  on  the 
600  players  involved  in  the  scene  cover- 

Seated  atop  the  camera  boom,  Director  DeMille 
superintends  the  spectucidar  Temple  scene. 
Four  hundred  electricians  were  needed  to  light 
the  two  sound  stages  required  for  the  huge 
scene,,  employing  a  thousand  extras. 

ing  two  sound  stages,  the  involved 
mechanics  which  sent  the  huge  structure 
with  its  19-ton  idol  tumbling  into  ruins 
remains  the  producer's  secret.  The  re- 
sults on  the  screen,  however,  are  awe 
somely  evident. 

The  script  was  in  the  making  for  two 
years  before  a  final  screen  play  was  ap- 
proved, but  when  shooting  began,  the 
final  camera  stopped  turning  after  66 
days  because  of  the  intense  pre-produc- 
tion planning. 

The  battle  between  Samson  and  400 
armor-clad  soldiers  for  the  jawbone  fight 
stirred  up  more  dust  than  a  drought  in 
the  Okie  territory.  Huge  propellers  set 
the  sand  flying  and  a  sound  machine 
roared  ersatz  thunder  as  Samson  churned 
into  a  one-man  tornado  laying  low  the 
Philistine  soldiers. 

As  Delilah,  Hedy  Lamarr  had  ten  cos- 
tume changes,  each  of  which  was  a  ma- 
jor production  in  itself.     The  DeMille 
"special"  was  a  fabulous  peacock  gown, 
ornamented    with    2000    real  peacock 
feathers    (which   DeMille   had  specially 
gilded)  which  required  12  women  three 
weeks  of  intensive  work   to  coagulate. 
For  authentic  props,   DeMille  sent  a 
I   unit  on  a  2000  mile  trek  to  North  Africa, 
i   where  they  spent   two  months  filming 
'   scenic  and  action  shots  and  making  sub- 
stantial  purchases  of  native  fabrics. 
Foolhardy?    Too  lavish?  Unnecessary 
i   expense?    Gentlemen,  look  at  the  box- 
I   office  returns  on  Mr.  Cecil  B.  DeMille's 
productions. 


I 


Short  Subjects 


By  BARN 


TF  PARAMOUNT'S  new  "Golden  Cir- 
A  cle '  plan  of  grooming  young  un- 
knowns for  stardom  works  out  as  well  as 
did  the  original  group  of  13  back  in  1939, 
everybody  will  be  very  happy.  The 
earlier  aggregation  had  the  following 
"unknowns':  William  Holden,  Susan 
Hayward,  Evelyn  Keyes,  Robert  Preston, 
Betty  Field,  Patricia  Morison,  Ellen 
Drew,  William  Henry,  Louise  Campbell, 
Joyce  Matthews,  Judith  Barrett,  Joseph 
Ellen,  Janice  Logan. 

Here's  the  new  group.  Mark  them 
well;  some  day  their  name  on  the  mar- 
quee may  mean  dollars  in  the  bank:  Pe- 
ter Hanson,  Barbara  Rush,  Laura  Elliot, 
Mary  Murphy,  Michael  Moore,  Nancy 
Gates,  Joan  Taylor,  Virginia  Hall,  Pierre 
Cressoy,  Judith  Ames,  and  Nancy  Hale. 


INSURANCE  COMPANIES  handling  the 
fire  indemnity  for  the  regional  ex- 
changes of  the  Motion  Picture  Ass  n 
member  companies  made  the  best  deal 
of  their  corporate  lives  when  they  issued 
those  policies.  For  the  fifth  successive 
year,  none  of  the  400  exchanges  has  suf- 
fered any  loss  or  damage  by  fire,  ac- 


the  close  of  the  company's  national  sales 
convention.  He  will  continue  as  advertis- 
ing manager,  a  post  he  has  held  since 
1949  .  .  .  Charles  Simonelli,  Universal 
head  of  national  exploitation,  has  been 
named  manager  of  the  company's  East- 
ern advertising-publicity  department.  He 
will  continue  as  top  exploitation  execu- 
tive in  addition  .  .  .  W.  C.  Gehring,  20th- 
Fox  assistant  general  sales  manager,  was 
in  New  York's  Polyclinic  Hospital  last 
week  for  observation.  He  is  due  back 
at  his  desk  this  week  .  .  .  John  C.  Flinn, 
Allied  Artists  ad-publicity  director,  is  in 
Washington  setting  up  the  world  debut 
May  16  of  AA's  "I  Was  an  American 
Spy"  .  .  .  Dave  Friedman,  office  manager 
of  Paramount's  Charlotte  exchange,  has 
been  upped  to  assistant  to  Hugh  Owen, 
Eastern-Southern  division  manager.  He 
replaces  Phil  Isaacs,  recently  named 
Washington  branch  manager  .  .  .  Also  at 
Paramount,  Howard  A.  Nicholson,  Dallas 
sales  manager,  moves  up  to  Memphis 
branch  manager,  succeeding  Lindley  W. 
McClintock,  resigned  .  .  .  Final  realign- 
ment of  UA  sales  personnel  announced 
by  distribution  head  William  J.  Heine- 
man:  Harry  Goldman  to  Chicago  branch 


FfCHTING  COAST  GUARD  PREEM 


U-I'S  SIMONELLI 


cording  to  the  annual  report  of  the 
MPA's  Technical  Services  department,  a 
record  even  more  extraordinary  than  is 
apparent  at  first  blush  in  view  of  some 
22,000  miles  of  film  handled  daily  in  the 
exchanges.  In  the  25  years  the  depart- 
ment has  been  in  existence,  last  year  was 
the  11th  in  which  member  company  3x- 
changes  have  enjoyed  an  unblemished 
record  of  fire  prevention. 


HTHE  NATION'S  CAPITAL  was  treated 
to  a  flashy  Hollywood-type  world  pre- 
miere of  Republic's  "Fighting  Coast 
Guard"  on  April  25,  and  the  guests  of 
honor  were  no  less  than  America's  No.  1 
Citizens,  President  and  Mrs.  Harry  S.  Tru- 
man. Hosted  by  Republic  prexy  Herbert 
J.  Yates  and  v.p.  James  R.  Grainger,  the 
gala  event  was  attended  by  a  star- 
spangled  cast  of  Government  notables 
and  Army  and  Navy  brass. 

In  addition  to  the  President  and  his 
Lady,  the  guests  included  Secretary  of 


Treasury  John  W.  Snyder;  Vice  Admiral 
Merlin  O'Neill,  Commandant  of  the  Coast 
Guard;  Secretary  of  the  Navy  Francis  P. 
Matthews;  General  Clifton  B.  Cates, 
Commandant  of  the  U.  S.  Marine  Corps; 
Senator  Edwin  C.  Johnson,  and  film  stars 
Brian  Donlevy,  Forrest  Tucker  and  El'a 
Raines.  A  crowd  of  over  five  thousand 
iammed  the  sidewalk  around  the  Warner 
Theatre. 

Prior  to  the  premiere,  Yates  was  host 
to  150  notables  at  a  cocktail  and  dinner 
party  at  the  Carlton  Hotel. 

All  in  all,  it  was  one  of  the  season's 
highlights  in  Washington,  a  premiere 
that  brought  credit  to  the  industry.  A 
low  bow  goes  to  Steve  Edwards  and  his 
Republic  exploitation  crew. 


JOHN  Q.  PUBLIC  seems  to  be  getting 
into  the  act  more  and  more  in  choos- 
ing directly  what  goes  into  their  movie 
fare.  Universal  started  a  three-week 
contest  among  1500  of  the  nation's  radio 
disc  jockeys  on  May  1  to  vote  the  ten 
most  popular  Frank  Sinatra  records  on 
the  Columbia  label  for  inclusion  in  the 
forthcoming  U-I  film,  "Meet  Danny  Wil- 
son." Listeners  will  be  asked  to  send 
the  title  of  their  favorite  Sinatra  platter 
to  U-I  in  New  York  plus  their  estimate 
of  the  total  number  of  votes  the  song 
will  receive.  Sixty-three  prizes,  includ- 
ing an  all-expense  trip  to  New  York,  will 
be  awarded. 

And  in  Philadelphia,  Harold  Seiden- 
berg,  general  director  of  the  Fox  Theatre, 
asked  the  public  to  decide  which  of  two 
endings  should  be  used  for  "14  Hours." 
with  cash  going  to  writers  of  the  best 
letters.  For  the  first  time,  to  our  knowl- 
edge, both  endings  were  shown  at  each 
performance  during  the  entire  run. 


r\F  MEN  AND  THINGS:  Sid  Blumen- 
^  stock's  promotion  to  Paramount  as- 
sistant national  director  of  advertising- 
publicity-exploitation  was  announced  at 


PARAMOUNT'S  BLUMENSTOCK 


head;  Joseph  Imhof,  Milwaukee  branch 
manager;  Abbott  Schwartz,  Minneapolis 
branch  manager;  F.  J.  Lee,  St.  Louis 
branch  manager;  Harry  Segal,  Boston 
branch  manager;  Irving  Mendelsohn, 
Boston  sales  manager;  Art  Levy  Pitts- 
burgh sales  manager;  George  Pabst,  New 
Orleans  branch  manager;  J.  S.  Moreland, 
New  Orleans  sales  manager. 

*  *  * 

T  TNIVERSAL'S  DIRECTOR  of  public 
^  relations,  Maurice  A.  Bergman,  has 
cut  out  an  ambitious  schedule  for  him- 
self in  accepting  invitations  to  address 
three  exhibitor  conventions  during  che 
next  two  weeks.  Bergman  will  attend 
the  annual  convention  of  the  Allied 
Rocky  Mountain  Independent  Theatre 
Owners  in  Denver  May  9-10;  the  annual 
convention  of  the  Motion  Picture  Theatre 
Owners  and  Operators  of  Georgia  in  At- 
lanta May  12-15,  and  the  Mid-Summer 
Convention  of  the  Allied  Theatre  Owners 
of  Indiana  at  French  Lick  Springs  May 
23. 


I  II  M  B1  I  I  I  TIN' — An  Independent  Motion  Picture  Trade  Paper  published  every  other  Monday  by  Film  Bulletin  Company.  Mo  Wax, 
Fdllor  ami  Pa  Oil  net  Bl  BINI  SS  OFFICE;  3.r>  West  53rd  St..  New  York.  Ill:  Circle  (i-9159.  David  A.  Bader,  Business  Manager;  Leonard 
r,,,I  Representative.  PUBLICATION — EDITORIAL  OFFICES':  1239  Vine  St..  Philadelphia  7,  Pa.,  RIttenhouse  6-7424; 
Barney  Stein,  Manaclnr  Editor;  Jack  Taylor,  Publication  Manager:  Robert  Heath,  Circulation  Manager.  HOLLYWOOD  OFFICE:  659 
Palisades,  Calir.,  Hill  ide  8183;  Jay  Allen,  Hollywood  Editor.  Subscription  Rate:  ONE  YEAR,  $3.00  in  the 
V nited  |  00    I  urope,  $5.00.    TWO  YEARS,  $5.00  In  the  United  States;  Canada,  $7.50;  Europe,  $9.00. 


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REPUBLIC'S  BULLFIGHTER  AND  THE  LADY'  SURE  BET 

TO  OUTGROSS  COLUMBIA'S  ARTY  BRAVE  BULLS' 


(Editors'  Note:  Because  of  the  simil- 
arity in  theme  and  presentation  of 
Republic's  "Bullfighter  and  the 
Lady"  and  Columbia's  "The  Brave 
Bulls/'  FILM  BULLETIN  feels  that 
a  combined,  comparative  review  will 
be  of  value  to  the  exhibitor  in  de- 
termining whether  he  will  play  bo+h 
films,  and/or  which  will  be  best  suit- 
ed to  his  audience.) 

The  thrills  of  the  bullfight  arena  have 
been  caught  on  film  as  never  before  m 
two  screen  dramas,  both  filmed  on  loca- 
tion in  Mexico  with  combined  American- 
Mexican  players  by  Republic  and  Colum- 
bia. The  former's  "Bullfighter  and  the 
Lady"  is,  without  doubt,  much  more  suit- 
able to  mass  audience  appeal;  Robert 
Rossen's  production  for  Columbia,  on  the 
other  hand,  seems  slated  to  receive  the 
kiss  of  death  label  as  an  "arty"  picture. 

This  is  not  to  say  that  the  Republic 
picture  lacks  class  or  is  cheap  in  any 
sense  of  the  word.  It  has  been  given  an 
open-handed  production  by  producer 
John  Wayne  (the  actor)  that  surpasses 
in  true  quality  anything  bearing  the 
Republic  trade  mark,  at  least  in  recent 
years.  It  is  studded  with  sterling  oer- 
formances,  excitement  and  authenticity 
in  the  fight  and  training  scenes,  magni- 
ficent photography.  Under  Budd  Boet- 
ticher's  direction,  the  script  (on  which 
he  collaborated)  is  replete  with  sure-fi^e 
elements,  intelligent  dialogue  and  inci- 
dental touches  that  will  appeal  to  vir- 
tually every  audience.  Characterizations 
are  definte,  well-rounded;  there  is  no 
doubt  about  the  types  depicted  herein. 
Each  arouses  a  decided  reaction  in  the 
onlooker. 

While  some  of  these  qualities  are 
shared  by  "The  Brave  Bulls",  the  Colu- 
mbia film  suffers  in  some  very  import- 
ant phases  of  entertainment  demands." 
There  is  a  moody,  shadowy  character 
about  the  film  that  is  depressing;  moti- 
vations in  the  players'  actions  are  ob- 
scure; while  all  of  the  characters  speak 
a  form  of  English,  too  much  of  the 
accent-laden  dialogue  is  unintelligible 
and  forces  the  audience  to  strain  to. 
make  out  what  is  being  said.  Where 
"Bullfighter  and  the  Lady"  is  a  robust 
depiction  of  the  dignity,  skill,  grace  and 
excitement  of  bullfighting,  "The  Brave 
Bulls",  while  it  imparts  a  sense  of  the 
importance  of  the  sport  of  the  Mexican 
people,  is  primarily  a  character  study  of 
a  great  matador  obsessed  by  a  mounting 
sense  of  fear.  Strangely,  the  former,  in 
its  straightforward  manner,  offers  a 
mtich  greater  insight  into  the  individuals 
it  depicts.  Not  a  single  character  in  "The 
Brave  Bulls"  ever  emerges  from  the  film 
as  a  full-fledged,  understandable  human. 
Only  the  bulls,  which  receive  a  more  de- 
tailed analysis  in  the  Columbia  version, 
are  outlined  in  full  majestic  splendor, 
in  the  ring,  on  the  breeding  farms,  in  the 
practice  arenas. 


BULLFiGHTER  &  THE  LADY 
Rates  •  •  •  generally 
Republic 
87  minutes 

Robert  Stack,  Joy  Page,  Gilbert  Roland, 
Wginia  Grey,  John  Hubbard,  Katy  Jur- 
ado, Antonio  Gomez,  Is.maei  Perez,  Ro- 
dolfo  Acosta,  Ruben  Padilla,  Dario  Ram- 
irez. 

A  John  Wayne  Production. 
Directed  by  Budd  Boetticher. 


In  the  fight  scenes,  there  is  little  to 
choose  between  the  two  films.  Both  com- 
bine staged  shots  with  actual  bull-rirg 
sequences,  including  the  famed  Pla'/a 
Mexico  with  its  enormous  stadium,  to  ex- 
cellent effect.  The  Columbia  film  seems 
the  gorier,  with  virtually  every  fight  se- 
quence finding  a  torero  gored  and  tossed 
on  the  sharpened  horns  of  the  huge 
beasts.  While  the  gorings  are  fewer  in 
"Bullfighter  and  the  Lady",  they  are 
more  intense  and  effective  in  their  sel- 
ectivity. The  bulls,  too,  seem  biggei  ard 
more  vicious  in  the  latter  film,  with 
laliva  flying  as  they  toss  their  horns  and 
charge  in  murderous  fury. 

Romance  plays  an  important  role  In 
each  film,  but  they  are  as  far  apart  as 
the  poles  in  presentation.  In  "Brave 
Bulls"  the  amativeness  is  characterized 
by  sultriness  and  passion,  with  the  new 
blonde  actress  Miroslava  exuding  sex  all 
over  the  place,  and  the  brunette  Charlita 
offering  an  able  assist  in  this  departm.-nt. 
The  affair  in  "Bullfighter  and  the  Lady" 
is  a  clean-limbed,  unpretentious  romance 
between  the  American  Robert  Stack  and. 
an  attractive  senorita.  played  by  Joy 
Page,  that  shares  honors  with  the  touch- 
ing husband-wife  relationship  between 
Gilbert  Roland,  as  the  beloved  premier 
matador  of  Mexico,  and  Katy  Jurado, 
one  of  Mexico's  finest  actresses. 

Budd  Boetticher  culled  the  story  for 
"Bullfighter  and  the  Lady"  from  his  own 
experiences  in  the  bull  ring.  In  the  James 
Edward  Grant  screenplay.  Stack  is  se-.m 
as  a  young  Broadway  producer,  on  vaca- 
tion in  Mexico,  with  his  partner,  John 
Hubbard  "  and  the  latter's  wife.  Virginia 
Grey.  Struck  by  the  loveliness  of  a  young 
senorita.  Joy  Page,  he  attempts  to  im- 
press her  by  persuading  Gilbert  Roland, 
aging  but  still  top  matador  of  Mexico,  to 


teach  him  bullfighting  in  return  for  in- 
struction on  skeet-shooting,  Roland's  h->b- 
by.  They  become  fast  friends  during  the 
process  and  Stack  begins  to  comprehend 
the  fine  art,  dignity  and  popularity  of 
the  sport,  and  the  high  regard  in  which 
bullfighters  are  held  by  the  people.  In 
his  first  major  appearance  in  a  bullring, 
Stack  becomes  careless  and  Roland  rush- 
ing to  his  -escue,  is  killed  by  the  bull. 
Stricken  wit  i  remorse,  Stack  persuades 
the  director  of  Plaza  Mexico  to  permit 
him  to  fight  a  bull  in  the  huge  ring  dur- 
ing a  benefit  performance  for  Katv  Jur- 
ado, Roland's  widow.  Facing  the  hatred 
of  the  crowd,  Stack  wins  them  over  in  a 
thrilling  battle  as  he  is  inspired  by  Rol- 
and's spirit. 

Based  on  the  he3t-seller  by  T  m  L?a, 
"The  Brave  Bulls"  tells  of  a  top  Mexican 
matador,  Mel  Ferrer,  who  fee's  fear  for 
the  first  time  after  being  gored  by  a 
bull.  He  becomes  irritable  and  jumpy, 
making  excuses  to  his  manager,  Anthony 
Quinn.  lor  his  appearances  in  the  ring. 
He  finds  balm  by  night  in  the  arms  of 
Miroslava,  blonde  beauty  introduced  to 
him  by  Quinn.  but  cmnot  overcome  his 
fear  in  the  arena.  When  Miroslava  and 
Quinn  are  killed  in  an  automobile  acci- 
dent, his  despair  is  heightened  by  doubt 
about  their  relationship  and  he  goes  off 
on  a  binge.  Finally  located  by  his  broth- 
er, Eugene  Iglesias,  budding  young  mat- 
ador, Ferrer  agrees  to  return  to  the  ring 
so  that  his  brother  can  get  his  big  break 
by  appearing  on  the  same  bill.  Fighting 
like  a  frightened  amateur,  Ferrer  is  boo- 
ed by  the  crowd,  but  throws  off  his  fear 
when  his  brother  is  gored  and,  in  re- 
turning to  face  the  bull,  realizes  that  he 
has  overcome  fear  of  death  permanently. 

Performances  in  both  films  are  of  a 
high  caliber.  In  "Bullfighter  and  the 
Lady",  Gilbert  Roland  is  superb  as  *he 
idol  of  Mexico,  endowing  the  role  with  a 
dignity  and  sympathy  that  is  perfection 
itself.  Robert  Stack  is  well-cast  as  the 
American,  and,  under  Boetticher's  hand- 
ling, delivers  the  best  performance  of  his 
career,  aided  immeasurably  by  Jack 
Draper's  top  grade  photography.  Sensi- 
tive portrayals  are  rendered  by  Joy  Page 
and  Katy  Jurado;  Virginia  Grey  and  Jonn 
Hubbard  are  adequate  in  minor  roles, 
and  a  well-chosen  Mexican  cast  rounds 
out  the  support.  Included  are  some  ;f 
Mexico's  foremost  bullfighters,  among 
them  Antonio  Gomez,  who  plays  h  m- 
self  in  the  featured  cast. 

Despite  Mel  Ferrer's  hero'c  efforts  to 
make  the  "Brave  Bulls"  difficult  princi- 
pal role  believable,  he  is  handicapped 
severely  by  the  "arty"  flavor  of  the  film. 
He  shines  in  a  few  sequences,  as  do  An- 
thony Quinn  and  Eugene  Iglesias.  but 
never  manages  to  reach  definitive  pro- 
portions. Eglesias  comes  closest  to  a 
three-dimensional  portrayal.  Miroslava. 
making  her  American  debut,  hides  not- 
ing but  her  acting  prowess  behind  a  sul- 
try look  and  an  array  of  revealing  gowns. 
Robert  Rossen's  direction  is  a  distinct 
disappointment  after  his  success  with 
"All  the  King's  Men."  Choppy  editing  by 
Richard  L.  Van  Enger  doesn't  help. 


THE  BRAVE  BULLS 

Ra  +  es  •  •  -f  generally;  more  in  art 

spots 

Columbia 

108  minutes 

Me]   Ferrer,  Miroslava,  Anthony  Quinn, 
Eugene  Iglesias,  Jose  Torvay,  Charlita, 
lust    Luis   Velasquez,   Alfonso  Alvirez, 
Alfredo  Aguilar,  Manuel  Orozco. 
Produced  and  directed  by  Robert  Rossen. 


MAY    7  .  1951 


15 


'I  WAS  A  COMMUNIST  FOR  THE  F.B.I.'  HARD-HITTING,  TIMELY  MELLER 

Rates  ■•  •  -r  as  top  dualler;  better  in  action  spots 


Warner  Bros. 
83  minutes 

Frank    Lovejoy,    Dorothy    Hart,  James 
Millican,   Philip   Carey,    Richard  Webb, 
Konstantin  Shayne,  Eddie  Non-is,  Paul 
Picerni,  Boy  Roberts,  Ron  Hagerthy. 
Directed  by  Gordon  Douglas. 


A  fast-moving,  hard-hitting  action 
show,  "I  Was  a  Communist  for  the 
F.B.I."  has  the  added  impetus  of  time- 
liness to  push  its  boxoffice  potential 
above  the  ordinary  despite  the  lack  of 
marquee  names,  and  an  overemphasis  on 
violence.  Producer  Bryan  Foy,  who 
knows  what  to  do  with  action  material, 
has  made  this  filmization  of  the  experi- 
ences of  Matt  Cvetic,  F.B.I,  agent  who 
spent  nine  years  posing  as  a  member  of 
the  Communist  Party,  a  suspenseful 
melodrama  that  will  undoubtedly  hit  the 
mark  with  the  action  fans.  The  film's 
principal  weakness  for  more  discriminat- 
ing audiences,  nowever,  is  the  black-and- 
white  handling  of  the  theme.  Depiction 
of  the  Reds  as  brutal  beasts  from  whom 
the~e  is  m  escape,  is  reminiscent  of  the 
early  anti-Nazi  films  of  the  last  decade 
before  subtler  treatment  raised  both  the 
entertainment  standard  and  effectiveness 
of  the  film's  message.  In  the  dialogue, 
particularly,  Crane  Wilbur's  screen  play 
suffers  from  the  same  contempt  for  the 
"masses' "  intelligence  evidenced  by  the 


•  POOR  •  •  FAIR 

•  •  •  GOOD         •  •  •  •  TOPS 


Communists  portrayed  therein.  The  film 
shines,  however,  in  eliciting  suspense 
from  the  proceedings  and  the  natural 
emotional  impact  inherent  in  the  plot 
factor  that  has  the  F.B.I,  man  absorbing 
abuse  from  his  family,  ignorant  of  his 
true  role,  until  his  dramatic  revelation 
before  the  House  Un-American  Activities 
Committee.  Best  grosses  will  result  in 
the  action  spots,  of  course,  where  the 
objections  noted  above  will  be  least 
noticed.  Elsewhere,  the  film  should  make 
a  good  entry  on  the  top  half  of  dual 
bills  and  standing  alone  where  well  ex- 
ploited. 

Performances  are,  for  the  most  part, 
"/ell  handled.  Frank  Lovejoy  is  convinc- 
ing as  the  F.B.I,  plant  in  Pittsburgh's 
red  network,  delivering  a  sincere  and 
straightforward  portrayal  as  Matt  Cvetic. 
Wh^n  the  dialogue  permits,  James  Mill- 
ican does  well  with  the  role  of  the  Party 
division  leader  and  Philip  Carey  is  a 
handsome,  clean-cut  version  of  Cvetic's 
superior  in  the  F.B.I.  Dorothy  Hart  fails 
to  make  much  of  an  impression  as  a 
teacher,  ultimately  disillusioned  with  the 
Reds  and  desperately  trying  to  escape 
their  vengeance  when  she  threatens  to 


reveal  all.  A  memorable  bit  is  that  of 
Gerhardt  Eisler  as  played  by  Konstantin 
Shayne. 

STORY:  Frank  Lovejoy,  an  F.B.I, 
agent  planted  in  the  Party  for  nine  years, 
rises  to  district  organizer  in  the  Pitts- 
burgh area,  after  Communist  chief  Ger- 
hard Eisler  reviews  his  record  on  a  visit 
to  the  city.  Unable  to  disclose  his  true 
work  to  anyone  but  his  pastor,  Lovejoy 
is  driven  to  desperation  by  his  family's 
attitude,  particularly  his  son's  hatred  for 
his  father's  apparent  beliefs,  but  con- 
tinues to  maintain  his  disguise.  He  meets 
the  boy's  teacher,  Dorothy  Hart,  finds 
she  is  a  member  of  the  Party  and  has 
been  assigned  to  check  on  him  by  party 
bigwig  James  Millican.  A  letter  he  has 
written  to  the  boy  explaining  the  real 
situation,  to  be  delivered  in  case  of  his 
death,  falls  into  Hart's  hands  but  she 
refuses  to  inform  because  she  is  disil- 
lusioned with  the  Reds'  tactics.  When 
she  threatens  to  reveal  names  of  Party 
members,  Millican  sends  goons  to  have 
her  killed,  but  Lovejoy  helps  her  escape 
and,  in  a  fracas  with  the  killers,  who 
have  killed  an  F.B.I,  man,  shoots  them 
down.  He  is  jailed  by  the  authorities  for 
the  murder  of  the  F.B.I,  man,  thus  rein- 
stating him  in  the  good  graces  of  the 
Party,  then  astounds  them  by  blasting 
the  Red  network  wide  open  in  testimony 
before  the  House  Un-American  Activities 
Committee  and  is  reunited  with  his  son 
and  family.  BARN. 


HOME  TOWN  STORY'  MINOR  MGM  MELLER 


Rates  •  •  as  dualler  for  family  audiences 


Metro-Goldwyn-Mayer 
61  minutes 

Jeffrey  Lynn,  Marjorie  Reynolds.  Kenny 
MeEvoy,  Melinda  Plowman,  Barbara 
Brown.  Alan  Hale,  Jr.,  Marilyn  Monroe, 
Byron  Foulger.  Donald  Crisp,  Glenn  Try- 
on,  Virginia  Campbell. 
Directed  by  Arthur  Pierson. 

One  of  the  very  rare  offerings  from 
M-G-M  produced  outside  that  studio, 
"Home  Town  Story"  is  a  rather  feeble 
attempt  to  reconcile  the  average  man 
with  big  business.  It  embraces  such  fac- 
tors as  corporate  profit  taking,  the  em- 
bittered attitude  of  a  onetime  war  hero 
who  loses  a  state  senatorial  election  and 
goes  into  small  town  editing,  crusading 
for  reforms  which  he  never  quite 
achieves,  and  the  triumphs  of  quality 


products.  The  simple,  undistinguished 
script  is  given  average  performances,  but 
has  little  else  to  recommend  it  than  a 
melodramatic  run-around  to  save  a  child's 
life.  This  event  is  handily  executed  by  a 
local  tycoon  who  flies  the  injured  child 
to  a  distant  hospital  in  time  to  save  her 
life  and  then  gloats  over  one  of  his  elec- 
tric motors  which  has  aided  the  process. 
As  a  newspaper  story  about  newspaper- 
men it  fails.  As  an  inspection  of  small 
town  life,  and  particularly  of  a  character 
who  would  use  every  means  to  further 
his  re-election,  it  is  weak.  Direction  by 
Arthur  Pierson,  who  also  wrote  it,  is  un- 
distinguished. Probable  audience  recep- 
tion will  be  in  the  nature  of  indifference. 
It  will  just  get  by  as  a  dualler  in  family 
houses. 

STORY:  Jeffrey  Lynn,  ex-senator,  re- 
turns to  Fairfax  with  a  chip  on  his 
shoulder,  does  not  hesitate  to  throw  a 


FIGHTING  COAST  GUARD'  BRISTLES  WITH  ACTION 

Rates  *  •   •    as  dualler  generally;  better  for  action  houses 


Republic 
M  minutes 

Brian    Donlevy,    Forrest    Tucker,  Ella 
Raines,  John   Russell,  Richard  Jaeckel, 
William    Murphy.   Martin  Milner,  Steve 
Br:>;lie,  Hugh  O'Brien. 
Directed  by  Joseph  Lane. 

This  action-packed  war  picture  is  be- 
ing given  the  same  brisk  exploitation 
treatment  as  the  company's  "Sands  of  Iwo 
Jima"  which,  in  some  ways,  it  resembles. 
Producer-Director  Joseph  Kane  has  man- 
aged to  blend  into  a  routine  ^tory  some 
highly  dramatic  ofh  '  r  shots  of 
sinking   transports,   I  planes  and 

tremendous    naval    b'  ,        !r':,     ,  Tne 
effect   is   impressive.  imets 
screenplay,  based  on  a  s 
Marquis  Warren,  while  not  distinguish- 


ed, provides  an  adequate  vehicle  for  a 
great  deal  of  talent.  Brian  Donlevy,  For- 
rest Tucker  and  John  Russell  are  excel- 
lent, and  there's  a  neat  job  of  picture- 
stealing  by  Richard  Jaeckel  and  William 
Murphy.  As  the  feminine  side  of  the 
romantic  triangle,  Ella  Raines  turns  in  a 
mediocre  performance. 

From  the  opening  shot  of  a  hulk  which 
catches  fire  in  a  California  shipyard,  to 
ihe  all-in  wrestling  bout,  the  tough  train- 
ing of  a  bunch  of  tough  coast  guards,  a 
Japanese  air  attack  at  sea.  and  th3  land- 
ing on  a  South  Pacific  Isle,  "Fighting 
Coast  Guard"  will  delight  action  fans.  It 
should  prove  a  good  dualler  in  the  aver- 
age run,  also. 

STORY:  Forrest  Tucker,  a  former 
coast  guard,  holds  down  an  essential  job 
in  a  California  shipyard,  and  is  determin- 
ed to  stay  out  of  the  war  when  it  comes. 
Two  factors  change  his  mind.    One  is 


punch  at  the  local  wits.  He  meets  his  old 
girl  friend,  Marjorie  Reynolds,  tries  to 
regain  his  status.  After  a  fashion  he 
does  when  the  editor  of  the  local  sheet 
decides  on  a  vacation  and  Lynn  takes 
over.  Immediately,  he  sets  out  to  un- 
cover water  pollution,  fails.  Then  he  at- 
tacks big  business,  states  editorially  that 
it  is  ruining  the  community,  taking  prof- 
its, giving  nothing  in  return.  Donald 
Crisp,  a  big  industrialist,  states  other- 
wise. Lynn  has  an  eight-year-old  sister, 
Melinda  Plowman.  She  goes  on  a  school 
picnic,  is  trapped  in  an  abandoned  mine. 
Alan  Hale,  Jr.,  a  reporter,  aids  in  her 
rescue.  She  requires  a  delicate  operation 
and  is  flown  by  Crisp  to  Capital  City 
where  she  recovers.  Lynn,  fully  aware 
of  his  headstrong  stupid  actions,  comes 
to  an  understanding.  His  girl,  Marjorie, 
stands  by,  and  he  decides  on  a  proper 
course  of  action.  YORK. 


Ella  Raines,  the  admiral's  daughter,  with 
whom  Brian  Donlevy,  stern  Commander, 
is  in  love.  The  other  is  John  Russell, 
an  ex-All  American  football  hero  who 
has  been  working  in  the  shipyard  under 
Donlevy,  whom  he  hates.  Russell  tricks 
Tucker  into  believing  that  unless  he  vol- 
unteers for  the  Coast  guard,  his  defer- 
ment will  be  cancelled.  He  joins  up. 
While  taking  their  officer's  course,  how- 
ever, Russell  works  things  so  that  Tuck- 
er fails  his  examination,  but  Donlevy 
gets  him  aboard  his  ship,  bound  for  ac- 
tive duty,  as  bosun's  mate.  During  an 
enemy  attack  in  which  he  is  fataky 
wounded,  Russell  confesses  that  he  has 
tricked  Tucker  out  of  his  commission, 
and  when  Tucker  distinguishes  himself 
by  his  bravery,  Donlevy  gets  him  his 
commission  and  Tucker  gets  his  girl. 
LEON. 


FILM  BULLETIN 


OLIVER  TWIST'  EXCEPTIONALLY  FINE  BRITISH  IMPORT 

Rates  •  •  -f-  generally;  more  in  class  houses 


United  Artiste 
10»  minutes 

Robert     Newton,     Alec     Guiness,  Kay 
Walsh,  Francis  L.  Sullivan,  Henry  Stev- 
enson, Mary  Clare,  John  Howard  Davies, 
Josephine  Stuart. 
Directed  by  David  Lean. 

For  some  two  years  this  screen  adap- 
tation of  Charles  Dickens'  famous  novel 
has  moldered  on  the  shelves  of  Eagle 
Lion  because  of  complaints  that  the 
character  of  Fagin  was  an  affront  to  the 
Jews.  Few  months  ago  Eagle  Lion  Clas- 
sics applied  for  a  Motion  Picture  Asso- 
ciation seal  of  approval,  and  was  offered 
one  subject  to  certain  cuts  in  the  film. 
These  were  made,  and  the  Seal  granted. 
In  the  process  the  running  time  was  re- 
duced from  116  to  105  minutes.  Before 
it  could  be  put  into  release,  however, 
Eagle  Lion  Classics  was  purchased  by 
United  Artists,  which  is  now  handling 
the  movie  on  a  sharing  basis  with  the 
former  owners. 

The  cutting,  though  noticeable,  has  not 
.spoilt  an  exceptionally  good  picture;  but 
neither  has  it  eliminated  all  traces  uf 
anti-Semitism  if.  in  fact,  the  original  ob- 
jections to  it  were  justified,  for  Fagin 
remains,  as  indeed  he  must,  one  of  the 
central  characters  of  the  story,  and  is 
as  objectionable  in  the  film  as  Dickens 
made  him  in  the  book.  Nevertheless, 
since  the  more  offensive  sequences  were 
removed,  no  further  criticism  has  been 
received  from  Jewish  circles,  so  pre- 
sumably all  objections  have  been  met. 


In  production,  direction,  story  adap.a- 
tion  and  photography,  and  in  most  of  the 
acting.  "Oliver  Twist"  must  rate  as  nne 
of  the  best  pictures  ever  turned  out  in 
Britain,  where  the  Rank  Organization 
made  it  under  the  Cineguild  banner.  Tne 
screenp.ay  by  David  Lean  and  Stanley 
Haynes  is  true  to  the  original,  with  the 
full  power  of  Dickens'  drama  and  pathos 
powerfully  handled,  and  most  of  his  dia- 
logue retained.  Ronald  Neame's  produc- 
tion is  excellent  and  the  sets  by  John 
Bryan  are  atmospherically  impressive; 
while  Cameraman  Guy  Green  has  excell- 
ed himself.  Well  attuned  to  the  theme  is 
the  musical  score  composed  by  Sir  Ar- 
nold Bax  and  played  by  the  London  Phil- 
harmonia  Orchestra. 

Acting  performances  are  vivid:  Robe.t 
Newton  as  Bill  Sikes,  the  brutal  bur- 
glar; Alec  Guiness  as  the  grasping 
"fence",  Fagin;  Kay  Walsh  as  Nancy; 
Francis  L.  Sullivan  as  the  pompous 
Beadle;  Henry  Stephenson  as  Mr.  Brown- 
low,  Oliver's  benefactor,  and  John  How- 
ard Davies  as  Oliver. 

For  general  audiences  "Oliver  Twisf" 
should  provide  unusually  fine  entertain- 
ment; what  is  more  important  to  the  ex- 
hibitor, it  should  do  well  above-average 
business  at  the  box  office.  It  is  one  of  the 
few  British  films  that  has  a  chance  for 
success  in  action  situations,  because  of 
its  stark  realism. 

STORY:  On  a  stormy  night  in  19th 
century  England  a  woman  gives  birth 
to  a  boy  in  a  squalid  country  Workhouse 
and  dies.  Francis  L.  Sullivan,  the  Beadle, 
names  him  Oliver  Twist.  Prodded  by  his 
overworked   and   underfed  companion?. 


BEST  OF  THE  BADMEN'  THE  JAMES  BOYS  AGAIN! 


t  »  • 


action  houses;  fair  dualler  elsewhere 


RKO 

85  minutes 

Robert  Ryan,  Claire  Trevor,  Jack  Buetel. 
Robert  Preston,  Walter  Brennan,  Barton 
MacLane,  Bruce  Cabot,  Bob  Wilke,  John 
Cliff,  Lawrence  Tierney,  Tom  Tyler,  John 
Archer,  James  Home. 
Directed  by  William  Russell. 


Once  again  rhe  infamous  James  and 
Younger  Brothers'  quest  for  vengeance 
drags  a  bloody  trail  of  violence  across 
the  screen  in  RKO's  Technicolor  entry 
into  an  already  overcrowded  field.  Touted 
as  "a  forgotten  story  in  the  violent  his- 
tory of  the  West"  in  the  preface  to  the 
film,  "Best  of  the  Badmen"  is  just  one 
more  addition  to  the  lengthy  string  of 
such  pictures  which  must  certainly  have 
sated  all  but  the  most  avid  devotees  of 
outlaw  westerns.  The  familiar  tale,  be- 
labored for  the  umpteenth  time  by  Ro- 
bert Hardy  Andrews  and  John  Twist,  for 
this  Herman  Schlom  production,  fails  to 
break  away  from  the  pack,  staggering 
over  the  finish  line  with  only  some  stand- 


ard gun-and-fist-tussles  and  a  few  chase 
scenes  through  beautifully-photographed 
scenery  to  its  credit.  And  the  innocuous 
climax  will  prove  a  complete  disappoint- 
ment to  all  but  the  most  faithful  boots- 
and-saddle  fans.  The  only  situations 
where  appreciable  boxoffice  receipts  can 
be  expected  will  be  the  action  houses, 
with  only  moderate  returns  likely  else- 
where as  a  dualler. 

The  part  of  ex-Army  officer  turned  out- 
law is  borne  manfully  by  Robert  Ryan, 
who  deserves  a  better  test  for  his  tai- 
ents.  The  only  players  at  home  in  then- 
assignments  are  Walter  Brennan  and 
those  others  in  the  cast  for  whom  west- 
erns have  been  a  steady  source  of  bread 
and  butter.  Claire  Trevor  looks  a  bit 
haggard  as  the  honky-tonk  girl  who  loves 
Ryan.  The  staleness  of  plot  makes  the 
task  of  director  William  Russell  a  diffi- 
cult one.  the  final  outcome  being  a  slow- 
paced  western  sadly  lacking  in  surprises 
or  suspense. 

STORY:  Unjustly  accused  and  con- 
victed of  murder  by  a  carpetbaggers 
judge  and  jury,  ex-Union  officer  Robert 


the  boy,  John  Howard  Davies,  asks  for 
a  second  helping  of  food.  The  Work- 
house matron,  Mary  Clare,  and  the  Bea- 
dle, cannot  tolerate  such  impertinence, 
and  apprentice  the  lad  to  Gibb  McLaugh- 
lin, coffin-maker.  After  much  ill-treat- 
ment the  boy  runs  away  to  London, 
where  he  is  picked  up  by  a  gang  of 
'teen-age  pickpockets  employed  by  Alec- 
Guinness,  a  filthy  old  "fence"  known  as 
Fagin. 

When  the  youngster  is  caught  by  the 
police,  Guinness  fears  the  boy  w.ll 
squeal.  His  ruffianly  friend.  Robert  New- 
ton, sends  his  wife,  Kay  Walsh,  to  the 
court.  She  reports  that  the  boy  has  been 
let  off.  thanks  to  the  intervention  of 
kindly  Henry  Stephenson,  the  pickpock- 
ets' victim,  who  takes  him  to  his  home. 
When  the  lad  has  been  fed  and  dressed. 
Stepherson  sends  him  to  return  a  pack- 
age of  books,  and  gives  him  a  large  sum 
of  money  with  which  to  pay  a  book- 
sellers' bill.  But  the  boy  is  waylaid  by- 
Miss  Walsh  and  is  dragged  off  to  Fagin's 
hovel  where  the  thieving  Robert  Newton 
decides  to  use  him  on  a  safe-cracking 
job.  Kay  Walsh  suddenly  conscience- 
stricken,  makes  contact  with  Henry 
Stephenson.  Alec  Guinness,  the  "fence", 
discovers  this  and  tells  Newton,  who 
clubs  his  wife  to  death.  Recognizing  from 
her  description  that  the  dead  girl  is  the 
one  who  has  told  him  about  the  boy, 
Stephenson  goes  to  the  police,  and  a  hue- 
and-cry  is  raised.  The  murderer  grabs 
the  lad  and  escapes  to  the  rooftops,  but 
misses  his  foothold  and  plunges  to  death. 
The  boy.  rescued,  returns  happily  to  his 
benefactor's  home.  COULTER. 


Ryan  escapes  with  the  aid  of  Claire  Tie- 
vor,  wife  of  private  detective  Robert 
Preston,  the  man  responsible  for  Rvan's 
plight.  Ryan  joins  the  gang  of  Qua:  - 
trell's  Raiders.  He  wants  no  part  of  the 
loot,  only  revenge  against  Preston.  He 
promises  Claire  that  he  will  quit  after 
one  last  train  robbery,  which  he  hopes 
to  pull  off  without  any  unnecessary 
bloodshed.  One  of  the  outlaws.  Jonn 
Archer,  after  a  scrap  with  Ryan,  informs 
Preston  of  the  planned  holdup.  Ryan 
and  his  gang  are  ambushed,  the  rem- 
nants returning  to  their  hideout.  They 
blame  Claire,  who  was  shot  during  the 
gunfight.  and  Ryan,  accompanied  bv  Jack 
Buetel  and  Walter  Brennan.  take  the 
wounded  girl  away  in  a  wagon.  Claire 
and  Buetel  are  tracked  down  by  the 
posse  while  Ryan  and  Brennan  are  away, 
and  Preston  takes  Claire  back  as  bait  for 
another  ambush.  After  another  gun  bat- 
tle, in  which  Preston  and  the  treacher- 
ous Archer  are  killed,  Ryan  decides  to 
give  himself  up  to  the  authorities,  hop- 
ing this  time  that  justice  will  triumph. 
JACKSON. 


TOKYO  FILE  212'  JAP  SPY  MELLER  HAS  EXPLOITATION  ANGLES 

Rates  •  •  as  dualler  generally;  more  if  sold 


RKO  Release 
84  minutes 

Robert  Peyton,  Florence  Marly,  KatsU- 

haiko  Haida,  Reiko  Otani. 

Directed  by  Dorrell  &  Stuart  McGowan. 

"Tokyo  File  212"  is  a  routine  spy  melo- 
drama that  is  notable  for  the  fact  that 
it  was  filmed  entirely  in  Japan.  Tnis 
gives  it  an  exploitation  angle  that  the 
showman  might  capitalize  to  attract 
above  average  business,  particularly  in 
action  houses.  There  is  some  exploitation 
value  also  in  the  anti-Communist  and 


Korean  war  theme.  Produced  by  George 
Breakston  and  Dorrell  McGowan.  the 
yarn  is  fairly  well  contrived  and  man- 
ages to  whip  up  sufficient  suspense  to 
hold  interest  throughout.  Aside  from  the 
two  American  principals.  Robert  Peyton 
and  Florence  Marly,  the  cast  is  composed 
of  Japanese.  The  absence  of  any  marquee 
names  makes  it  essential  that  the  ex- 
hibitor plug  the  film's  novelty. 

STORY:  Robert  Peyton  of  the  Intelli- 
gence Service,  arrives  in  Tokyo  to  in- 
vestigate suspected  Communist  sabotage 
of  Korean  supplies  and  finds  that  his  old 


MAY  7, 


9  5  1 


college  friend  Taro  Matsudo  has  become 
a  Red.  Florence  Marly  wangles  a  job  as 
Peyton's  secretary,  but  he  discovers  sne 
is  in  the  Commies'  toils.  He  wins  her 
over  by  proving  that  her  sister  has  been 
killed  by  Communist  troops  in  North 
Korea,  and  she.  in  turn,  helps  to  convince 
Taro  of  the  error  of  his  ways.  In  a 
dramatic  climax  Taro  hurls  himself  to 
death  from  a  Tokyo  office  building,  there- 
by saving  the  lives  of  Marly  and  Peyton. 
w:ho  are  about  to  be  bombed  to  blazes, 
and  leading  to  the  chief  conspirator's 
death.  LEON. 

(More  Reviews  On  Page  26) 

17 


PAMMUUNT'S  15  ALL-TIME  HIGH 


TOP  ECHELON  WITH  TOP  PRODUCT 


The  fifteen  features  to  be  released  by 
Paramount  for  the  last  S;x  months  of 
1951  represent  the  company's  "all-time 
lecord  investment  in  the  production  of 
quality  pictures."  That  statement  was 
made  by  A.  VV.  Schwalberg,  president  of 
Paramount  Film  Distributing  Corp.,  oe- 
fo-e  the  company's  national  sales  con- 
vention which  saw  home  office,  field  and 
studio  executives  from  every  part  of  the 
country  assembled  at  New  York's  War- 
wick Hotel  for  a  three-day  confab. 

The  release  program,  as  announced  by 
Schualberg,  was  the  keystone  of  the 
meeting,  which  also  heard  addresses  by 
Paramount  Pictures  president  Barney 
Balaban.  board  chairman  Adolph  Zukoi, 
studio  head  Y.  Frank  Freeman,  vice- 
presidents  E.  K.  O'Shea  and  Paul  Rai- 
bourn,  national  ad-publicity-exploitation 
director  Jerry  Pickman,  shorts  topper 
Oscar  Morgan  and  other  sales  and  studio 
executives. 

The  company's  July  to  December  re- 
lease schedule,  Schwalbe.rg  pointed  out, 
"represents  five  outstanding  pictures  ev- 
ery 60  days  —  a  greater  number  than 
has  been  released  in  a  similar  period  by 
the  company  in  its  recent  history.  Net 
gain  to  the  exhibitor  is  an  added  picture 
a  month  made  available  from  July 
through  December." 

The  record  investment,  the  distribution 
chief  noted,  was  made  "with  the  greatest 
feeling  of  confidence  in  the  future  of  the 
motion  picture  Industry."  It  is  aimed,  he 
added,  to  meet  exhibitor  demands  for 
"more  pictures,  better  pictures  and  b'g- 
ger  pictures."  Analysis  of  boxofflce  re- 
turns,  public  acceptance,  and  "favorable" 
business  trends  di    n  pear  v.p- 

hold  the  soundness  >r  the  accelerated 
quality  feature  re!<  •  .  iirv.  Scnwal- 
berg  declared. 

Paramount  has  'ur^s 
completed,  in  prodi 
tion.  studio  vice-p  " 
the  assemblage.    He  s' 
DeMille's  "Creates! 


particular  emphasis,  touting  it  as  an  epic 
with  a  pre-sold  audience  of  more  than 
120,000,000  persons  in  the  U.  S.  alone. 

The  dearth  of  new  stars,  Freeman  de- 
clared, is  a  serious  condition,  which  Para- 
mount is  taking  steps  to  correct  with  re- 
establishment  of  its  "Golden  Circle" 
group  of  young  players,  representing  the 
company's  most  promising  youthful  tal- 
ent to  be  groomed  for  stardom. 

Jerry  Pickman,  officially  confirmed  by 
president  Balaban  as  national  director  of 
the  ad-publicity  department  at  the  start 
cf  the  convention,  called  on  every  mem- 
ber of  the  Paramount  sales  organization 
to  "become  a  press  agent  as  well  as  a 
salesman"  so  that  the  10,000  playdates 
for  the  company's  product  can  be  pro- 
perly serviced  with  promotion.  Ad-pub- 
licity campaigns,  he  said,  "will  be  guided 
by  only  one  consideration  —  will  it  sell 
a  ticket." 

A  problem  already  being  tackled,  Pick- 
man  reported,  is  the  "tremendous  gap 
between  the  time  a  picture  is  produced 
and  its  distribution  date,  during  which 
the  effect  of  initial  publicity  and  exploi- 
tation is  completely  lost.  Our  solution 
is  to  regulate  the  flow  of  publicity  so 
that  it  reaches  a  crescendo  with  the 
release  of  a  picture."  He  said  this  long 
overdue  reform  will  be  carried  out  via 
an  intensive  eight-week  field  press  cam- 
paign to  be  conducted  in  thirty  key  cities 
by  Rufus  Blair,  veteran  studio  publicist. 

Pickman  also  promised  "no  'ivory  tow- 
er' operation"  in  his  department.  "Our 
business  is  to  help  exhibitors  sell  tickets 
and  that's  what  we  intend  to  do." 

The  15-picture  schedule  for  the  last 
half  will  lead  off  with  "Passage  West," 
a  Pine-Thomas  Technicolor  western 
starring  John  Payne,  Dennis  O'Keefe  and 
Arleen  Whelan,  and  "Ace  in  the  Hole," 
produced  and  directed  by  Billy  Wilde*-, 
and  starring  Kirk  Douglas  and  Jan  Ster- 
ling.   Both  are  set  for  July. 

August  will  have  Hal  Wallis'  "Peking 


Express"  (Joseph  Cotten-Corinne  Calvet- 
Edmund  Gwenn);  another  Wallis  offer- 
ing, "That's  My  Boy"  (Dean  Martin-Jer- 
ry Lewis),  and  Nat  Holt's  Technicolor 
"Warpath"   (Edmond  O'Brien). 

The  September  trio  will  be  Frank 
Capra's  "Here  Comes  the  Groom"  (Bing 
Crosby-Jane  Wyman-Franchot  Tone-Al- 
exis Smith);  "A  Place  in  the  Sun" 
(Montgomery  Clift-Elizabeth  Tayior- 
Shelley' Winters),  produced  and  directed 
by  George  Stevens,  and  the  William 
Ferlberg-George  Seaton  production  of  the 
H.  Allen  Smith  best-seller,  "Rhubaro ' 
(Ray  Milland-Jan  Sterling). 

Another  Pine-Thomas  Technicolor  film 
leads  off  in  October,  "Crosswinds"  (Jonn 
Payne-Rhonda  Fleming-Forrest  Tucker), 
to  be  followed  by  "Submarine  Command" 
(William  Holden-Nancy  Olson-William 
Bendix),  and  George  Stevens'  "Something 
to  Live  For"  (Ray  Milland-Joan  Fon- 
taine-Teresa Wright). 

November  has  the  George  Pal  produc- 
tion, "When  Worlds  Collide,"  in  Techni- 
color, and  the  Mitchell  Leisen-directod 
comedy,  "Darling,  How  Could  You" 
(Joan  Fontaine- John  Lund). 

Rounding  out  the  program  are  a  pair 
of  December  releases:  Pine-Thomas' 
"Hong  Kong"  (Ronald  Reagan-Rhonda 
Fleming),  in  Technicolor,  and  the  as-yet 
untitled  Bob  Hope-Hedy  Lamarr  starrer, 
produced  by  Paul  Jones  and  directed  by 
Norman  McLeod.  Title  will  be  selected 
by  the  public  in  a  special  coast-to-coast 
poll. 

Paramount's  short  subjects  program, 
as  detailed  by  Shorts  topper  Morgan, 
will  have  58  one-reelers,  of  which  34  are 
cartoons  in  color,  plus  the  usual  104 
issues  of  Paramount  News.  The  pio- 
gram  will  introduce  a  new  series  entitled 
"Paramount  Toppers,"  which,  Morgan 
said,  enabled  his  department  to  main- 
tain a  "flexible  position  so  that  we  can 
at  any  time  either  produce  a  timely  or 
outstanding  short  ourselves  or  buy  such 
a  short  on  the  outside.  In  the  past,"  he 
added,  "we  have  been  unable  to  move 
that  freely." 

The  series  formerly  known  as  "Screen- 
songs,"  has  been  redubbed  "Kartunes." 
There  will  be  six  of  these,  eight  Popeye 
cartoons,  four  Popeye  Champion  car- 
toons, 10  Noveltoons,  six  Casper  cartoons, 
six  Pacemakers  and  12  Sportlights. 

Schwalberg  paid  tribute  to  the  win- 
ners of  the  $40,000  "Golden  Harvest" 
sales  contest,  the  A.  W.  Schwalberg  Mer- 
it Awards,  the  Pine-Thomas  Bookii  ? 
Contest  and  the  Pine-Thomas  "Lawless" 
contest. 

Also  in  attendance  from  the  home  of- 
fice were  Austin  Keough,  general  counsel; 
Russell  Holman,  Robert  J.  Rubin,  Arthur 
Israel,  Jr.,  Monroe  Goodman,  Fred  A. 
Leroy,  Joseph  A.  Walsh,  Martin  Fried- 
man, Arthur  Dunne,  Harold  Beecroft, 
George  Schurr,  Jack  Roper,  G.  Knox 
Haddow.  Stanley  Chase,  Martin  Hodge, 
Jr.,  Ben  Schectman,  and  ad-publicity-ex- 
ploitation department  heads  Sid  Blumen- 
stock,  Mort  Nathanson,  Sid  Mesibov  and 
Carl  Clausen. 

Studio  publicity  director  Norman  Sieg- 
el,  Hal  Wallis  publicity  representative 
Walter  Seltzer,  and  Joseph  Hazen  were 
part  of  the  West  Coast  contingent. 

Division  managers  on  hand  were: 
Hugh  Owen,  Eastern-Southern;  Howard 
J.  Minskv.  Mid-Eastern;  J.  J.  Donohue, 
Central;  Duke  Clark,  South  Central,  and 
George  A.  Smith,  Western. 


18 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 

Cxclu^iDe  ^BULLETIN  feature 


COLUMBIA 

COLUMBIA'S  TV  FEATURES 
UNDER  SCREEN  GEMS'  LABEL 

^LTHOUGH  the  company  is  still  clo- 
thing the  project  in  utmost  secrecy, 
FILM  BULLETIN  learns  that  the  feature 
films  Columbia  is  making  for  television 
are  to  be  made  right  on  the  lot  under 
the  aegis  of  Screen  Gems,  a  Columbia 
subsidiary  hitherto  engaged  in  turning 
out  short  subjects.  Robert  Cohn,  who 
headed  up  the  Columbia  oee-hive  will  be 
in  charge  of  the  new  project,  indicating 
that  Cohn's  uncle — the  head  man  around 
the  lot  —  is  more  than  a  little  interested 
in  swinging  his  company  into  production 
for  the  new  medium. 

Rita  Hayworth  and  Harry  Cohn  should 
be  holding  some  serious  conferences  by 
the  time  this  reaches  print,  in  working 
out  a  new  contract  suitable  to  both  of 
them.  It  now  appears  that  she  will  turn 
thumbs  down  on  Cohn's  proposed  new 
deal  of  one  picture  per  year,  insisting 
instead  that  her  old  Beckworth  pact  be 
reinstated,  providing  for  two  features 
annually.  Whatever  the  final  agreement  ■ 
that  is  worked  out,  her  return  should  at 
least  account  for  an  occasional  high-bud- 
get picture  from  the  company,  to  go 
with  the  over-preponderance  of  "quick- 
ies" which  comprise  the  major  portion  of 
the  slate. 

Even  more  encouraging  is  the  pick-up 
in  activity  on  the  lot  during  the  fortnight 
iust  passed.  Within  two  weeks,  six  new 
productions  were  launched,  giving  the 
studio  its  highest  peak  in  more  than  two 
years.  With  "Ten  Tall  Men"  (Burt  Lan- 
caster-Jody  Lawrence)  also  carrying  over 
from  a  late  March  start,  no  less  than 
seven  pictures  are  currently  before  the 
cameras.  The  Gene  Autry  western. 
"Hills  of  Utah,"  got  away  on  April  16 
with  John  English  directing  for  Armand 
Schaefer.  The  following  day,  Director 
Andre  De  Toth  and  Producer  Harry  Joe 
Brown  launched  the  new  Randolph  Scott 
sagebrusher,  "Man  In  the  Saddle."  Tne 
oalance  of  the  new  starters  are:  "Small 
Wonder"  (Robert  Cummings)  a  Halburt 
Production  with  Frank  Tashlin  directing 
|or  Producer  Harold  Hecht;  Edward 
Small's  production  of  "War  Cry"  (George 
Montgomery),  filmed  in  Supercinecolor, 
vith  Ray  Nazarro  megging;  "Dark 
Dage"  (Broderick  Crawford-John  Derek- 
>>nna  Reed)  directed  by  Phil  Karlson: 
>nd  "Jungle  Safari."  another  of  the  Sam 


Katzman  Jungle  Jims  starring  Johnny 
Weismuller. 


LIPPERT 

LIPPERT  PLANS  RELEASE  OF 
OUTSIDE  INDE  L0W-5UD6ETERS 

ROBERT  L.  LIPPERT  has  made  the 
Hollywood  headlines  twice  in  the  past 
fortnight.  First  was  his  deal  with  mu- 
sician-czar James  Petrillo.  setting  a  scale 
for  the  use  of  newer  feature  films  on 
television.  Second  was  Lipperl's  an- 
nouncement that  he  is  planning  to  take 
cn  the  distribution  of  low-budget  films 
from  outside  independent  producers. 

Ever  since  Lippert  took  over  the  old 
Screen  Guild  exchanges  several  years 
ago,  he  has  distributed  only  his  own  pro- 
ductions— gradually  increasing  the  num- 
ber each  year  until  he  has  reached  a 
total  of  30  films  for  1951.  Lippert  rea- 
sons ihat  by  taking  on  additional  films 
from  inde  producers,  he  can  reduce  the 
aistribution  overhead  per  picture.  He 
feels  that  the  purchase  of  Eagle  Lion 
Classics  by  United  Artists  will  provide  a 
ripe  field  of  inde  outfits  who  now  find 
themselves  without  a  releasing  tie-up. 

Lippert  tells  the  Hollywood  press  that 
his  present  organization  —  composed  of 
20  offices  which  he  owns  outright  and  an 
additional  eight  operated  by  franchise 
holders  —  can  easily  handle  50  releases 
per  year.  With  that  aim  in  mind,  he  is 
negotiating  with  several  former  ELC 
employees  to  join  his  staff. 

If  Lippert  exercises  the  same  care  in 
selecting  independent  films  that  he  has 
in  producing  his  own,  there  can  be  little 
doubt  that  his  new  venture  should  be 
profitable  not  only  to  his  own  company, 
but  to  the  indas  as  well.  As  an  example 
of  the  returns  he  is  receiving  on  some 
of  his  own  modest  budgeters,  it  is  inter- 
esting to  note  that  "Steel  Helmet."  which 
was  turned  out  for  only  S109.000,  has  al- 
ready grossed  well  over  S600.000.  and  is 
still  going  strong. 

Since  the  first  of  January,  Lippert's 
organization  has  completed  11  features, 
two  more  are  currently  before  the  camer- 
as, and  approximately  a  half  dozen  more 
?.re  scheduled  for  the  next  90  days.  One 
of  the  most  ambitious  undertaking  to 
elate  is  the  currently  filming,  "Lost  Con- 
tinent." Highlighted  by  the  casting  of 
Cesar  Romero  in  the  starring  role,  "Lost 
Continent"  should  top  all  other  exploita- 
tion features  yet  attempted  by  the  com- 
pany. 


METRO-GOLDWYN-MAYER 

PEAK  SLATE  OF  45  SET; 

15  TO  ROLL  BY  END  OF  AUGUST 

V/IKTRO  continues  t"  expand  its  produc- 
tion slate,  reaching  a  peak  oi  ; 
films  for  1951-52.    This  new  goal,  set  by 
Dore  Schary  late  last  month,  tops  the 
1950-51  program  by  three  pictures. 

Schary  reveals  that  30  scripts  for  the 
new  program  are  already  completed,  with 
idditional  ones  being  assigned  almost 
overy  week.  There  appears  to  be  a  good 
balance  between  dramas,  comedies  and 
musicals  on  th  new  slate,  judging  from 
the  scripts  now  in  the  works.  Moreover, 
it  is  evident  that  the  studio  will  continue 
to  place  great  emphasis  on  color  in  exe- 
cuting the  new  slate  —  perhaps  part  of 
it  in  their  own  recently  perfected  system. 

Between  May  1  and  the  end  of  August, 
which  winds  up  the  fiscal  year.  Meiro 
will  place  15  productions  before  the  cam- 
eras, and  that,  coupled  with  the  pre-pro- 
iuction  works  on  next  year's  heavy  slate, 
should  assure  all  departments  of  the  com- 
pany a  very  busy  summer  period.  Among 
the  films  scheduled  to  wind  up  this  yeai  s 
slate  are:  "Lone  Star"  (Clark  Gable-A/a 
Gardner),  to  be  directed  by  Vincent  Sher- 
man for  Producer  Z.  Wayne  Griffin,  start- 
ing May  14;  "Singin'  In  the  Rain"  iGene 
Kelly-Debbie  Reynolds-Donald  O'Connor » 
starting  May  28.  co-directed  by  Kelly  and 
Stanley  Donen  for  producer  Arthur 
Freed,  and  to  be  filmed  in  Technicolor; 
"Scaramouehe"  I  Ricardo  Montalban- 
Fernando  Llamas)  to  be  produced  by  Cair- 
ey  Wilson,  with  George  Sidney  directing; 
"Sometimes  I  Love  You"  (Clark  Gable- 
Lana  Turner)  has  been  placed  on  the 
slate  of  Producer  Arthur  Hornblow,  Jr., 
and  Dore  Schary  has  set  "The  Plymouth 
Story"  I  Spencer  Tracy-Deborah  Kerr- 
Van  Johnson-Nancy  Davis)  as  his  next 
personal  production. 

The  most  recent  starters  to  go  before 
the  cameras  are:  "The  Light  Touch" 
(Stewart  Granger- Pier  Angeli),  which 
teed  off  in  Sicily  on  April  17  under  tne 
direction  of  Richard  Brooks,  produced 
by  Pandro  Bei'man;  "Too  Young  to  Kiss" 
(June  Allyson-Van  Johnson).  Sam  Zim- 
balist  producing  and  Robert  Leonard 
megging;  "Man  With  the  Cloak"  (Bar 
bara  Stanwyck-Joseph  Cotlen-Louis  Cal- 
hern),  which  Producer  Stephen  Ames 
greenlighted  on  April  25  with  Fletcher 
Markle  directing,  and  "Callaway  Went 
Thataway"  (Howard  Keel-Fred  MacMur- 
ray-Dorothy  McGuire).  a  Norman  Pana- 
ma-Melvin  Frank  producing-directing 
chore,  which  rolled  April  30. 

MONOGRAM  -  AA 

MONO-AA  SETS  4  FOR  MAY; 
STUDIO  PREPS  FOR  EXPANSION 

'JTHERE  is  considerable  behind-the- 
scenes  activity  going  on  at  Mono- 
gram these  days,  as  front  office  execu- 
tives prepare  to  greatly  expand  the  com- 
pany's releasing  schedule  in  the  event 
that  the  anticipated  demand  materializ- 
es. Prexy  Steve  Broidy  declares  that 
his  company  is  now  in  a  position  to  in- 
crease the  release  slate  by  as  high  as 
50  per  cent,  and  indicates  that  he  expects 
to  do  so.  as  a  result  of  the  sale  of  ELC  to 


M  A  Y 


19  5  1 


10 


L  STUDIO  SIZ6-UPS 


United  Artists  and  Columbia's  cut-back 
in  "B  '  picture  production. 

"With  one  competitor  dropping  out  and 
the  output  of  another  being  curtailed," 
Broidy  told  the  Hollywood  press,  "we 
find  ourselves  in  the  strongest  position 
we  have  been  in  since  the  formation  of 
the  company."  He  also  pointed  out  that 
his  company  is  making  good  earlier 
promise  of  delivering  28  features  and  12 
westerns  on  the  1951  program. 

May  promises  to  be  a  busy  month  for 
Monogram  and  Allied  Artists,  with  four 
productions  set  to  roll.  Coupled  with 
two  April  starters  carrying  over  into  the 
new  month,  activity  will  be  at  the  peak 
lor  the  year.  The  most  recent  starters 
are:  "Yukon  Manhunt,"  a  Lindsley  Par- 
sons production,  which  went  before  the 
cameras  on  April  17,  and  "Disc  Jockey," 
an  Allied  Artists  all-star  musical  review, 
headlining  Ginny  Simms,  Michael  O'Shea, 
Tom  Drake,  Jane  Nigh,  Russ  Morgan. 
Hero  Jeffries,  Nick  Lucas,  Martin  Block, 
Tommy  Dorsey,  Lenny  Kent  and  Sarah 
Vaughn,  which  director  Will  Jason  and 
producer  Maurice  Duke  launched  on  Ap- 
ril 30.  The  May  starting  line-up  includes: 
"Stagecoach  Driver,"  a  Whip  Wilson 
starrer  for  Producer  Vincent  M.  Fennel- 
ly,  May  8;  "Flight  to  Mars,"  with  Walter 
Mirisch  producing  and  Lesley  Selander 
directing.  May  14,  and  "Let's  Go  Navy," 
Jan  Grippo  production  starring  the  Bow- 
ery Boys,  May  23. 

"Cavalry  Scout,"  a  new  Monogram  re- 
lease, previewed  for  the  Hollywood  press 
recently,  is  drawing  high  praise,  and  de- 
servedly so.  This  department  is  willing 
to  go  on  record  as  predicting  that  the 
Rod  Cameron-Audrey  Long  starrer  will 
prove  to  be  one  of  Monogram's  biggest 
grossers  of  recent  years. 

PARAMOUNT 

PRODUCT  BONANZA  IN  VIEW 
AS  STUDIO  STEPS  UP  OUTPUT 

PARAMOUNT  company  toppers  have 
been  busily  mapping  out  a  45-plcture 
slate  to  be  made  between  now  and  the 
end  of  1952,  thereby  maintaining  the  ac- 
celerated pace  that  was  set  following  the 
enforced  divorcement  last  year.  This 
total  will  include  not  only  the  studio's 
own  product,  but  also  that  of  its  numer- 
ous independent  units. 

Don  Hartman,  who  has  been  working 
on  the  new  slate  ever  since  he  moved 
over  to  Paramount  from  Metro,  has  in- 
dicated that  there  will  be  no  budget  cur- 
tailment. According  to  a  recent  an- 
nouncement by  Y.  Frank  Freeman,  the 
50  features  comprising  the  1951-52  re- 
leasing slate,  were  produced  at  a  total 
nsl  "f  162,000.000.  or  an  average  of  bet- 
ter than  $1,000,000  each.  If  this  budget 
level  is  maintained,  as  Hartman  says,  it 
would  appear  thai  big  things  can  be  ex- 
pected from  Paramount  in  the  next  year. 

To  execute  this  nnw  nroduction  sched- 
ule, the  company  now  has  a  total  of  20 
producers,  including  independent  units  - 
among  them  some  of  the  biggest  names 
in  the  industry.  Moreover,  the  company 
is  making  a  concerted  effor<  to  swell  its 
talent  roster  with  promising  newcomers. 
At  a  recent  buffet  dinnei  m  the  studio 
commissary,  the  press  was  in" reduced  to 
the  new  "Golden  Circle"  gro  ip  of  play- 
ers, and  it's  safe  to  say  that  here  aren't 
eleven  newcomers  at  any  sttidio  m  town 


who  can  stack  up  with  this  group  of  per- 
sonable young  actors  and  actresses. 

All  four  features  shooting  when  FILM 
BULLETIN  last  went  to  press  are  still 
before  the  cameras,  and  one  newcomer, 
the  Pine-Thomas  production,  "Hong- 
kong'  (Rhonda  Fleming-Ronald  Reagan), 
has  been  added,  with  Lewis  R.  Foster 
directing.  The  other  four  pictures  now 
filming  are:  Cecil  B.  DeMille's  Techni- 
color extravaganza,  "The  Greatest  Show 
On  Earth;"  "My  Son  John,'-  which  brings 
Helen  Hayes  back  to  the  screen;  "Rage 
of  the  Vulture"  (Alan  Ladd-Deborah 
Kerr),  a  Charles  Vidor  production,  and 
the  high-budgeted  musical  comedy,  "Aar- 
on Slick  from  Punkin'  Crick"  (Dinah 
Shore-Alan  Young). 

The  only  production  scheduled  to  roll 
in  the  next  two  weeks  is  the  Nat  Holt 
Technicolor  western,  "Silver  City" 
(Yvonne  DeCarlo  and  Edmond  O'Brien), 
which  Byron  Haskin  will  direct. 

REPUBLIC 

TWO  BIG  ONES  ROLLING  AS 
REP.  MAINTAINS  STEADY  PACE 

^j^ITH  two  pictures  currentlv  <=hooting 
and  a  pair  ready  to  go,  Republic 
maintains  the  steady  flow  of  production 
that  has  accounted  for  one  of  its  strong- 
est backlogs  in  recent  years.  "Wings 
Across  the  Pacific."  the  high-budgeted 
Air  Force  yarn  which  rolled  on  April  3, 
is  still  before  the  cameras,  and  on  April 
28.  producer-director  Joseph  Kane 
launched  "The  Sea  Hornet,"  another  oig 
one  starring  Rod  Cameron,  Adele  Mara, 
Jim  Davis  and  Adrian  Booth. 

Set  to  go  during  the  first  half  of  May 
are  a  Rex  Allen  starrer,  "Winds  of  Mon- 
terey." assigned  to  associate  producer 
Mel  Tucker,  and  "Pals  of  the  Golden 
West"  (Roy  Rogers),  with  Edward  White 
as  associate  producer. 

It  appears  that  Republic  is  once  again 
making  a  strong  bid  for  leadership  in  the 
field  of  medium-budgeted  production.  Not 
only  is  there  a  marked  improvement  in 
the  quality  of  scripts  set  for  filming  or 
currently  before  the  cameras,  but  the 
company  has  come  up  with  two  sure-fire 
boxoffice  hits  now  going  into  release.  On 
the  basis  of  early  bookings  on  "The  Bull- 
fighter and  the  Lady,"  it  seems  certain 
that  the  picture  will  prove  to  be  a  real 
bonanza  lor  the  spring  and  summer  sea- 
son. Add  to  that  the  top-flight  produc- 
tion, "Fighting  Coast  Guard"  (Brian  Dr.n- 
levy-Forrest  Tucker-Ella  Raines),  and 
t'nere  is  good  cause  for  celebration  at 
Reoublic. 

Everyone  in  Hollywood  is  keeping  an 
eye  on  the  projected  deal  for  Hollywood 
Television  Service  Inc.  to  take  over  some 
of  this  company's  big  backlog  of  films, 
which  is  estimated  to  total  approximatelv 
5)36.000,000  in  value.  None  of  the  princi- 
pals is  willing  to  be  quoted  at  this  time, 
but  the  final  consummation  of  the  deal 
appears  to  be  almost  certain. 

RKO 

INDE  UNITS  SHOOTING  BULK 
OF  CURRENT  RKO  PRODUCTION 

jyiORE  and  more,  the  independent  units 
releasing  through  RKO  appear  to  be 
taking  over   the  major  portion   of  the 
company's  production.    For  example,  of 


the  four  pictures  definitely  slated  to  roll 
in  May,  three  are  from  Wald-Krasna,  and 
the  fourth  is  an  Edmund  Grainger  pro-  I 
duction.  Moreover,  of  the  four  in  pro- 
duction during  the  final  days  of  April,  ! 
only  one  was  from  the  Howard  Hughes 
production  organization  itself.  That  one 
was  "The  Las  Vegas  Story"  (Jane  Rus- 
sell-Victor Mature- Vincent  Price),  report- 
edly budgeted  in  the  half-million  dollar 
class,  with  Robert  Stevenson  directing 
and  Robert  Sparks  producing. 

The  May  starters  from  Wald-Krasna's 
stable  include:  "High  Heels,"  with  Alfred 
Werker  directing  for  Harriet  Parsons, 
with  a  cast  still  unannounced,  May  10; 
"Size  12,"  an  original  by  Jerome  Weid- 
man,  to  go  the  week  following,  with  Har- 
riet Parsons  again  slated  as  producer, 
and  "Clash  By  Night,"  with  neither  cast  ! 
nor  director  nor  producer  yet  disclosed. 
The  fourth  picture  set  to  roll  in  May  for 
RKO  release  is  "The  Day  They  Gave  , 
Babies  Away,"  an  Edmund  Grainger  pro-  , 
duction  still  being  cast. 

Two  W-K  productions  still  before  the  A 
cameras  are:  "Behave  Yourself"  (Farley  , 
Granger-Shelley  Winters),  is  about  | 
wound  up,  following  34  days  of  shooting,  jj 
and  "The  Blue  Veil"  (Jane  Wyman-  I 
Richard  Carlson  -  Charles  Laughton). 
which  rolled  on  April  19. 

Wald-Krasna,  with  eight  scripts  com-  I 
pleted  in  addition  to  the  five  mentioned  |l 
above,  have  now  finished  all  preparatory  J 
and  script  work  on  their  1951  program,  , 
and  are  jumping  into  early  stages  of 
preparation  on  their  1952  slate.  Gordon  , 
S.  Griffith,  veteran  production  executive,  \ 
has  joined  the  unit  —  coming  from  War-  I 
ner  Brothers. 

In  the  face  of  all  this  activity,  there 
are  some  unhappy  rumors  going  around  J 
that  all  is  not  sweetness  and  light  be-  j 
tween  Howard  Hughes  and  some  of  the  j 
important   inde   producers   who  release  j 
through   his   company.     The  town   has  j 
been  buzzing  with  scuttlebutt  that  both 
Samuel  Goldwyn  and  the  Skirball-Man- 
ning  combo  are  most  displeased  over  cer- 
tain aspects   of  their  relationship  with  . 
the  Hughes-controlled  company. 

20th  CENTURY-FOX 

20th's  FAITH  IN  FUTURE 
SHOWN  IN  IMPRESSIVE  LINEUP 

"TO  SIZE  up  20th  Century-Fox  at  the  I 
present  time  is  to  take  new  faith  in  II 
the  future  of  this  industry.    At  no  timeH 
in  motion  picture  history  has  any  studio, 
ever  displayed  greater  confidence  in  vhe j  1 
future  of  the  medium,  nor  lined  up  a 
more  solid  slate  of  productions  than  that  |  j 
which  Darryl  F.  Zanuck  is  preparing  for 
the  months  immediately  ahead. 

If  the  Fox  product  isn't  the  answer  to  \ 
the  woes  besetting  movies,  then  there  is)  i 
no  answer.    But  one  needs  only  to  re-i  ] 
fleet  on  the  company's  recent  statement) 
of  earnings  to  realize  that  there  is  a  large 
and  eager  market  for  GOOD  movies.    A  j 
net  profit  of  $4,318,751  from  film  opera-1 
tions,  exclusive  of  theater  operations,  esj 
tablishes  a  high  goal  to  try  to  equal  inl 
the  coming  year.    But  inasmuch  as  the  j 
overall  quality  of  the  product  is  actuallvl  j 
superior  to  that  of  the  past  year,  comj 
pany  toppers  have  reason  to  expect  even  I 
greater  returns  around  the  corner. 

High  on  that  list  of  forthcoming  re  J 
leases  are  "Dr.  Praetorius"  (Cary  Grant 
Jeanne  Crain),  and  "David  and  Bethshel 
ba"  (Gregory  Peck-Susan  Hayward)  — J 
both  considered  by  Zanuck  as  good  befc 


M 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

[for  this  year's  Academy  Award  nomina- 
li'ions. 

f  Six  features  are  being  filmed  at  the 
present  time  two  of  them  having  start- 
led within  the  past  fortnight.  These  are: 
IProducer  Jules  Buck's  'A  WAC  In  His 
■Life"  (June  Haver-William  Lundigan- 
i  Marilyn  Monroe),  a  comedy  directed  by 
Joe  Newman,  and  "The  Golden  Girl" 
(Dennis  Day-Mitzi  Gaynor-James  Bar- 
ton), which  Lloyd  Bacon  is  directing  for 
[jGeorge  Jessel. 

I  Coming  up  for  filming  later  this 
month  are:  Robert  Brassler's  production 
lof  "Don't  Call  Me  Mother"  (Claudette 
Colbert);  Fred  Kohlmar's  still  uncast 
production  of  "Mabel  and  Me;"  and  "Viva 
the  Tiger."  a  Darryl  Zanuck  personal 
production  to  be  directed  by  Elia  Kazan 
|and  starring  Marlon  Brando. 

"Rockabye  Baby,"  a  Technicolor  biggie 
'which  was  to  have  rolled  this  month  has 
been  postponed  until  October  because  of 
prior  color  commitments  at  the  studio. 
George  Cukor,  on  loan-out  from  Metro, 
jwas  set  to  direct,  with  Susan  Hayward 
in  the  starring  spot.  Films  on  the  Fox 
schedule  with  prior  color  commitments, 
and  which  will  be  shot  in  the  following 
order  are:  "The  Jane  Froman  Story," 
"Lvdia  Bailey,"  "Wildfire,"  "Father  Does 
A  Strio."  and  "Belles  on  their  Toes."  "The 
Jane  Froman  Story,"  incidentally,  whicn 
•will  star  Jeanne  Crain,  is  being  touted 
as  the  company's  biggest  musical  since 
"Alexander's  Ragtime  Band." 

Production  on  "The  Girl  Next  Door" 
Bs  still  set  for  July  1,  although  no  re- 
placement has  been  named  for  Betty 
Grable,  who  was  suspended  last  week 
following  differences  with  the  studio  as 
Ito  when  she  should  report  for  work  on 
'the  film. 

UNITED  ARTISTS 

CLEAR  SAILING  AHEAD  AS 
EXPANDED  UA  GETS  ROLLING 

yi^ITH  the  heaviest  releasing  schedule 
in  32  years  on  tap  for  the  newly  ex- 
panded United  Artists  distributing  com- 
pany, it  looks  like  there  should  be  com- 
paratively clear  sailing  ahead.  At  this 
point,  it  appears  that  most  of  the  inde- 
pendents who  have  been  releasing 
[through  Eagle  Lion  Classics  will  go 
along  with  the  change-over  with  a  mini- 
mum of  haggling. 

Harry  Sherman  has  completed  nego- 
tiations for  the  10-picture  per  annum 
slate  on  which  he  had  an  ELC  commit- 
■nent  and  is  now  prepared  to  start  pro- 
Suction  for  a  United  Artists  release.  He 
A-ill  produce  six  westerns  each  year  bas- 
?d  on  William  C.  Tuttle's  "Hashknife" 
itories  and.  inasmuch  as  his  new  finan- 
:ial  backers  are  largely  eastern  apparel 
'nd  novelty  manufacturers,  will  make 
nerchandising  tie-ups  similar  to  those  of 
lopalong  Cassidy  and  Rov  Rogers.  Pro- 
ducer Philip  A.  Waxman  has  also  work- 
>d  out  details  for  transferring  his  com- 
mtment  from  ELC  to  UA,  and  will  like- 
y  be  the  first  producer  to  roll  a  picture 
;inee  the  merger  of  the  two  companies. 
Although  no  definite  date  has  been  set 
;s  of  this  writing,  he  expects  to  put 
'Dreadful  Summit,"  based  on  the  book 
ust  published  by  Simon  and  Schuster, 
efore  the  cameras  around  mid-May. 
'oseph  Losey  has  been  set  to  direct  a 


cast  headed  by  John  Barrymore,  Jr 
Waxman  secured  ihe  services  of  Losev 
from  Stanley  Kramer  on  a  loan-out  deal 

One  interesting  aspect  of  the  tran-ste, 
of  films  to  UA  nas  just  come  to  light  in 
connection  with  tne  controversial  British 
production  of  "Oliver  Twist."  In  closing 
the  deal,  ELC  toppers  insisted  on  receiv- 
ing a  portion  of  UA's  fee  for  distributing 
the  picture. 

Hollywood  is  delighted  over  the  ap- 
pointment of  Bob  Goodfried  as  west 
coast  exploitation  representative  tor  the 
new  United  Artists  company  As  a 
former  iepresentative  of  ELC,  Goodfried 
has  proved  himseil  a  capable  publicist 
and  has  many  friends  in  the  industry. 

UNIVERSAL-INTERNAT'L 

9  TECHNICOLOR  FILMS  IN 
H  I'S  19-PICTURE  BACKLOG 

^/ITH  THE  completion  of  three  fea- 
tures during  the  past  fortnight 
Universal-International  has  piled  up  an 
impressive  backlog  of  19  pictures  either 
being  edited  or  awaiting  release.  This 
group  includes  nine  in  Technicolor— one 
of  the  highest  percentages  of  color  films 
of  any  studio  in  town. 

The  Technicolor  features  in  the  back- 
log are:  "Prince  Who  Was  a  Thief" 
(Tony  Curtis-Piper  Laurie),  "Apache 
Drums"  (Stephen  McNally-  Coleen 
Grey),,  "Smuggler's  Island"  (Evelyn 
Keyes-Jeff  Chandler),  "Mark  of  the  Ren 
egade"  (Ricardo  Montalban-Cyd  Cha- 
risse),  "Cattle  Drive"  (Joel  McCrea-Dean 
Stockwell),  "Little  Egypt"  (Rhonda 
Fleming-Mark  Stevens),  "Golden  Horde" 
(Ann  Blythe-David  Farrar),  "The  Cave' 
(Alexis  Smith-Wendell  Corey),  and  "Fine 
■  Day"  (Josephine  Hull-Howard  Duff). 
"The  Cave,"  "Fine  Day,"  and  a  non 
Technicolor  comedy,  "One  Never  Knows" 
(Peggy  Dow-Dick  Powell),  are  the  fea- 
tures completed  within  the  past  two 
weeks. 

The  remaining  films  in  the  backlog 
are:  "Thunder  On  the  Hill"  (Claudette 
Colbert-Ann  Blyth),  "Hollywood  Story" 
(Richard  Conte-Julia  Adams),  "Fat 
Man"  (with  the  cast  of  the  radio  show 
of  the  same  name),  "Ma  and  Pa  Kettle 
at  the  Fair"  (Marjorie  Main-Percy  Kil- 
bride), "Francis  Goes  to  the  Races" 
(Donald  O'Connor).  "Comin'  Round  the 
Mountain"  (Abbott  and  Costello-Dorothy 
Shay).  "Katie  Did  It"  (Ann  Blyth-Mark 
Stevens),  "Iron  Man"  (Jeff  Chandler- 
Evelyn  Keyes),  and  "Fiddler's  Green" 
(Shelley  Winters-Richard  Conte). 

Two  new  features  have  also  started 
since  the  last  issue  of  FILM  BULLETIN 
went  to  press,  namely:  "Finder's  Keep- 
ers," a  comedy  starring  Tom  Ewell  and 
Julia  Adams,  with  Frederick  de  Cordova 
directing  and  Leonard  Goldstein  produc 
ing;  and  "Flame  of  Araby,"  Technicolor 
harem  spectacle.  starring  Maureen 
O'Hara  and  Jeff  Chandler,  produced  by- 
Leonard  Goldstein  and  directed  by 
Charles  Lamont. 

Two  more  are  set  to  roll  early  this 
month:  "The  Cimarron  Kid,"  Technicolor 
western  starring  Audie  Murphy,  to  be 
produced  by  Ted  Richmond,  and  "Re- 
union in  Reno"  (Mark  Stevens-Peggy 
Dow),  with  Karl  Neumann  megging  for 
Producer  Leonard  Goldstein. 


WARNER  BROS. 

SALE  OF  WARNER  BROS.  STOCK 
MAY  SEE  L.  B.  MAYER  MOVE  IN 

DY  THK  time  this  issue  of  FILM  BUL- 
LETIN is  before  your  eyes,  Warner 
Bros,  will  probably  be  in  new  hands.  A3 
this  is  being  written  in  Hollywood,  the 
rumors  are  flying  thick  and  fast  that  a 
group  of  financiers  will  put  up  a  large 
part  of  the  $25,000,000  asking  price  in 
cash  to  take  over  the  25  percent  of  War- 
ner Bros,  stock  held  by  the  three  War- 
ner brothers.  The  deal  is  expected  to  be 
closed  on  Monday,  May  7,  and  it  will 
include  both  the  film  and  theatre  inter- 
ests, which  are  as  yet  undivorced. 

FILM  BULLETIN  has  been  informed 
that  one  of  the  participants  in  the  deal 
is  Louis  B.  Mayer,  at  present  head  of  the 
M-G-M  studio,  and  our  souce  insists  that 
Mr.  Mayer  will  run  the  Warner  studio. 

More  details  on  this  startling  devel 
opment  undoubtedly  will  be  found  in  the 
news  columns  of  this  publication.  Need- 
less to  say,  meanwhile,  the  news  has 
Hollywood  all  agog  and  it  adds  heavily 
to  the  general  view  that  this  town  will 
be  a  much-changed  place  a  year  or  two 
hence. 

The  past  fortnight  has  seen  Warner 
Brothers  thrown  into  complete  confu 
sion  by  the  launching  of  an  overall  re- 
alignment drive  to  effect  greater  econo 
mies  in  the  studio's  operational  over- 
head. Approximately  12  percent  of  the 
company's  office  workers  have  been  laid 
off,  and  in  many  departments— includ 
ing  publicity— the  cutback  has  run  as 
high  as  40  percent. 

As  a  result,  much  criticism  has  beev. 
rained  down  on  the  heads  of  the  two 
brothers  who  head-up  the  company— al 
beit  most  of  it  appears  to  be  unjustified 
Anyone  close  to  the  situation  agrees  thai 
certain  reductions  in  personnel  were  es 
sential  to  the  interests  of  economy.  How- 
ever, it  does  seem  that  the  cut-backs 
could  have  been  more  wisely  handled 
from  the  standpoint  of  public  relations 
Many  consider  that  the  news  of  the 
firings,  spread  as  it  was  on  the  major 
news  service  wires,  would  be  construed 
as  an  admission  by  a  major  motion  pic- 
ture company,  that  movies  are  in  a  bad 
way.  Observers  point  to  the  fact  that 
another  major  studio  has  made  almost 
as  severe  cut-backs  without  drawing  any 
attention,  by  merely  spreading  it  over  a 
longer  period  of  time. 

Present  production  plans,  subject  to 
change  of  course,  provide  for  the  start 
of  "The  Tanks  Are  Coming,"  on  May  15, 
to  be  followed  the  same  week  by  "Star- 
lift"  and  a  Cagney  Production,  "Bugles 
in  the  Afternoon."  "Tanks"  is  a  project 
on  the  slate  of  Bryan  Foy,  and  will  be 
shot,  in  part,  at  least,  on  location  at 
Fort  Knox,  Ky.  "Starlift,"  a  story  of 
the  star  entertainment  at  west  coast 
hospitals  and  debarkation  centers,  will 
star  Ruth  Roman  and  Janis  Rule,  with 
Roy  DelRuth  directing  for  Producer 
Robert  Arthur.  The  Cagney  production, 
to  be  filmed  in  Technicolor,  will  star  Ray 
Milland.  with  Roy  Rowland  directing. 

Only  one  feature  has  been  completed 
within  the  past  two  weeks,  and  that  is 
the  Technicolor  musical.  "Painting  the 
Clouds  with  Sunshine"  (Virginia  Mayo- 
Dennis  Morgan),  which  has  been  filming 
since  early  March. 


MAY?,  1951 


EXPLOITATION  PICTURE 


SUM  FIRE  FORMULA  FDR  "SLEEPER 

"Bullfighter  and  Lady"  Has  Dim  Thrills 


ROMANCE 


THRILLS  AND  ROMANCE  have  always  been 
a  successful  formula  on  the  screen.  In  Re- 
public '  Bullfighter  and  the  Lady"  there  is  an 
abundance  of  both  and  therein  lies  the  prime 
exploit  angle  for  the  film.  No  other  sport  com- 
bines the  grace,  danger  and  excitement  of  the 
bull  ring.  Although  the  topic  has  occasionally 
been  subjected  to  screen  presentation,  it  has 
rarely  received  the  thorough,  behind-the-scenes 
treatment  of  the  art  and  sport  contained  in  bull- 
fighting. Laced  through  the  thrilling  ring  scenes 
is  the  dramatic  tale  of  an  American  in  Mexico 
who  tries  bullfighting  for  a  lark,  is  gripped  by 
the  fascination  of  the  sport,  its  dignity  and  the 
tremendous  significance  it  holds  for  the  Mexi- 
cans, and  finallv  wins  their  acclaim  after  a  fa- 
-  mous  matador  sacrifices  his  life  to  save  the  fool- 
romantic  threads  are 


DRAMA 


hardy   American.  Three 

mingled  with  the  drama  and  action  to  make  a 
well-rounded  piece  of  film  entertainment,  which 
has  already  earned  kudos  as  a  "sleeper"  from 
both  the  lay  and  trade  press. 

The  theme  and  the  locale  offer  a  wealth  of 
promotion  angles  that  can  be  capitalized  to  ex- 
cellent  advantage.  Dealers  are  always  interested 
in  slants  that  mean  increased  sales  for  them.  Tie- 
ins  with  travel  agencies  for  Mexico,  are,  of  course, 
a  natural.  Local  agencies  can  be  utilized  for 
feature  of  stills  in  windows,  displays,  heralds, 
etc..  in  return  for  lobby  mention.  The  theatre- 
man  ran  team  with  them  on  Mexican  essay  and 
dance  contests  in  local  schools.  Republic's  ex- 
ploitation department  offers  some  special  mats, 
free  on  request,  to  be  used  as  "bullfight  tickets" 
or  as  "travel  coupons"  well  suited  for  distribu-  ' 
tion  to  patrons,  giveaways  from  the  counters  of 
friendly  dealers,  etc.  The  "Come  to  Mexico" 
feature  can  be  a  welcome  piece  of  literature  for 
the  travel  agencies. 

The  old  advertising  adage,  "Any  color  is  alright 
as  long  as  it's  red,"  is  significant  here  since  it  is 
the  natural  color  associated  with  bullfighting. 

"Bullfighter  Red"  tie-ins  can  be  sold  to  retail- 
ers to  stimulate  the  sales  of  coats,  dresses,  blouses 
and  other  women's  apparel  shop  merchandise. 
Or  these  items,  if  they  lend  themselves  to  it, 
could  be  featured  as  "inspired  by  Mexico"  or 
"inspired  by  the  Toreador."  Showmen  can  ar- 
range a  fashion  show  of  these  garments  in  the 
theatre  in  return  for  extensive  playdate  mention 
in  store  windows  and  in  the  ads.    Other  "Bull- 

  tighter  Red"  stunts  can  be  worked  to  good  effect, 

that  the  first  ten  ladies  in 
in  red  garb  will  be 


GLAMOR 


like  an  announcement 
line  for  the  opening  dressed 
admitted  free. 

\  "Mexican  lobby"  can  further  enhance  the 
want-to-sec  appeal.  Several  stills  lend  them- 
selves well  to  animated  displays;  travel  agency 
posters  on  Mexico  shawls,  hats,  shoes  can  be  bor- 
rowed from  apparel  shops  and  draped  over  a 
"hullring  fence"'.  School  cooperation  can  he  en- 
li-led.  with  the  student-  wearing  home-made  Mex- 
ican  -t\le  dresses  and  Sandals  to  answer  ques- 
tion- about  the  items  shown.  Ami.  of  course, 
ashen  dressed  Mexican  -t%le  wide  straw  som- 
brero hat-,  s.  rapes.  sandals  will  he  a  sure 
advance  at  tent  i oil-get  tcr. 


DEATH 


NEWSPAPER  ADS 

Several  of  ihe  display  ads  are  pictured  above. 
While  there  is  variety  in  copj  and  art.  the  two 
principal  ingredients — thrills  and  romance  Ml 
always  foremost.  The  type  ad  at  bottom  Btreasfl 
the  new  excitement  in  the  "first  inside  storS 
of  the  blood-and-sand  arenas,  and  is  also  avail- 
able in  variations. 


tt  s  and  Opinion 


tlwrp  horns,  the  torero 


for  the  kill 


BULLFIGHTER  ANB  THE  LABY 


Having  attained  the  heights  as  a  top  boxoffice  star. 
John  ^  ayne  has  turned  his  talents  to  producing.  For  his 
initial  venture  in  the  movie-making  field.  Wayne  has 
chosen  a  subject  pregnant  with  action  and  romantic  ele- 
ments in  "Bullfighter  and  the  Lady".  As  associate  pro- 
ducer and  director,  he  selected  Budd  Boetticher.  whose 
own  adventures  are  not  too  far  removed  from  the  story, 
an  original  by  Boetticher  and  Ray  Xazarro.  With  Robert 
Stack.  Gilbert  Roland  and  Joy  Page  in  top  roles,  it  brings 
to  vivid  life  the  blood-and-sand  thrills  of  the  famed  sport. 

Stack  is  seen  as  a  successful  voung  Broadway  pro- 
ducer, vacationing  in  Mexico  City,  who  is  intrigued  by  the 
bullfight  after  watching  Mexico's  greatest  matador.  Gil- 
bert RoFand.  The  American  induces  Roland  to  teach  him 
the  intricacies  of  the  sport,  with  an  added  inducement  in 
the  sultry  person  of  Jov  Page,  daughter  of  a  famous  bull 


breeder.  As  be  learns  under  Roland.  Stack  realizes  that 
bullfighting  is  more  than  a  teal  of  wits  and  strength  and 
comes  to  understand  the  Mexican  people's  idolatry  In  the 
matadors.  He  progresses  quickly  and  persuades  Roland- 
to  permit  him  in  the  ring  as  assistant  matador.  Over- 
(onfident.  he  puts  himself  in  danger  and  Roland,  in  at- 
tempting to  rescue  him.  is  killed.  In  a  benefit  perform- 
ance for  the  dead  matador's  wife,  the  American,  laboring 
under  the  scorn  of  the  crowd,  earns  their  cheers  as  Ro- 
land's teachings  inspire  him  to  mastery  of  the  art. 

To  catch  the  full  flavor  of  the  story,  the  picture  was 
filmed  in  Mexico,  with  some  of  the  country's  ranking 
stars  to  augment  the  American  players  who  traveled  south 
of  the  border  for  the  film.  Augmenting  the  U.  S.  players, 
including  \  irginia  Grey  and  John  Hubbard,  are  Katv  Jur- 
atlo.   Antonio  Gomez.  Ismael  Perez  and  Rodolfo  Acosta. 


EXPLOITATION  PICTURE 


SURE  FIRE  FORMULA  FDR  "SLEEP 


MAYER  REPORTED  HEADING 
WB  STUDIO  AS  SALE  NEARS 

Louis  B.  Mayer  will  head  the  Warner 
Bros  studio  after  consummation  of  the 
deal  mat  will  see  the  abdication  of  one 
of  the  great  dynasties  of  the  motion  pic- 
ture industry,  according  to  reliable  in- 
formation obtained  by  FILM  BULLETIN. 
Although  no  confirmation  was  forth- 
coming from  the  principals  in  the  deal, 
it  was  also  leai-ned  that  a  sizeable  chunk 
of  the  S25.000.000  purchase  price  for  the 
Warner  family's  24  per  cent  of  stock  will 
be  the  present  M-G-M  studio  executive's 
money. 

Louis  Ft.  Lurie.  San  Francisco  finan- 
cier, who  heads  the  syndicate  that  made 
the  S25.0C0.000  offer,  said  he  was  pre- 
pared to  go  as  high  as  S7.500.000  as  his 
share.  Other  names  mentioned  as  finan- 
cing the  deal  were  Transamerica  Corp.. 
chain  grocery  executive  Nat  Cummings. 
Charles  Allen  and  Samuel  Ungerleider. 
New  York  brokers. 

Questioned  about  Mayer.  Lurie  denied 
that  he  was  in  the  financial  picture,  but 
added,  "Who  wouldn't  take  Mayer  as  a 
producer?"  He  also  expressed  hope  that 
Jack  L.  Warner,  studio  chief,  would  con- 
tinue as  a  ^producer  with  the  company 

President  Harry  M.  Warner  said  late 
last  week  that  no  deal  had  been  consum- 
mated, but  he  was  meeting  with  Lurie 
in  New  York  this  week  for  neeotiations. 
"If  he  has  got  the  money  —  S25.000.000 
is  "n  agreeable  price  —  the  chances  are 
he  can  make  the  deal."  Warner  stated. 
"Actually  there  has  been  nothing  but  a 
lot  of  talk  yet,  but  we  are  interested  in 
disposing  of  our  stock  if  the  right  fellow 
comes  across.  We  have  been  told  already 
that  we  have  to  get  out  of  one  end  o.' 
the  business."  he  added,  referring  to  thr 
divorcement  requirements  of  the  anti 
trust  decree. 

Following  conclusion  of  the  deal,  Lurie 
said  that  the  WB  realty  holdings,  some 
436  theatres  in  18  states,  would  be  sold 
and  that  the  new  management  would  lim- 
it itself  strictly  to  production  and  dis 
tribution.  Consideration  was  also  being 
given  to  production  of  television  films 
he  added. 

COLOSSEUM  FILES  UNFAIR 
LABOR  CHARGES  VS.  DISTRIBS 

Charging  the  major  distributors  with 
refusing  to  "consider  any  proposal  for  a 
proportionate  increase  in  wages  and  ex- 
penses to  meet  the  increase  in  the  cost 
of  living."  David  Beznor,  general  counsel 
for  the  Colosseum  of  Motion  Picture 
Salesmen  of  America  filed  unfair  labor 
charges  April  30  against  Columbia, 
Loew's.     Paramount,     Republic,  RKO, 

.   Twentieth   Century-Fox.   Universal  and 
Warner  Bros. 
In  his  blistering  attack.  Beznor  also 

.  said  that  the  "employers  had  failed  and 
refused  to  approach  negotiations  with  an 
open  mind  and  a  real  intention  to  reach 
an  agreement."  He  accused  the  distribu- 
tors of  refusal  upon  the  demand  of  tne 
Colosseum  to  disclose  earnings  in  sup- 
port of  a  contention  that  the  industry 
was  "sick." 

In  a  letter  addressed  to  the  general 
sales  managers  of  the  above  named  com- 
panies prior  to  filing  the  unfair  labor 
charges,  Beznor  conr^mned  a  "penny 
wise  and  pound  foolish"  attitude  adopted 


BULLETIN 

Volume  21.  Number  8 
May  7.  1951 

News 
and 
Opinion 


L  B.  MAYER 

Netc  Deal.  New  Chief: 


by  the  companies  which  prevents  ;he 
members  of  one  of  the  most  important 
segments  of  the  industry  from  develop- 
ing the  "enthusiasm  and  confidence"  the 
motion  picture  business  so  sorely  needs. 

The  unfair  labor  charges  were  filed  in 
Chicago  and  a  hearing  is  expected  soon. 


LIPPERT-PETRILLO  DEAL 
SEEN  SETTING  TV  FORMULA 

What  is  expected  to  be  the  formula 
for  film  producers  who  wish  to  release 
their  product  for  television  showings 
was  worked  out  in  a  deal  between  Ro- 
bert L.  Lippert.  head  of  Lippert  Produc- 
tions, and  James  C.  Petriiio.  president 
of  the  American  Federation  of  Musicians 
The  chief  barrier,  however,  still  remains: 
Exhibitor  boycott. 

Lippert,  who  is  both  a  producer-distri- 
butor and  exhibitor,  commenting  on  Tne 
deal,  declared:  "Petriiio  was  smart 
enough  to  tie  us  up  with  a  contract  five 
years  ago,  and  we  were  .stuck.  But  ra- 
ther than  get  stuck  again.  I'll  go  out  of 
business  as  a  producer  and  take  the  capi- 
tal gains  available  from  the  sale  of  my 
old  pictures  to  television.  There's  no 
profit  left  in  producing  for  the  theatrical 
market,  anyway." 

The  precedent-setting  contract  requires 
a  new  musical  score  be  recorded  for  ail 
theatrical  films  released  to  television, 
with  a  similar  number  of  musicians 
working  the  same  amount  of  time  as 
was  spent  on  the  original  score.  To  com- 
ply with  the  Taft-Hartley  Act,  which 
prohibits  "feather-bedding."  the  new 
score  must   be   used.     Lippert  is  also 


tound  to  pay  5  per  cent  of  his  TV  income  | 
to  the  musicians'  recording  fund. 

26  films,  made  in  1946-48.  will  be  pre- 1 
pared  for  immediate  TV  release.  Lippert 
announced. 

"BLUEPRINT  FOR  MORROW" 
FEATURES  UA  SALES  CONFAB 

United  Artists'  "Blueprint  For  Tomor 
row"  sales  convention,  its  first  national 
confab  in  five  years,  opens  at  the  Black- 
stone  Hotel,  Chicago  May  3,  for  a  three- 
day  series  of  sessions  on  the  augmented 
release  schedule. and  future  productions 

Distribution  vice-president  William  J 
Heineman.  who  will  chairman  the  se» 
sions,  proclaimed:  "We  fully  intend  tc 
give  real  meaning  and  full  measure  tc 
our  keynote.  The  development  of  new 
hard-hitting  sales  methods  will  be  one 
of  our  major  goals  at  the  meeting  tc 
provide  the  muscle  and  drive  needed  foi 
the  greatest  product  schedule  in  U.  A 
history." 

With  U.A.'s  absorption  of  Eagle  Lior 
Classics  finalized  April  28.  some  38  fea 
tures,  representing  releases  for  the  firs 
eight  months  of  1951.  with  a  negativ* 
cost  topping  the  S40.000.000  mark,  wi] 
come  up  for  attention. 

With  the  addition  of  the  ELC  product 
UA  has  expanded  its  releasing  schedul* 
to  19  major  productions  for  the  perioc 
beginning  May  1  and  ending  August  17 
representing  one  picture  per  week  fo 
the  three-and-a-half  month  period. 

The  convention  will  be  attended  b> 
key  home  office  executives  headed  b;> 
president  Arthur  Krim.  home  office  sale: 
heads,  advertising  and  publicity  person 
nel,  and  division,  district  and  branr 
managers,  who  will  step  up  active  plan 
to  capitalize  fully  the  UA  produc 
schedule. 

CONSERVATION,  NEW  IDEAS 
KEYNOTE  SMPTE  CONVENTION 

The  responsibility  for  maintaining  nr: 
tion  picture  production  with  reduce< 
amounts  of  critical  materials  and  th 
necessity  for  adoption  of  advanced  teel 
liques  of  visual  presentation  for  whir 
only  the  indoor  theatre  has  f acilitie  | 
were  two  of  the  important  subjects  dfc 
mussed  at  the  69th  semi-annual  conver. 
tion  of  the  Society  of  Motion  Picture  an 
{Continued  on  Xext  Page 


22  UPT  HOUSES  GET  TV 

United  Paramount  Theatres  be- 
came the  first  chain  to  enter  thea- 
tre television  on  a  large  scale  with 
president  Leonard  H.  Goldenson's 
announcement  that  UPT  will  install 
large  screen  TV  equipment  in  22 
more  of  its  theatres.  Installation 
will  begin  shortly  with  full  scale 
operation  ready  by  Fall. 

Of  the  new  installations,  20  will 
feature  the  RCA  system  of  direct 
projection  and  the  other  pair  will 
be  the  Paramount  intermediate 
tvpe.  With  the  additional  houses. 
UPT  will  have  a  27-theatre  video 
chain. 


24 


FILM  BULLETI 


IVeuts  a  a  4 1  Opinion 

{Continued  from  Preceding  Page) 
Television  Engineers  which  opened  at  the 
,  Statler  Hotel  in  New  York  April  30. 
At  the  opening  luncheon,  scientists  and 
technicians  were  warned  by  Nathan  D. 
Golden,  director  of  the  Motion  Picture- 
Photographic  Products  Division  of  the 
National  Production  Authority,  that  di- 
version of  essential  materials  for  defense 
will   be   progressively    greater   in  the 
months  ahead. 
;    Speaking  also  at  the  luncheon,  presi- 
,  dent  of  SMPTE  Peter  Mole  urged  pro- 

■  ducers  and  exhibitors  to  take  advantage 
'  of  the  existing  technical  advances  which 
(  he  said,  would  help  to  maintain  motion 

pictures  as  the  greatest  medium  of  mass 
education  and  entertainment. 

Larger  screens  and  stereophonic  sound 
in  conjunction  with  the  development  of 
more  flexible  screen  cinematography 
will  enable  the  familiar  movie  house  to 
offer  patrons  a  type  of  entertainment 

■  experience  for  which  home  television  and 
drive-in  theatres  are  not  equipped,  ac- 
cording to  a  paper  presented  by  Benja- 
min Schlanger,  theatre  engineering  and 
architectural  consultant  and  the  co-au- 
thor, William  A.  Hoffberg,  Schlanger's 

•  associate. 

riti/eSUlt  °f  a  larger  screen<  Schlanger 
cited  as  an  example,  would  give  the  view- 

COMPO  LIFTS  EXHIBITOR 
LIMIT  ON  PRODUCER  HUDDLE 

^Xhib^r  clamor  tor  representation  at 
the  exhibitor-producer  round  tab  e die 
!S0nT0f  Produc«on  problems  In  HcSv- 
wood  June  11-12.  prodded  COMPO  exe- 
cutive vice-president  Arthur  L.  Maver  to 

Z17V^  limit  °n  the  ™mber  ofTelS 
gates  each  organization  may  send  In 
the  original  announcement  of  the  confer" 
De  link  Said  ^presentation  woufd 

oe  limited  to  two  delegates  from  earh 

mVmbeSe  -gaWtionToMTO 

LlUMS  h  has  been  evident  for  some 
fee  JESS  ^V?*  many  exhibi?™ 
fnr  a"xlous  to  Slt  down  with  producers 
eL\vdp1lUHSS]°n,0f  their  mutual  prob 
K'  t  hld  n°  ldea  that  50  manv  wouid 
Sed  th^  6nd-  NaturaUy  we  are  de 
tfJl      Ihat  announcement  of  the  con- 

ic  reL^LmetAwith, such  a"  enthusias- 
tic response.  Accordingly,  we  are  re 
moving  all  limitation  on  the  number  of 
^legates  each  organization  may  send  " 
tiH^'fr-reVualed  that  imitations  to  par- 
SSrt  no?  S  CTt6Vt ,nCe  are  going  for- 
COVPn  I  K  to^a11  members  of  the 
stafP  ,nHExeCUtlVe  Board'  but  also  to  the 
SatP,  A  «regl°nal  organizations  of  Allied 

^PnSlbl?r.u0rganizations  to  °e  repre- 
Ame ,n  ™*  meeting,  in  addition  to 
0  vnpr=  a  T°A'  are  Independent  Theatre 
PiSfro  ^soclatlon>  Metropolitan  Motion 
c£*?n  Tbeatres  Association  and  Pacific 
u>ast  Conference  of  Independent  Theatre 


H.  M.  WARNER 

//  the  Price  Is  Right 


REPUBLIC  IN  SLIGHT  DIP 
WITH  $227,000  13-WEEK  NET 

Republic  Pictures  Corporation  and  its 
subsidiaries  reported  a  decrease  of  ap- 
proximately $63,000  in  their  net  profits 
after  taxes  for  the  13  weeks  ended  Janu- 
ary 27,  1951,  as  compared  to  the  same 
period  in  1950. 

The  company's  statement  showed  a  net 
profit  of  5407,495.38,  less  estimated  taxes 
totalling  S180.000,  or  a  net  after  taxes  of 
S227.495.38.  For  the  corresponding  per- 
iod in  1950,  Republic  reported  a  net  be- 
fore taxes  of  $485,766.13,  after  taxes. 
$290,766.13. 

RCA  SNEAKS'  COLOR  TV, 
FIND  GOOD  B&W  RECEPTION 

TViewers  in  New  York  City  were  un- 
witting witnesses  to  RCA's  new  color 
telecasting  signal  received  in  black-and- 
white  on  regular  screens.  The  most  sig- 
nificant result  of  the  "sneak  preview"  of 
the  transmission  of  color  pictures  was 
to  show  that  the  RCA  method  could, 
without  requiring  any  extra  equipment 
or  adapter  and  without  interference  with 
reception,  be  viewed  on  regular  home 
television  sets.  In  addition,  the  tests  re- 
vealed that  the  color  transmission  pro- 
duced a  clearer  picture  in  black-and- 
white  than  is  received  by  the  usual  mon- 
ochrome telecasts. 

RCA  is  awaiting  the  U.  S.  Supreme 
Court  decision  on  its  appeal  from  the 
FCC  findings  that  the  CBS  color  method 
provides  a  picture  that  is  superior  to  that 
of  RCA.  The  present  CBS  system  rend- 
ers the  present  day  set  useless  unless  it 
is  equipped  with  an  adaptor  that  would 
cost  $20  or  more.  Both  methods  at 
present  require  a  converter  to  enable 
color  to  be  received  on  a  black-and-white 
set. 

It  was  reported  that  RCA  will  have 
available  for  stores  and  other  public 
places  several  hundred  color  sets  for 
color  demonstrations  shortly  after  the 
Supreme  Court  decision. 


PHILCO  GRIFFITH  TV  SHOW 
"VIOLATION  OF  AD  ETHICS" 

A  Philco  television  program  which 
blasted  the  motion  picture  industry  for 
its  treatment  of  the  late  Hollywood  pro- 
ducer D.  W.  Griffith  was  sharply  pro- 
tested by  Arthur  L.  Mayer,  executive 
vice-president  of  COMPO  in  a  letter  to 
James  Carmine,  president  of  Philco. 

In  his  demurral,  Mayer  called  the  pro- 
gram "a  violation  of  that  cardinal  prin- 
ciple of  advertising  ethics  which  forbids 
any  attack  on  another  business."  He 
pointed  out  that  the  offense  "was  aggra- 
vated by  the  fact  that  in  this  instance 
you  were  attacking  an  industry  that 
competes  with  your  own,"  and  called 
upon  the  network  to  instruct  its  TV  pro- 
ducers to  be  more  watchful  in  the  future 
to  "observe  the  decencies  of  business 
practice." 

Copies  of  the  letter  were  sent  to  Jo- 
seph H.  McConnell,  president  of  NBC, 
ana  Sylvester  L.  Weaver,  Jr.,  executive 
vice-president  of  NBC  in  charge  of  tele- 
vision. 

KIDS  SAY  TV  NO  BARRIER 
TO  THEIR  MOVIE  ATTENDANCE 

Straight  from  the  colt's  mouth  comes 
the  answer  to  the  question  that  has  been 
haggled  over  these  many  months:  Is 
television  destroying  the  youth  faction 
of  moviegoers?  The  reply  is  a  definite 
"No!" 

The  concensus  was  determined  at  the 
New  York  Times  Youth  Forum  debating 
the  topic,  "Is  the  Influence  of  Movies 
Still  Great?",  before  an  audience  of  500 
children. 

One  12-year-old  member  of  the  panel, 
which  included  five  other  youngsters,  and 
Bosley  Crowther,  motion  picture  critic 
of  the  Times,  predicted  that  movies 
would  become  stronger  than  ever,  saying 
that  "silly  and  trashy  pictures  will  go  out 
the  window"  because  of  TV  competiticn. 

Three  of  the  four  junior  members  of 
the  panel  who  have  television  in  their 
homes  said  it  hadn't  changed  their  movie- 
going  habits,  while  one  said  he  didn't  go 
as  often  "because  I  stay  home  and  watch 
television." 


FOREIGN  NEWS  REELS 

Newsreel  distribution  in  the  Near 
and  Far  East  will  be  expanded  by 
the  five  American  newsreel  com- 
panies, who  have  decided  to  supply 
newsreels  with  commentaries  in  the 
languages  and  dialects  of  the  coun- 
tries in  those  areas,  according  to 
Walton  C.  Ament,  chairman  of  the 
MPAA  Newsreel  Committee  and 
vice-president  and  general  manager 
of  Warner  Pathe  News. 

Production  of  the  special  news- 
reels  will  begin  sometime  in  May. 
with  the  distribution  to  be  handled 
through  the  exchanges  in  the  usual 
manner. 


M  A  Y 


19  5  1 


25 


'THE  LONG  DARK  HALL'  ABSORBING  BRITISH  COURTROOM  MELODRAMA 

Rates  *  *  ai  dual'er  generally;  more  in  class  houses 


United  Artists 
86  minutes 

Rex    Harrison,    Lilli    Palmer,  Anthony 
Dawson,  Dennis  O'Dea,  Patricia  Wayne, 
Raymond  Huntley. 
Directed  by  Anthony  Bushell  and 
Reginald  Beck 

"The  Long  Dark  Hall"  is  an  absorbing 
British  courtroom  melodrama  that  effec- 
tively builds  a  great  deal  of  tension  and 
interest  around  a  routine  story  of  an 
innocent  man  who  is  tried  and  convicted 
for  murder  on  circumstantial  evidence. 
There  is  no  mystery  connected  with  this 
United  Artists  release,  since  the  real  kill- 
er is  known  from  the  start.  The  film's 
value  as  entertainment  lies  in  the  curio- 
sity aroused  as  to  whether  the  victim 
of  the  circumstances  will  be  convicted 
and  executed  for  a  crime  he  did  not  com- 
mit. Even  though  the  tortoise-paced  ac- 
tion is  limited  for  the  most  part  to  con- 
versations  and   courtroom   palaver,  the 


combined  directorial  prowess  of  Anthony 
Bushell  and  Reginald  Beck  successfully 
holds  the  audience's  attention,  and  the 
manner  in  which  the  police  investigation 
and  the  trial  are  conducted,  plus  the  lit- 
tle human  incidents  that  are  intelligently 
worked  into  the  script,  make  for  an  en- 
grossing screen  diversion.  Boxofficewise. 
the  outlook  for  "The  Long  Dark  Hall" 
is  brightest  for  class  houses  and  such 
other  situations  where  British  offerings 
draw  well.  It  moves  too  slowly  to  be  of 
much  value  for  action  houses  and  the 
British  atmosphere  will  militate  against 
it  in  the  rural  areas. 

Rex  Harrison  and  Lilli  Palmer  offer 
further  evidence  of  their  versatility  by 
delivering  praiseworthy  dramatic  per- 
formances as  the  unjustly  accused  man 
and  his  wife.  The  screenplay  by  Nun- 
nally  Johnson  is  both  creditable  and  cred- 
ible until  the  confusing  climax,  which 
unfortunately  leaves  the  viewer  actually 
wondering  what  happened. 

STORY:    Rex  Harrison,  who  has  been 


playing  around  with  showgirl  Patricia 
Wayne,  is  picked  up  as  her  murderer  on 
circumstantial  evidence.  Harrison's  wife, 
Lilli  Palmer,  believes  he  is  innocent  in 
spite  of  the  damning  evidence  and  the 
fact  that  he  has  been  unfaithful.  The 
real  murderer,  Anthony  Dawson,  is  a 
crackpot  whose  motive  seems  to  have 
been  that  all  showpeople  are  immoral. 
Dawson  approaches  Miss  Palmer  during 
the  trial,  later  pleads  with  her  to  forget 
Harrison  since  he  has  proven  himself 
unworthy  of  her  love.  No  one  suspects 
Dawson.  Harrison  is  convicted  and  sen- 
tenced to  hang.  Just  before  the  execu- 
tion time,  however,  Dawson  writes  a 
crank  letter  to  Inspector  Raymond  Hunt- 
ley, to  whom  Dawson  al:>o  spoke  when 
he  befriended  Miss  Palmer.  The  killer 
apparently  believed  Harrison  wound  have 
been  hanged  before  the  police  received 
the  letter,  but  the  execution  is  delayed, 
Dawson  is  apprehended,  tried  and  con- 
victed, freeing  Harrison  to  return  to  his 
wife  and  family.  JACKSON. 


'JUNGLE  HEADHUNTERS'  INTERESTING  AMAZON  ADVENTURE  FILM  IN  COLOR 

Rates  •      as  dualler  generally;  more  whe 


RKO  release 
66  minutes 


Part  documentary,  part  travelogue, 
part  adventure  and  part  fiction,  "Jungle 
Headhunters"  is  a  Technicolor  record, 
produced  by  Julian  Lesser,  of  the  high- 
lights of  the  Lewis  Cotlow  Amazon  Ex- 
pedition, with  spoken  commentary.  The 
expeditionary  photographers,  Kules  Buch- 
er  and  Bodo  Wuth.  were  faced  with  a 
tough  assignment,  for  the  heat  and  hu- 
midity of  the  teeming,  tropical  jungie 
which  clothes  the  Amazon  River  makes 
picture-taking  a  hazardous,  operation  es- 
pecially when  dealing  with  color  film. 
They  have,  however,  captured  some  start- 
ling, and  at  times  horrifying,  shots,  and 
Robert  Lee  has  done  a  splendid  job  of 
editing  the  film. 


re  ballyhooed 

Lewis  Cotlow's  expedition  went  in 
search  of  the  Jivaros,  the  headhunter 
tribesmen  who  live  in  the  Amazon 
jungle.  Leaving  by  canoe,  they  find  sev- 
eral bloodthirsty  tribes  who  help  them 
on  their  way.  but  when  the  rains  come 
the  adventurers  have  to  take  to  mule- 
back.  Once  over  the  Andes  they  are  sur- 
rounded by  naked  Jivaro  warriors  and 
taken  before  Utituja,  the  Chief.  Cotlow 
gives  a  demonstration  of  magic  tricks, 
wins  the  Chief's  friendship,  and  is  al- 
lowed to  remain  in  the  village  to  study 
the  spine-chilling  techniques  of  head- 
hunting. When  the  witch  doctor  has 
worked  the  tribal  youths  to  a  pitch  of 
frenzy,  they  make  a  raid  on  a  neighbor- 
ing tribe,  and  return  with  a  human  head, 
which  is  sewn  at  the  mouth  and  ears, 


filled  with  sand,  and  boiled  until  it 
shrinks  to  the  size  of  a  large  grapefruit. 
The  killer  then  hangs  the  victim's 
shrunken  head  round  his  neck  as  a  sym- 
bol of  vengeance,  and  the  tribesmen  per- 
form the  hideous  "tsantsa"  dance  of 
victory. 

The  whole  process  of  headhunting  is 
shown  in  the  picture,  together  with  the 
shrinking  operation,  though  at  no  time 
is  the  victim's  face  disclosed.  Also  Inter- 
esting are  those  parts  of  the  picture 
which  show  these  savage  jungle  dwell- 
ers blowing  poisoned  darts  at  a  panther, 
man-eating  pitanhas  fish  tearing  the 
flesh  from  a  still-living  alligator,  and 
27  ft.  long  anacondas  sliding  menacingly 
through  the  undergrowth.  LEON. 


Check   FILM   BULLETIN  Reviews 

with  your  boxoflice  grosses  and 
you  will  find  an  amazing  degree  of 

ACCURACY 


FILM  BULL1TIH 


20TH'S  'WHOLESALE'  MET 
WITH  APPROVAL  BY  CRITICS 

The  New  York  newspaper  critics  wee 
generally  pleased  with  the  "realistic,  in- 
teresting and  humorous  "behind-the- 
scenes  peek  at  New  York's  garment  in- 
dustry "jungle"  provided  by  20th  Cen- 
tury-Fox's version  of  the  Jerome  Weid- 
man  best-seller,  "I  Can  Get  It  For  You 
Wholesale."  Although  those  who  are 
familiar  with  the  novel  express  regret 
that  the  picture  does  not  follow  as  close-h- 
as they  might  have  liked,  they  never- 
theless join  their  fellow  scribes  in  praise 
of  the  production  as  good  screen  enter- 
tainment. 

The  Post's  Archer  Winsten  states 
simply:  "When  you  find  .  .  .  top  per- 
formances filling  out  solidly  draw™  char- 
acters and  sharp  dialogue  in  abundant 
supply,  there's  nothing  much  to  do  but 
sit  back  and  enjoy  yourself."  The  movie, 
he  contends,  "rings  the  bell  for  popular 
high  quality,  snappily  tailored,  A-l  mer- 
chandise." 

Labelling  it  "the  'All  About  Eve'  of 
the  garment  industry,"  Eileen  Creelman, 
in  the  World  Telegram,  calls  it  "tougher 
than  most  .  .  .  fresher  and  probably 
truer."  She  too  finds  the  "acting  is  good, 
the  story  interesting"  and  described 
with  "realism  and  humor." 

In  the  Journal  American,  Jim  O'Con- 
nor sums  it  up  as  "a  bargain  in  good  en- 
tertainment .  .  .  even  in  today's  market." 

The  Herald  Tribune's  James  Barstow 
describes  it  as  "romance  and  the  dress 
business  turned  out  in  a  slick  combina- 
tion." The  familiar  boy-meets-girl  rou- 
tine, he  says,  "looks  nice  and  fancy  in 
the  new  setting." 

Dubbing  it  "a  conventional  romantic 
drama,"  Tom  Pryor,  of  the  Times,  com- 
plains that  the  film  "could  have  been  an 
exciting,  instead  of  just  an  average 
good,  entertainment." 

Seymour  Peck,  in  the  Compass  ap- 
plauds the  "shrewd  and  searching  and 
unvarnished  glimpses  of  'the  jungle  on 
Seventh  Avenue,"'  but  feels  "the  movie 
falls  apart  faster  than  a  $1.98  frock 
when  it  latches  onto  love,  love,  love,"  as 
he  sees  the  "wholly  fraudulent  romantic 
conflict"  in  the  picture. 

'KON-TIKr 

RKO 

"Madly  incredible  adventure  .  .  seems 
even  more  moonstruck  and  fascinating 
.  .  .  than  it  was  in  Thor  Heyerdahl's  verv 
popular  book  .  .  .  Surprisingly  complete 

TEnLEGRAM;^:OOK'    *    Y"  W°RLD 

"Miraculous  vicarious  experience  . 
Much  of  the  recorded  thrill  and  mystery 
£r  l&e  '£?n-Tiki'  voyage."— GUERNSEY. 
N.  Y.  HERALD  TRIBUNE. 

"Not  nearly  so  fabulous  and  breath- 
Jng,  as  Heyerdahl's  book  .  .  .  Unusual 
and  dangerously  exciting  as  cinematic 
materia]."— HECK,  N.  Y.  COMPASS. 

fascinating  motion-picture  record  of 
the  daring  sea  voyage  .  .  .  Excitement 
and  flavor  of  the  venture,  so  richly  con- 
veyed in  the  book  in  its  infinite  and  color- 
tul  detail,  are  compacted  in  this  seventy- 
three-minute  film  .  .  .  Gripping  and 
YeTIMES    accoun*" — CROWTHER,  N. 


"A  YANK  IN  KOREA" 

COLUMBIA 

"Sloppily  made  hash  of  war  film 
cliches  and  phony  G.I.  dialogue  that  is 
always  embarrassing  and  often  in  bad 
taste  .  .  .  Strikes  a  new  low  in  screen 


"QUOT6S 


99 


What  the  Newspaper  Critics  Say  About  New  Films 


'entertainment.'"— J.S.B.,  N.  Y.  HERALD 
TRIBUNE. 

"Trite  and  unconvincing  .  .  .  An  unin- 
spired account."— A.W.,  N.  Y.  TIMES. 

"Echoes  all  war  pictures  and  it  also 
echoes  Korean  war  scenes  specifically  .  .  . 
Just  another  war  picture,  neither  better 
nor  worse,  just  a  bit  secondhand  and 
frayed  about  the  dialogue  edges." — 
WINSTEN,  N.  Y.  POST. 

"Timely  ...  is  about  all  one  can  say 
in  its  favor  .  .  .  Low-budget  little  film 
attempts  to  be  a  minor  'Battleground.' 
It  does  not  succeed  .  .  .  Not  likely  to 
encourage  enlisting  or  moviegoing, 
either."— CREELMAN,  N.  Y.  WORLD 
TELEGRAM. 


CAUSE  FOR  ALARM' 

MGM 

"Drama  of  suspense  rather  than  mys- 
tery .  .  .  Tale  of  hysteria  .  .  .  about  all 
the  film  has  to  offer  as  suspense  .  .  . 
Girl's  wild  antics  slowly  grow  annoy- 
ing."—E.C.,  N.  Y.  WORLD  TELEGRAM. 

"Creates  an  unpleasant  sort  of  sus- 
pense."— WINSTEN,  N.  Y.  POST. 

"Curiously  unsatisfying  suspense  mel- 
odrama .  .  .  Tension  is  admirably  sus- 
tained, but  it  is  more  irritating  than 
moving  .  .  .  Goes  off  like  an  air-raid 
siren.  The  first  wails  are  full  of  excite- 
ment and  suspense.  After  a  while,  one  is 
primarily  concerned  with  the  feeling  of 
relief  when  it  stops."— BARSTOW,  N.  Y. 
HERALD  TRIBUNE.. 

"Good  picture  .  .  .  Stimulating  thriller 
Unspectacular    but    gratifying    film." — 
H.H.T.,  N.  Y.  TIMES. 
'TERESA1 
MGM 

"Appealing  and  wistful  little  drama 
. . .  worthy  of  rank  with  (Fred  Zinne- 
man's)  earlier  achievements  as  a  direc- 
tor .  .  .  Refreshing  and  stimulating 
experience  for  the  taste  by  too  many 
conventional  movies." — COOK,  N.  Y. 
WORLD  TELEGRAM. 

"Merits  and  demerits  are  both  major, 
which  is  regrettable  because  this  kind 
of  picture  has  to  be  perfect  .  .  .  Has 
many  sequences  of  rare,  astonishing  ex- 
cellence."—WINSTEN,  N.  Y.  POST. 

"Merits  the  rare  appreciation  of  all 
who  are  interested  in  honest  mature 
films."— CROWTHER,  N.  Y.  TIMES. 

"Hollow  and  static  love  story  .  .  . 
Trouble  is  the  script,  a  conventional 
succession  of  emotional  agony  conver- 
sations .  .  .  Truth  in  one  of  its  duller 
cinematic  aspects  .  .  .  Flat  and  unde- 
veloped dramatic  idea."— GUERNSEY, 
N  Y.  HERALD  TRIBUNE. 

OH!  SUSANNA' 

Republic 

"Unfolded  against  a  background  of 
impressive  Western  scenery,  brought  to 
the  screen  in  all  its  beauty  through  the 
magic  Trucolor  ...  A  knockout!  Big  as 
the  great  outdoors  and  just  as  refresh- 
ing ..  .  Really  a  new  Wild  West  show. 
It's  a  bang-up  picture — with  the  empha- 
sis on  the  bang." — O'CONNOR,  N.  Y. 
JOURNAL  AMERICAN. 

"Gets  no  further  than  most  other 
Westerns  .  .  .  Trucolor  process  is  a  bit 
blurred."— PIHODNA,  N.  Y.  HERALD 
TRIBUNE. 

"Lively,  punchy  and  sort  of  senseless, 
something  like  the  title."— WINSTEN, 
N.  Y.  POST. 

"Saga  of  strife  in  the  Black  Hills  of 
the  Dakota  Territory  is  what  any  dime- 
novel  reader  might  expect  .  .  .  This,  how- 


ever, can  be  said  for  the  adventure.  It 
has  about  as  much  conflict  as  could  be 
wished  .  .  .  Scenery  is  lovely  in  Trucolor. 
Little  else  is."    A.W.,  N.  Y.  TIMES. 

"Told  in  Trucolor,  with  faded  rather 
than  bright  colors.  Its  main  contribution 
to  the  entertainment  field  is  the  sound 
of  shooting  and  Indian  war  whoops." — 
N.  Y   WORLD  TELEGRAM. 


THE  GREAT  MISSOURI  RAID' 

PARAMOUNT 

"Story  and  even  the  dialogue  is  wholly 
familiar.  Turned  out  in  Technicolor  in  a 
dull,  routine  fashion  .  .  .  Old  formula 
doesn't  pay  off."  -J.S.B.,  N.  Y.  HERALD 
TRIBUNE. 

"You  have  to  give  this  picture  a  smail 
pat  on  the  head  for  luscious  color  and  a 
big  salute  for  persistent  firepower.  They 
bang  away  as  if  somebody  cared,  and 
who  knows,  maybe  the  kiddies  do." — 
WINSTEN,  N.  Y.  POST. 

"Though  it  is  hard  to  take  .  .  .  story 
and  screenplay  give  the  outlaws  decent 
lines  to  speak  and  loads  of  opportunity 
for  hard  riding,  fast  shooting,  and  a 
modicum  of  romance."— A.W.,  N.  Y. 
TIMES. 

"Almost  maudlin  in  its  sympathy  .  .  . 
Bright  with  color,  noisier  with  gun- 
shooting  than  any  picture  I  can  remem- 
ber .  .  .  Point  of  view  is  silly,  the  story 
repetitious."  —  CREELMAN.  N.  Y. 
WORLD  TELEGRAM. 

BIRD  OF  PARADISE' 

20TH  CENTURY-FOX 

"A  saga  of  passion  in  the  South  Seas 
.  .  .  Rather  quaint  and  native  and  faintly 
Silly."— S,  P.,  N.  Y.  COMPASS. 

"While  pleasant  to  see,  the  dialogue 
and  narrative  show  signs  of  wear  .  .  . 
Yesterday  morning's  first  audience  .  .  . 
was  laughing  in  the  wronp  places 
through  no  fault  of  their's."— PIHODNA, 
N.  Y.  HERALD  TRIBUNE. 

"Doesn't  quite  hit  the  high  goal  of  au- 
thentic island  life  a  hundred  years  age 
because  it  too  closely  resembles  Holly- 
wood romps  on  the  coral  strands  .  .  .  But 
it  is  colorful,  happily  peopled  with  hand- 
some actors  and  natives."  —  WINSTEN, 
N.  Y.  POST. 

"Sometimes  amusing  confusion  of  an- 
thropology and  love  .  ..  gaudily  thrown 
together  .  .  .  Rambling  mishmash." — 
CROWTHER,  N.  Y.  TIMES. 

"Technicolored  display  .  .  .  spun  out  at 
a  very  leisurely  tempo."  —  PELSWICK, 
N.  Y.  JOURNAL  AMERICAN. 

BEDTIME  FOR  BONZO' 

UNIVERSAL-INTERNATIONAL 

"Good  idea  ...  a  lot  better  than  story 
and  script  .  .  .  Bonzo's  picture  and  just 
right  for  the  audience  that  likes  cuteness 
on  the  screen."— CREELMAN,  N.  Y. 
WORLD  TELEGRAM. 

"Comes  in  under  the  heading  of  cute 
animal  films  with  a  better  than  average 
supporting  cast  of  human  beings  .  .  . 
Should  be  effective  with  newcomers  and 
primate-lovers."  —  WINSTEN,  N.  Y. 
POST. 

"Minor  bit  of  fun  yielding  a  respect- 
able amount  of  laughs  but  nothing,  actu- 
ally, over  which  to  wax  ecstatic  .  .  . 
Without  this  frisky  character  (Bonzo), 
there  would  have  been  little  comedy  in 
this  antic."— A.W.,  N.  Y.  TIMES. 

"Flyweight  fantasy  .  .  .  Just  too  much 
monkey  business."— BARSTOW,  N.  Y. 
HERALD  TRIBUNE. 


MAY    7  ,  1951 


17 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1950-51  Features 
Serials 
Westerns 


Completed  (44)  In  Production  (5) 
Completed  (2)  In  Production  (1) 
Completed  (11)      In  Production  (0) 


NEW  PRODUCTIONS 

DARK  PAGE,  THE 
Drama— Started  April  26 

Cast:    Broderick  Crawford,  John  Derek,  Donna  Reed,  Rosemary 

de  Camp,  Henry  O'Neill 
Director:  Phil  Karlson  Asst.  Dir.:  Fred  Briskin 

Story:    Violence  and  the  attempt  of  upright  citizens  to  quell  it. 

JUNGLE  SAFARI 
Action—  Started  April  24 

Cast:    Johnny  Weissmuller,  Angela  Greene,  Jean  Williams 
Director:  Lew  Landers  Producer:  Sam  Katzman 

Story:    Further  adventures  of  Jungle  Jim. 

SMALL  WONDER 
Comedy— Started  April  26 
Cast:    Robert  Cummings,  Barbara  Hale 

Producer:  Harold  Hecht 


Director:  Frank  Tashlin 

Story:    Not  available. 

WAR  CRY  (SO 
Western— Started  April  18 

Cast:    George  Montgomery,  Audrey  Long,  Howard  St.  John, 

Peter  Thompson,  Carl  Benton  Reed 
Director:  Ray  Nazarro  Producer:  Bernard  Small 

S'.ory:    Not  available. 

MAN  IN  THE  SADDLE  (C) 
Western- -Started  April  17 

Cast:    Randolph    Scott,  Joan   Leslie,  Ellen    Drew,  Alexander 

Knox,  Richard  Rober 
Director:  Andre  De  Toth  Producer:  Harry  Joe  Brown 

Siory:    Not  available. 

RELEASE  CHART 

IN  PRODUCTION 


COMPLETED 

Big   Gusher.  The   

Bern  Yesterday   

Brave    Bulls.   The  (107) 


Mine  C«t«!>ir   

CMfo  Bil!   

Crtalnal  Lawyer   

•lei   Turpin'i  Ride   

Emergency  Wedding  (78) 

Firefighters.  The   

Flying    Missile.    The  ... 


Harlem    Globetro'.tera,  The 


aWi  a  Cockeyed 
Hirrlcane  Island 
lerna  Ooone  (T) 


The   Eternal  Melody 

ler  (77) 


Cast 

Details 

Rel. 

No. 

Re». 

.  Lancaster-Lawrence 

 4-9 

1950-51   

.  Morris-Foster 

.  .  . .3-12 

.  Craw'ord-Holliday 

 7-3 

.12-50. 

. . .344. 

.12-4 

Fcrrn-Quin 

3-27 

. .5-51 

5-7 

.Kennedy-Lawrence 

6-5. 

.11-50. 

. . .313 

.  Hail-ferraday 

2-26. 

.  6-51. 

.  McGuiro-Moore 

. . .  5-1C 

.  0  Brlcn-Wyatt 

. . .12-18. 

.  ■<^ard-Mcd:na 

. . . .11-6. 

.  Parks-Hale   

. .  4-10. 

.11-50. 

. . .332. 

...1-1 

Williams-Reynolds 

 2-27 

Ford-Linfors 

.  .  . .7-31. 

.1-51. 

.  .335 

Starrett-Burnette 

....9-45. 

..3-51 

Weismuller-Talbot 

7-3. 

. .4-51 

.  Gomez-Dandridge 

.  .  .  .11-6. 

O'Brien-Martin 

. . . .8-28. 

.  5-51 

.Klopera-Eggerth 

. . . 11-10 

No  Sad  Songs  For  Me  (89 

Oeeratlon   X  (78)   

Petty   Girl,   The   (T)  (87) 

Prairie  Rojndap   

•esene,  Agrnt   

Rldin'   the  Oetlaw  Trail  . 

Whistling  Plnet 


Details  ender  title:  Wings  Westward 

>*a   f,  fT)   

Her.   


Th, 


Silver    Canyon     .  .  . 

Sir****   

Son    of    Dr.  jekyll 
Sanay  Sid*  of 

Teiai    Rangers   , 

Valentino   (T)    (103)    .  . 

Valley  of  Fire   

When   the   Redskins  Rode 


the  Street 


Yank 


Korea.  A  (73) 


.  .  Rooney-Meore 

12-50. . 

.  .340. 

11-20 

mil-Windsor  . 

10-23 . 

.7-51 

..Hale-Greene   

.6-51 

.  .  Wayne-DaSllva 

3-51 

.  .  Ball-Agar   

. .12-18. 

. ,  Parker-Walker    . .  . 

12-18 

.3-51 

.  .  Solllvan-Corey 

10-24. 

.3-50 

. .  Robinson-Cummins 

2-51. 

Cuaimlngs-caolflcld 

. . .9-26. 

9-50 

317. 

.  .Starrett-Burnette 

. . .7-31. 

.1-51. 

. .363. 

.  Kennedy-Willes 

7-31 

.3-51. 

. .312. 

.  .  Starrett-Burnette  . 

. . .8-28. 

2-51. 

7-3 

4-51 

..Oerek-UaRe   

.  Derek-Cobb   

.  .  6-19 
2-26 

.  .Autry- Davis   

.  3-26 

. .11-20 

.'7-51.'! 

Hayward-Knox    .  .  . 

. . .3-26. 

..Lane-Daniels  .... 

. . . 1-29 . 

..Geo.  Montgomery 

.'6-51.' 

! ' .6-19! 

. .4-51. 

^3-26 

6-51. 

Hall-Castle   

.  8-28 

.5-51. 

.12-18 

.4-51. 

.11-6 

.2-51. 

In  the  Release  Chart,  the  date  under  "Details"  refers  to  the 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  ap- 
peared. "Rel."  is  the  National  Release  Date.  "No."  is  thei 
Release  Number.  "Rev."  is  the  issue  in  which  the  Review  | 
appeared.  There  may  be  variations  in  the  running  time  in  j 
States  where  there  is  censorship.  All  new  productions  are 1 
on  1950-51   programs  unless  otherwise  noted.     (T)   immedi- I 


atelv  f 


title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,   (TR)  Trucolor,  (A)  Anscolor. 


y  Tollowing 


1950-51 


LIPPERT 


Completed  (13)     In  Production  (1) 


NEW  PRODUCTIONS 

LOST  CONTINENT 
Drama — Started  April  16 

Cast:  Cesar  Romero,  Hilary  Brooke,  Chick  Chandler 
Director:  Sam  Newfield  Producer:  Sig 

Story:    Prehistoric  world  of  dinasours. 

.     cASE  CHART 

  1949-50-51   

COMPLETED 

Title — Running   Time  Cast  D»tail«  Rel 

Bandit  Queen   Bnttun-Parker   9-25.  .12-15.  .  . 

Border    Ranger   Barry-Lowery   10-6... 

Colorado  Ranger   FIIKnn-Havden   4-21... 

Danger   Zons   Bea;,mont-Travis   4-20... 

Fast  on  the  Draw    r  'li  nn-Hayden   1-2 ... 5-19 .. . 

Fingerprints  Don't  Lie   Travis-Ryan   3-3... 

G.I.   Jane   Po:t:r-Neal   4-23  

Bunflre    :arry-Lowery   8-11... 

Hiiaeked    Davis-Jones   5-8 

Holiday  Rhythm   Hug  ?es-Street   6-5 

I  Shot  Billy  the  Kid  (58)   Barr^-Lowery   5-8 

Kentucky  Jubilee   Colon.ia-Porter   2-26. 

Little  Big  Horn   Ireland-Bridges   2-26... 6-18. 

Mask  ot  the  Dragon   Travis-Ryan   12-18 ... 3-17 . 

Motor  Patrol    (67)   Castle-Nigh   3-13... 5-12. 

Pier  23   Ee  .umont-Savage   5-11. 

Return  of  Jesse  James  (75)   Ireland-Dvorak   6-5  9-8. 

Roaring  City   Bs:umant-Travis   1-15.... 2-2. 

Savage  Drums    saau-Earon   3-26  

Steel    Helmet,   The   Edwards-Brodic   U-6  2-2. 

Stop  That  Cab   Melton-Adrian   3-31 

3  Desperate  Men   Fo.tcr-Davis   10-23  1-5. 

That's  Show  Business   Rose-Carroll   4-9  

Train   to  Tombstone   Barry-Lowery   5-8... 9-15. 

West  of   Brajos   Elli<n„_Hayden   12-19  6-2. 

Yes   St,   Mr.    Bones   F.  Miller   


.  .7-14. 
.10-13. 
.  9-8. 
..5-18. 


Neufieldl 


5010  

4933  

4925  

5017  1 

4929  I 

5015  

5012  

4932  I 

4920  j 

4911  I 

4931... 9-11 

5007  I 

5003  

5013  

4923  : 

5018  

4907... 10-9 
5016  I 


.1-29 


4934. 
4930. 
5019. 


METRO-COLDWYN-MAYER 


1950-51  Features 


Completed  (94)     In  Production  (6) 


NEW  PRODUCTIONS 

THE  LIGHT  TOUCH 
Drama — Started  April  17 

Cast:    Stewart   Granger,  Pier   Angeli,  George   Sanders,  Rhys 
Williams 

Director:  Richard  Brooks  Producer:  Pandro  S.  Berman 

Story:    Not  available. 

TOO  YOUNG  TO  KISS 
Comedy — Started  April  19 
Cast:    Van  Johnson,  June  Allyson,  Katharine  Givney,  Paulai 
Corday 

Director:  Robert  Leonard  Producer:  Sam  Zimbalist 

Story:    Not  available. 

MAN  WITH  A  CLOAK 

Drama — Started  April  25 

Cast:    Joseph  Cotten,  Barbara  Stanwyck,  Louis  Calhern,  Leslie 
Caron 

Director:  Fletcher  Markle  Producer:  Stephen 

Story:    Not  available. 


CALLAWAY  WENT  THATAWAY 
Comedy— Started  April  30 

Cast:  Fred  MacMurray,  Dorothy  Maguire,  Howard  Keel 
Directors-Producer:  Norman  Panama,  Melvin  Frank 

Story:    Not  available. 


Ames 


RELEASE  CHART 


i  V  PRODUCTION 

TJtli—SMr.ntng  Tlini 

AnceU  and  the  Pirates   

Westward   the  Women   


Cast  Details       lei.  Re 

...Douglas-Leigh   4-23  

. . .  .Taylor-Dared   4-23  

  195051   

COMPLETED 

Arrese  the  Wide  Missouri  (T)    (95)   baoie-Hodlak   8-14... July  

laerlean   in   Paris   (T)   Ktlly-Caron   8-14... Aug  

Bannerline   Forrest— Braselle   4-9  

Calling  Billdog   Drenmond   Pldgeun-Lclghton   8-28  .  .  .Aug  

Caese  tor  Alarm   (75)   Young-Sullivan   Feb  118. 


FILM  BULLETIN 


Onll's  Dim)   (84)   TU 

•til   1119    (75)   '  nompson-r  l«ld 

Euise  My  Dist  (T)    (82)   akelton-Forrest 

Filler's  Llttla  DMdend  (82)   Tney-Taylor 

Go  Ftr  Broie   (92)   Johnson-Anderson 

Gnat  Carisi.  The   (109)   Lanza-Blsth 

trends  For  Marriage   (91)   joi,nson-G  ayson 

Hoax  Town  Story   (61)   :rlsp-Heynolds  .. 

•allda  Stral|ht    (90)   Brian-Dahl  .... 

Ifi  A   Big   Caentry   All  Star   

Kla    (T)    (112)   Flynn-Stoekwell  . 

KIM   lavs*   Barrymorr-t«an< 

Kilt  Salomons  Mines   (T)    (102)   i«rr-t>ranger  ... 

Laa  and   Lady   Le»erly.   The   Garson-wiso.ng 

Lit.  of  Her  Own,  A  (108)   Timer-Corey  ... 

Lm  I,  Better  Thin   E.er   i*»lcr-Kanu  ... 

■Kiltcent   Yankee    (89)   Cainsrn-Harding 

■iairer  Story,  Th»  (104)   Garson-p,dgeon  .. 

Mr    Inperiin    (T)    <87)   Tirner-Psnja 

•nt  Voice  Yoa  Hear,  Th.  (82)   wnstmore-Da.is 

No  dictions  Asked    (81)   Sallivan-Dahl 

North  Comtry    (A)   Grinotr-Ccre) 

runted   Hills.   The   (T)    (68)   Williams-Keel 

aadara  and  the  Flying  Datehman   ( T  >  ( 123>  MaiOB-Gardner 


.  8-29 .  .  .  Sent 

.  .3-27  .  .  Not 
.11-6. .  June 
10-23  .  .  Apr 

.  .  10-y  May 
9-26       A  r 

.  .  .6-5  . .  Jan. 

 "nr. 


124. . .2-26 

 4-9 

127  4-23 
114  11-18 


.  4-24 . 
.12-19  . 
.  .  12-4 . 
.  ll-l  . 
.  .2-12. 
.2-13 


115  12-18 
.  11W .  .  .  10-9 
101  .  9-25 


.  .7-17. .  .Feh. 
.10-10  . .  Oct 

.8-14. .  .Jane. 
.  .3-13  . .  act. 
1-1  Jme 

.3-26  

4-24  May 


.8-21 


People    Against  O'Hara 

Ptaple  W«  Line.  The   

lat  Vaaia  (T)   

(in.   Rain.  Go  Away   

ltd  Suet  if  Ceenge  (81) 
la*.   Yiiii  aid   Pretty  (T) 

iHjat   Crou  90   

loyal  Widdlif   (T)    (92)  . 


vOlOK 


(92) 


drlitly  Dlshinerahle 


Tracy-OBrien 
.  .MHland-Hcdiak 
.  .  flylor-Kerr     .  . 
, .  Wlistmore-Daeis 
.  .Mirphy-Maildin 
.  Poweei-Camcnc 
, .  piwdl-atntaikai 
.  .Astaire-Powell 
, .  sardner_K«d  . 
, .  Granger-Pidgeon 
, .  Plnza-LeioU  .. 


1-9 
. 12-18 . 
...6-5. 
. . .4-9. 
..9-11. 
. .12-4  . 
. .4-1U  . 
..7-17. 
.  . 12-4 . 
..11-6  . 
..1-29. 

;.'l-29! 


108  10-23 


Mar 
July 

.Apr. 


the  Train 


n,  (101)   angoii-iriekson 

i us   Carni.a!    (T)   Williams-Skelton 

T.i.   K.ifa.    Thi   Pidgeon-Haiding 

Details  inder  title:  The  Bradley   Mason  Story 

'am  (in  nana*  Mike  C90)   Wyrwn-Johnson 

•  Please  A  Lady   (92)   Gable-Stanwyck 

•art  if  It*.  Orleaat,  Till   (T)    (97)    . . .  Grayioa-Liiua 

aa  Woaki  «lth  Lara  (T)    (92)   PowelUMintalian 

VaJliy  (T)   <a3)   Laneaster-Waiker 

i  la-dli  (70)   Sktllon-Britton 


. 2-26 . 

.1-20 

Jily" 

.8-14. 

.Mar.  . 

. .119. 

2-12 

.4-24  . 

.  Oct  . 

.105. 

.1-16. 

.St  t 

.  .103 

'  8-48 

.4-10  . 

.■•». . 

10-23 

.6-19  . 

.  Fib . . 

'..117. 

. .2-12 

.5-22  . 

.  .Jan. . 

. .113. 

..12-4 

MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (21) 
Completed  (  6) 


In  Production  (2) 
In  Production  (0) 


NEW  PRODUCTIONS 

7UKOX  MANHUNT 

Orama— Started  April  17 

"ast:    Kirby  Grant,  Gail  Davis.  Chinook 

director:  Frank  McDonald  Producer:  Lindsley  Parsons 


Story:    Manhunt  in  the  Arctic. 

)ISC  JOCKEY 
Musical- -Started  April  30 
Cast:    All-star  disc  jockey 
'Director:  Will  Jason 

jStory:    Not  available. 


Producer:  Maurice  Dukes 


XJMPLETED 


awarding   to   Mrs.    Hoyle   .  . 

lailng  Billets   

aaha  and  the  Hidden  City 


(Cl 


ataer  Takes  The  Air  ... 
•taw,  Wild  Gam.  (61) 

aart  Chasers   

Ighwayaan,  Thi   (T)  ... 

Ia«  Hiiten.  Tai   

aa  Fran  Sonora    (54)  . 

tileaa  Slltee   

•dam    Marriage,    A  (66*) 

"7  Baaad   

m*a  Badaaa   


Wau  Yean.  Tai  (79)   

'Id    Horse  Pralrii   

Itaaai.  Tae   

ALLIED  ARTISTS 

ate  Rath  Stary,  Tha   

*aa  Aa  Aaarleao  Say   

Fifth  Aveaie  . 
1-1000  <7J)   


«M  Trail  (64)   

Ma  Trrltary   

Tlalaar   

•laad  (C)   

»a  aid  tat  Lost  Volcano 


RELEASE  CHART 

  1950-51   


Cart 

.  Bying'.on-Chandler 

.Brown-Mail   

.Sheffield-England 

.  Gdftey-Hall   

.Fories-O'Herlihy 
.  Caoju-on-Long  .. 

.DeFK-Klif   

.Waltjirn-Gray  .. 
.  Walbern-Gray  . . . 

.Gortey-Hall   

.Hndrix-Cobirn 
.  Sheffield-Whitfield 

.  Brown-Hall   

.  Wlltaa-Clytfi  ... 

.Clarke-Field   

. Ncal-Tooasey  .... 
.  Wllsoo-K night  .. 
, .  Frarae-Grant  . . , 
.  Morris-Hale  . . . . 
.Alkrtfht-whrtet  . 
.CMt-kttari   


natiHs  •• 

.11-20. . .5-20. . 

 5-6. . 

...6-5... 9-24.. 
..8-14... 1-21.. 
. .3-12. . .6-10. . 
..10-9... 5-13.. 

.. .7-3  

. . .4-9  

..10-9... 12-3.. 
..1-29... 4-29.. 

..3-12  

.  .1-1... 3-25.. 
.11-20. . .3-11. . 

...6-5  

..2-13.. 10-15.. 
..11-6... 2-25.. 
. .2-26. . .5-27. . 
.  12-18 . . .  2-H . . 

 1-7.. 

.10-23.. 12-31.. 

 2-18.. 

..2-12  4-8. 

..9-11  


5199. . 
.3120. . 
.5152. . 
.5115.. 
.5107. . 
.5105.. 

.5151*. ' 


*****  Uarttlai  (57) 


«    *?u  "  **•  s«,arc«  Clreia  (63) 

Haw  Gild  (51)   

"t»a»  af  Taxaa   


 Benarc-Trevor  ... 

.  . .  Relssae 

May. 

 Driral-Erau     . . . 

...1-29. 

.4-15. 

...19... 

 DeFore-Storm     .  .  . 

.  . .  Reissue 

..May. 

 DiFara-Kiia   

 lad  Cameroa   

11-12. 

...ii... 

12-24. 

...18... 

 1949-50  

 Wilsaa   

....9-11. 

..8-4. 

.4946.  . . 

 Wllsaa-Cyai  .... 

...6-5. 

..7-2. 

.4942... 

 MasDowell-Donnell 

...6-19. 

.9-10. 

.4908  .  .. 

 Williaau-Nifh  ... 

....9-25. 

.1-28. 

.4904... 

 .hefneld-Lord   

....3-27. 

6-25. 

4<>0S  .  . 

 Grant-Chinoak  ... 

....10-9. 

12-17 . 

.4920. . . 

 Wilsaa-Clyai   

. . . . 8-28 . 

.10-8. 

.4944. .  . 

 Brown-H  a  1 1   

...10-23. 

.1-14. 

.4955... 

 VhrMa-Llndfarj 

3-18. 

.5192... 

 Lyaan-Wlottn    . . . 

'.'.'.'.B-M. 

.10-22. 

.4918.  .  . 

(63)   . .  Klrkwoad-GJeuan  . 

.11-5. 

.5117... 

 Brown-AetMH   

'i-ii'. 

11-26 

.4954... 

  Wlbdn-Clydi  . 

 9-11.. 12-10... 4945 

.  den.irt-nilllai 
Land  s-Calltia  . 
Grant-Verdii* 
Goreey-Hall  ... 


4-10      6-18  4924 

risen  . . .7-9  4923 

.5-8-716  4919 

5-8      8-13  .4915 


PAR  AMOUNT 


1950-51  I  Vat -ires 


(  wmpictrd 


Bruce 

ne-Wm.  Thomas 


NEW  PRODUCTIONS 

HONG  KONG 

Drama— Started  April  30 

Cast:  Ronald  Reagan,  Rhonda  Fleming,  Nigel 
Director:  Lewis  R.  Foster      Producers:  Wm.  Pi 

Story:    Mystery  and  romance  in  the  Far  East. 

RELEASE  CHART 

IN  PRODUCTION 

Title  MmlM  TI-- 

Aa-'on   Slick  from    Pmkin  Creek 

Greatest   Show   in  Earth   

My   Son  John   

Rage  of  th'   Voltire.  The 

COMPLETED  - 

Ace  in  The  Hole  (112)   

Appointment  With   Danger  (89)   

ndar   title-   Pastel  laiiartar 

At  War  with  thi  Anay  (93)   

anna*   (T)  (103)   

Details   end*  title:  Miataii  dldei 


Cut 

Shire-Voong 
.  Hetton-Mewart 
Hayes-Htlin 
Lajd-Kerr 

1950  51  — 

.  Oaigias-bterhig 


»llTl«r-JiM, 


9-11 


.  ■IMind-LiBarr 

.  Payne-Flrmsng 
.  Fontaine-Lend 
.  Hutin-Seitt 

Freem  ji._s  rnild 
.  Doeglas-Pa-ke. 


.4-25 

1-  29 
11-20 

4-24 
.11-* 

2-  26 
7-4 

.12-4 
6-5 


,  .Mayien-Riih  . 
.  Corey-Cariy 

,  .Crosby-Wyman 
.  Rcagai-F  leasing 
.  Hone-Maxwell 

.  Hirton-Astilri   7-18 

.  Tiwney-Liid   6-5 

.  Beri-Loeh 


.10-23 


8-28 


11-7 


3-12 
10-24 
..7-3 


Ladd-Kennedy 


11-20 


Caaelee  ta  Karta  (59)   

r>....  r.,,v,„   (T)  (jj)   

Cra<sw  nds  (T)   

Oaring    Haw   Coald  Ym!   

Dark  City  (S8)   

Dear  Brat  (82)   

Octeati.e    Story,  Thi   

Fliiy  PaiU  (T)  (92)   

Fort  Saeaai  (T)   

Great  Missouri  Raid.  The  (T)  (8 

Hen  dates  the  Groom   

laet  Ortiost,  Th«  (T)   

Lemon  Drop  Kid.  The  (91)   

Lrt's    Dance    (T)  (112)   

Mating  Season.  The   

Details  under  title:  A  Relalrti 
Molly  (83)   

Ret.    under   title:   The  Goldbergs 

■r.    Mislc    (108)   Crasby-Hiisiy   

My  Faeoriti  Spy   Hipe-Laaiarr   

Parage  West   (T)    (80)   Payne-0  Knfe   

Peking  Express   Co'.ten-Caleet   

Plaei   In   Thi  Sin,  A   Clilt-Winters 

diebec   (T)    (85)   Barrymari  Jr.-Caleet 

Redhead   and   the  Cowboy     82   Ford-Meming   

Red   Mointasn  (T)   

Details    under   title:   Quantrell's  Raidi 

Rhubarb   Milland-Slerltng  3-12 

Saaaii  asd  Delilah    .  T,    (128)  Laaarr-Matiri   10-ZJ 

Sarteaibar  Affair    (104)     Fantalnc-CitUa   8-29 

taajethln,  Ti    Lift    Far   FonUtne-Milland  6-5 

OatiMi  andar  title:  tar.  and  Mrs  Amnymaai 

Sloate,   The   Martin-Lewis   2-26 

Sabaarlie    Canaiaad   Holden-Olsos  1-15 

(Ditalli  inder  title:  Sdbuarlii  Stody.  Thi) 

That's   My    Bay   Mvtin-lewl,    12-18 

Trta    (91)   Slnmnai-Rianle   Firelcn 

TrtaeHl    <T)    (95)   O'Hara-Payne   3-27 

■alaa  Statian    (80)   Hildca-Fltmnld  ...1-30 

Waraarh   (T)   UBrien-Jagger  9-11 

When  Worlds  Collide   (T)   Derr-hun   1-1 

  1949-50   

Eaale  and  the  Hawk,  Thi  (T)    (104)   Piyni-muli,   8-15 

Farlai.  Tha  (109)   Stanwyck-Carey   12-5 

Lawless.   Th«    (83)   Carry- Ri  iiall   11-7 

My  Friind  Iraaa  Gael  We»t   (90)   Wllna-Liad   2-13 

laaiat   Baalarard    (110)   Hildii-Saiisai   4-25 


RELEASE  CHART 

  194W»-51  


lei 

Msj 

■ta 

5023 

•  •  •  •  • 

23 

1-51 

!014. 

13-lM 

1-51 

;oo? 

1»-JJ! 

'iaam 

iAla 

10-12 

5003 

8-14 

io-ri 

11-51 

10-50 

5004 

.  6-51 

5021 

.  .  .9-4'. 

5001 

8-14 

. .2-51 ! 

5013 

.'  .'i-i 

9-51 

. .5-51 

.5020 

4-51 

5018 

3-26 

11-23 

'006 

8-ta 

..3-51. 

.5016 

l-*9 

..4-51. 

.5011 

.12-4 

.12-50 

.5007 

B-tJ 

12-51 

7-51. 

.5022 

8-51 

9-;i 

5025 

...4-51. 

5017 

3-51. 

.5015 

.  .1-1 

9-51 

. . . 3-51 . 

.5010 

11-11 

...2-31. 

.5012. 

.1-15 

10-fl 

10-51 

. .8-51. 

.5026. 

11-6 

.  .11-11. 

.5005. 

10-2« 

. . .9-50. 

.5002. 

.7-81 

8-51 

5024 

11-51 

. .6-50. 

.4916 

t-13 

.  .  .8-50. 

4926 

.  7-1T 

..7-50. 

.4923 

.4-10 

.  .  .7-50. 

4922. 

.6-19 

. . . 8-50 

.4927. 

4-04 

Title- 


All  Relet  in 


the  Wastirn  Fnit 

Bayiod    the  Slant   

laa er,   ti   Braadway  (94)   

Oaad   Man's  Eyes  <64)   

East  Side  If  Heaien     88  .... 

Flesh  aad   Faataay  (94)   

FaMow  thi   Boys  (109)   

Fnm-d  (60)   

Fri«ea  Sal  (94)   

Gallty   of    Murder  (80)   

6,psy   Wildcat    <T)  (75)   

Here  Com»  the  Coedi  (CO)  ... 

If   I    Had   My  Way  (93)   

laaltatlan  if  Life  (109)   

I  *al»  a  "lino"  (80> 

Has  'Em  Slutfrng  (61)   

Leather    Peshrrs  (64)   

Mafnlficent    Obsession    (103)  .. 

M«ry  Monahans  (91)   

Hblhtasare  '82)   

Mr.    Oynimlt.  (68)   

Parts    Bambshell  (96)   

Pand  (67)   

Sataatt.    Thi  (85)   

Saadaa  of  a  Dnkt  (108)   

tillrram.  The   

Taata  As  They  Ciat»  (61) 

Walk   In   the  Sin,  A   

Toe  Cin't  Get  Away  With  II  U 


saal 

totalis 

Bal. 

■  l.  Bsaj. 

(103)   . .  .Ayraj-Walaalai   

8-50  . 

 Fard-4' Brlia   

.5-4J.. 

 •  Ca«aar-a47ta   

C-50. 

.  027  . 

 Caaaey-Partdr   

.5-50. 

.  034  

 Crafay-Blaaaafl   

1-50 

.  020  

 Rotiosen-Stanwyek    .  . 

.4-50. 

.0343  

 Kaft-D  Letrleb   

..2-90. 

.  •»  

 Aiaartaaa-Maari   

. .3-50 

.  016  

 f  •it»r-l  ey   

. .2-50 

.  022  

 Saadars-Fltjsjariid  . 

.6-50 

.041  

 Montu-  H  al  1   

. .6-50. 

.  831  

 Abbatt-CaatiMi   

.  6-50 

.  092  

 Cratay-Jaaa   

.1-50 

021  

 C'satrt  Baatari   

12-49 

.01*  

 taft-Tmar   

.3-50. 

.  017  

 ttU   End  Kldi 

.5-50. 

.  039  

 Ariia-Disrlai   

. .4-50. 

.  037  

 Daaae-Taylar   

. .1-50. 

. .028  

 ••Caaaar-Bfytai   

. .6-50. 

.035  

 l>MliTy-B4»Tyswari  . 

. .5-50. 

.033  

 lalia-Mirny   

.  .4-50. 

.038  

 Saitt-Bitkaaaa   

2-50 

. .024  

 HiMer-Praitaa   

. .3-50 

.  015  

Laaahtia-aaJaatj  .... 

.  6-50. 

.  042  

 Wiaat^attaa   

12-49. 

.  019  

 aaxtar-Mlteaill   

.1-51.' 

 Dead  Ead  Kids   

'.'.5-50. 

'.'040'.'.'.'.'.'. 

 «.iJrt»v-Coire   

.'i-51.' 

9)   Saasjster  Daeaateatiry 

'.V50.'. 

. .030. .... . 

MAY  7 


J 


REPUBLIC 


1950-51  Features 
Serials 
Westerns 


Completed  (18)  In  Production  (2) 
Completed  (  1)  In  Production  (0) 
Completed  (  9)      In  Production  (0) 


Jim  Davis,  Adele  Mara 


THE  SEA  HORNET 
Drama — Starter!  April  28 
Cast:    Rod  Cameron,  Adrian  Booth, 
Director-Producer:  Joseph  Kane 

Story:    Tryanny  on  the  high  seas. 

~"  RELEASE"  CHART 

IN  PRODUCTION 

Tl.|,  o.nnln.     T|B|  *lt  n— I. 

Wings    Acro.s    the   Pacific   Ccrcy-Ralston   4-23. 

  1950-51   

COMPLETED 

Mb  u  Grand   Ralrton-Carrell   7-31. 

■Mtarao  Sheriff  of  Texas   Chapn-Jansson   

MMtktV  and  thi  Lady   Stack- Page   6-5. 

•Utter*  la    Paisag*   r»ek«r-M*ra   3-27. 

Mm    Fireball   Estelita-Vlneent   9-25. 

Dam  Daredevil  Rkt*s  Again   Curtis-Town*   3-12. 

» seating   Coast  Guard   Donlevy-Tueker   

Feglttve  Lady   Paige-Barnes   

Havana   Rot*   Rogers-Rodriguez   

■NTt  ef   the    Aeckles   ROOtrs-Edwar  ds   10-23. 

■N  Parade  of  1951   (85)   .JUeDoaald-Carroll    .  .  .  5-22. 


.1-27. 

. .5-1. 


12-15 . 
. .3-5. 


5-26. 
.5-15. 
.3-30. 
10-15. 


.5009. 
5005. 
.5007. 

.5010. 
.5011 


.5042  

.5002. .11-20 


Lad, 


chile  (Tr.)  ... 
M    Amarlllo    .  . 

restlgator 
Possessed  .... 


.  Canova-Foy,  Jr. 
.  Roger  s-Rodriguer 
.  Denning-Long 
.  Mason-Havoc    .  .  . 
.  Wellei-Helin    .  . 
.  Edwarfls-riagg 
.  Edwards-Millican 


12-18. 
.  3-26 


Dollar  Per s» 1 1   

(60)   

Raiders  of  Montana   (60)   Lane   

in,    Sosanna!    (Tr)    (90)   Cameron-Tucker 

VIM*  *f  Narylaad   Cltments-Stewirt 

tamers   of  the  Golden   Sage   Cnapin-Janssen 


.3-12. 
.11-20 
.  .12-4. 
. .6-19. 
..10-9. 
. . .4-9. 


5-15    

.3-23. 
.  June 

.5026. 

.  .4-9 

10-20. 

.5003 

5-30. . 

.2-23. . 

.5025. 

.3-12 

.2-28 

.5059. 

.  .4-9 

.3-10.. 

.5008. 

.3-26 

.1-20  . 

.5023. 

.1-29 

rande  (105) 
King  and  tt 


.  Wayne-O'Hara   7-3 .  .11-15 . . . 5004 . .  11-20 


Sonorita   Allen-Kay    .  .  . 

i  to   Lane-Towers 

City  Benania   Allen-Ebseo    . . 

•f  Calient*   Roge,-s-Evans  . 

i  of  the  Plains   (66)   Rogers-E Hoards 

Mr   Carrtll-llara 

Jit   under  title:  Untitled 

God's   Country   R«x-Allen   

Fargo  Gem* aster   Lane-Chapin 

 1949-59  — 

Carroll-RalrUn 
Uno-Walter 
Patrlck-R*ckw*ll 


.  3-26 
. 10-23 . . 
..11-6  . 

. .3-26. 


teamed  Wagon  Raid 
■Ig  Hoese 
TornUo 


Lane-Waller 

 EHIott- 

I  la  the  Watt   (C)   R*g*rs-Ed»ardt 

ef  Reel*  Head  (C)   (67)  Rogers-Edwards  . 

WlttMIt   Jiry   Patrick- «**lw.!  I 


(Tr.  j 


.  tllen-Patriek 


.3-13.  .  .6-2*5. 
.3-13. . .6-30. 

 6-1. 

.6-5. . . .9-6. 

 7-29. 

.5-8. . .9-18. 
.11-7. . .9-18. 
.7-31. 10-23. 

 t-15.. 

..3-27... 9-25. 
...7-3.. 12-15. 

.  .2-27  7-8. 

.12-19. . .6-30. 

 11-20. 

...5-8....  8-6. 


.4921. 
.4945. 
.4954. 
4966 


1950-51  Features 


RKO  RADIO 


Completed  (48)     In  Production  (3) 


NEW  PRODUCTIONS 

RKO  RADIO  e 
ir>.V>  .~>l  Features  Completed  (48)      In  Production  (4) 

THE  LAS  VEGAS  STORY 
Drama-  Started  April  19 

Cast:  Jane  Russell,  Victor  Mature,  Vincent  Price,  Brad  Dexter 
Director:  Robert  Stevenson  Producer:  Robert  Sparks 


y:    Not  available. 
IN  PRODUCTION 

Tm*— R.nnlag  T 

•  Yoerself   


GROUP  ONE 

■ardor  Tr*as*r*   

Bars  T*  Re  Bad  (93)   

■eee*   Sgaad  (67)   

Wail   Softly.   Strang*    (81)  ' 

GROUP  TWO 

■aaartartat  Altatrar   


RELEASE  CHART 


1950-51 


Holt-Martin 
.  Fontaine-Ryan 
.  St*r1l no- Dixon 
.  Aidrews-Pow*rs 
.  C*tt*n-Valli  . 


.4-9. 
4-23 
4-23 


I 


ataear  a  Dell  Moment 
■a*  Bread*  Patrol   .  . 


.8-50.. 

. .105. 

 7-4 

. .8-50  . 

. .101. 

.  .9-11 

.  .  .  2-27 

. .9-50  . 

.  .104. 

s-ta 

...2-87 

.10-50. . 

.103. 

. .9-415 

.11-50. . 

.  .102. 

..9-11 

.11-50.. 

.107. 

1-1J 

.11-50. . 

.106. 

.11-50. . 

.  .108. 

NOT  DESIGNATED 
All**  li  Weaderlaad   (T)   Dliney  Cartaoi 

Bast  »f  the  Badmen   Ryan-Trevor 

Caeter*.  Tha  (81)   Ayres-Wright 

Cempaay  She  Kaees   Greer-0' Keef e 

Details  under  title  The  Wall  Outside 

track  Dawn   

Cry  Danger  (79)   

Double  Deal  (64)   

Edge  of  Doom   

P  tying   Leathernecks  (T)   

Footllght   Varieties    (61)    . 

Gambling    House  (80)   

Details  under  title:  Alias  Mike  Fury 
•an    Not«h*»   Holt- 


 6-51. 

.8-29... 6-50. 
.3-13... 1-31. 


176. 
.073. 
.109. 


.1- 


Willlams-Armitrang    . .  .6-19  

Poweil-rieming   6-19.  .  .2-51. . .  .115..^ 

Denning-Wlirdsor   7-31. 12-50  118....: 

Andrews-Granger   12-3 .  .  .  8-50  152 ...  li 

Wayne-Ryan   12-4  

Paar-Buttcns   8-14  116  . 

BendU- Mature   2-13.  .  .1-51  110.  ..2- 


under  title:  Mother  of  a  Champion 


Details 

Half  Breed.  The   

Hard,  Fast  and  Beaotltol 
Hunt  tha  Man  Down  (68) 


It's    Only  Money 
Jot    Pilot  <T) 
Kon-Tlkl    (73)  . 


.3-26 
.7-31 
.5-82. 


Mad   Wednesday  (80)   

Mad  With  Much  Heart   

Ma*  He  Found.  The   

My  Forbidden   Past  (81)   

On  The  Loose   

Oar   Very  Own  (93)   

Payment   on   Demand  (90) 

•(tails  ender  title:  Story  of 
Pistol  Harvest  (60)   


(61) 


Rosthsr's  Rang* 

Saddle  Legion 

Sealed    Cargo  (89)   

Details  ender  title:  The  Gaaat  Woman 

Secret  Fary  (86)   

Sen*  of  the  Musketeers  (T)   

Tarnt   

Tanan'e  Peril  (79)   

Texas    Trigger  man   

Thing.  Th*  (81)   

Tokyo   File  212  (84)   

T  r»»er,    l.laad    (T>  (96)   

Twe  Tlekets  to  Broadway  (T)  

Vendetta  


 12-19  

.Travel   4-51.  . .  .173.  . .  .4 

.lassell-Mltthaai   9-11... 2-51  

.  Lloyd-Walb.rn   10-1.  .  10-50.  ..  .166 ...  .> 

.  uyan-Lupino   5-8.6-51  

.Reid-Tattla   6-5  

.Gardner-Mitehum   10-10.  .  4-51  114  ... 4 

.teans-Barl   1-29  

.  Graoger-Blyth   9-12. .  .8-50.  ..  .131. .  .4-1 

,Davis-Su;iivan   2-27.  .  .2-51.  .  .  .171.  .  3- 

?He!t-Martln   12-4  

.  Mriisw-Dlxen   10-23  

.  Halt-Martin   1-29  

Hoi:-Martin   7-31  117  

.Cemert-Ryan   11-7. .  .9-50.  ..  .075. ..  .» 

Andrews-Rains   8-14... 5-51  4-i 


Hara 


.1-2  

..6-19  

.Narker-Huston  11-6.  .  .3-51.  ..  .172 

.  Melt-Martin   7-3   

.lobey-Sheridan   11-6.  .  .4-51.  .  .  .174 

.Marty-Peyton   5-51  175 

.  Driicell-Newton   7-50  191 

Leigh-Martin   11-20  

.  Oemergat-Doleni   8-19 . .  12-50. ...  167 


20th    CENTURY- FOX 


1951  Feature* 


Completed  (34)     In  Production  (5) 


NEW  PRODUCTIONS 

A  WAC  IN  HIS  LIFE 
Comedy— Started  April  18 

Cast:    June  Haver,  William  Lundigan,  Marilyn  Monroe,  Fran 
Fay 

Director:  Joe  Newman  Producer:  Jules  Buc 

Story:    Romance  in  the  service. 

RELEASE  CHART 

IN  PRODUCTION 

Till*—  Rannlag   Tim*  Cait  Details        Rel  «a. 

Day  The  Earth  Stood  Still,  The   Rennie-Neal   4-23  

 Mason-Young   4-23  


Desert   Fox,  The   

Dr.  Praetorious  Story,  The 

Hease  On  the  Square   Power-Smith 

COMPLETED    1950-51  — 

Anne  of  the  Indies   Jordan-Paget 

As  Young  As  Yo*  Feel   Woolley-Ritter 

Details  under  title:  Will  You  Love  Me  in  December? 

Bird  of  Paradise  (T)   (100)   Jordsn-Pagat  .. 

Call  Me  Mister  (T)    (95)   Graalc-Dalley 

David  and  Bcthsheba  (T)   Peek-Hayward 

Decision   Before   Dawn   Marrill-Ba-ehart 

Details  under  title:  Legion  of  th*  Damned 

Follow  the  Sun  (90)   Ford-Baxter  ... 

Fourteen  Hours  (91)   Douglas-Basehart 

Friendly    Island    (T)   Landiaan-Gr*er 

Frag   Men.   Th*   Widmark-Andrews 

Golden   Goos»,  Th*   MacMurray-Parker 

Gay  Who  Came  Back,  The   Douglas-Darnell   12-18  . 

Details  under  title:  Guy  Who  Sank  th*  Ma«y 

Half  Angel    (T)    (80)   Young-Cotten   7-17.. 

Halts  of  Montezuma.  Tha  (T)   (113)   Widmark-Gardntr   6-5. 

Holy   Year.   1950    (42)   D«umentary   

House  on  Telegraph  Hill   (93)   CoMasa-Lundigan   9-11.. 

I  Can  Get  It  For  Yo*  Wholesale  (91)    .  .  .  Dailey-Hay#ard   10-23.. 

I'd  Climb  the  Highest  MaanUin  (T)   (88) .  Hayward-Lundigan   6-5 

Kangaroo   (T)   O'Hara-Lawford   11-2 

Kefauver   Crime    Investigation   Mows  Feature 

Lecay  Nick  Cain  (87)   

Man  Who  Cheated  Himself.  The 
Meet  Me  After  Th*  Show  (T)  . 
Mr.  Belvedere  Blows  His  Whistle 
Th*  (99)   


.3-12 
1-1. 

.6-51 

8-14. 

.3-51. 

.109. .3-: 

7-17. 

.2-51. 

.104... 2-: 

12-4. 

9-25. 

10-9. 

. 5-51 . 

..112.... 4 

4-51 

 3-! 

3-12   

1-1 

7-51 

. 5-51 . 
1-51. 
Aag. 


6-51  

4-51. . .  111. 
2-51  105.. 


(81)  . 


Of  Men  and  Masle  (85)   

On  the  Riviera  (T)  (90)   

Rawhide  (86)   

Secret  *f  Convict  Lake   .  '. 

Sword  of  Mont*  Crlsto,  The  (80) 

Take  Care  of  My  Little  Girl  (T)  (93) 

Thirteenth   L«tt*r,  Th*  (85)   

Ye*'re  In  th*  Navy  Now  (93)   

Bey.   ender   title:  U.S.S.  T*ak*ttl. 


.  Ratt-Gray 

.  Cobb-Dall   

.  Grahle-Carey   

.  Webb-Dru   

.  Dunne-Gulness  ... 
.  Stewart-Dietrich  .  . 
.  Concert    Feature  . 

.Kaye-Ticrney   

.Powcr-H.iyward 

.  Ford-Tlrrney   

.  Mentgomery-Corday 

Grain-  Peters   

.Darnell-aoyer  ... 
.  Cooper-Albert 


..1-29. 

.  .  .4-9. 
.  .6-5.  . 
.9-25. . 

.9-25.'. 

1-  30. . 

2-  12 
.9-25  . 

11-6 
.8-25. . 
.11-6.. 


4-51  

3-51  3- 

1-51.... 102... 1- 


1-  51.. 
. 7-51 . 
3-51.  . 

5-51. 

5-51. 

7-51. . 

3-  51 . . 
7-51 . . 

2-  51 . . 

4-  51.. 


FILM  BULLETIN 


UNITED  ARTISTS 


1950-51  Features 


Completed  (    )     In  Production  (0) 


RELEASE  CHART 

COMPLETED  —  1949-50   

THto— tMMlM    Tl».  Cut  Details 

lalral   Was  a  Lady.   The    (87)   Hendrlx-E.   O'Brien  .11-21. 

Details  inder  tttto:  The  Iron  Cage 


.  Foreign 


ilro    Road   Eric  Portman 

ircli  of  Danggr   Milland-Roc 

lights   Chaplin-Cherrill 

eidturst   Preston-Srllars 

rrano  De  Bergerae   (112)   Ferrer-Powers 

ake's    Duck   Fairbanks-Donlan 

,i|  One.   The   Farrar-F  itrgerald 

illila   Mlcheln  Morgan 

irst    Legion   Boyer-Bettger   

e  Ran  All  the  Way  (77)   Garfteld-Winters   

•odium.   The   Tierney-Roberts   3-26.  . 

This  Be  Sin   (72)   Loy-Ce«mlnj   

agiols  Trail.   The   (85)   Montgomery-Marshall    .  .  .10-24 

em    Patrel   Emory-Fong   10-9... 

eng  Dark   Hall.   The   Harrison-Palmer   

an  From   Planet  X   Clark-Field   

an  With   My  Face    (75)   Nelson-Matthews   

en.  The   (85)   Brando-Wright   11-21. 

ir.    Uni»erse   Carson-Paige   

y   Outlaw    Brother   Rooncy-Hendrlx   

M  Mexico  (Ans)   Hores-Maxwell   

lotto   Ncagle-Howard   Foreign.. 

liver  Tv/lst  (115)   Mowton-Goinncjj   Foreign.. 

Me  A  Thief  (88)    Romero-Havoi   1-2.. 

Details  under  title:   Once  Over  Lightly 

irdon   My   French   Oberon-Henreid   

rowler.   The  (92)   Hetlin-Keyes   4-24. 

Details  under  title:  Cost  of  Loving 

lean  For  A  Oiy   (107)   Avtry_MvGavln   10-9 

 Ireiand-Mecamoridge  ..4-24.. 


7-  6  . 

. 3-8 . . . 
9-50  . 

8-  3 

7-  20  . 

8-  10 
8-17 

6-1 

5-  11 

. .7-13 
6-15 
...9-8 
.616 
1-15 . . . 

4-  10  . 
.  4-27  . 

6-  8 

.  8-25 

1-  10. . 

2-  27 
.5-18 

5-  15. . 
4-17 . . 
..7-7. . 


Dungeon.  The 


(93)  . 
Details  under  title 
•Nad   Woman,   The  (91) 

klgalong  Rosenbloon   

e  Long  at  the  Fair  (90)  ... 

t.  Benny,   the  Dip  (80)   

•■  Sett  at  Dawn,  The  (71)    . . 

hey  Were  Not  Divided   

hfie   Husbands  (78)   

Bert*  (tegs  North   

ry  and  Get  Me  (90)   

lev.  egder  title:  Sound  of  Fury 
••  Giyt  and  A  Gal   


.  Yonng-Drake 


.  Slmmons-Bogirde  . 

, .  Foch-Haymes    .  . . 

, .  Parr-Shawn   

.  Underdown-Clanton 
.Williamj-Arden  .. 
.  Bridges-Padavonl 

, .  Lovejoy-Ryan     . .  . 

.Paige-Alda   

, .  Duryea-Sterm     .  . . 
, .  Magnanl-Branl 
, .  Montez-Amont    . . 
, .  Preston-scott 


.2-51 
. .4-3. 
.3-29. 

6-22 
.1-22. 
..2-1. 


.3-26 
.2-12 
.1-129 
^2-12 


...7-3 
.  .7-3.  . 
.5-22.  . 


6-29 
.7-21. 
..5-1. 
. .1-2. 
.4-20. 


UNIVERSAL-INTERNATIONAL 


1950-51  Features 


Completed  (39)     In  Production  (4) 


-23. 


.11-6.  .  Mar. 


116 


NEW  PRODUCTIONS 

BINDERS  KEEPERS 
Comedy— Started  April  27 

^ast:    Evelyn  Varden,  Julia  Adams,  Tom  Ewell 

director:  Frederick  de  Cordova       Producer:  Leonard  Goldstein 

Story:    Child  runs  amuck  of  gangsters. 

•"LAME  OF  ARABY  (T) 
■"antasy— Started  April  28 

:ast:    Jeff  Chandler,  Maureen  O'Hara,  Susan  Cabot,  Maxwell 
Reed 

)irector:  Cnarles  Lamont  Producer:  Leonard  Goldstein 

Story:    Oriental  princess  heads  search  for  wild  horse. 

RELEASE  CHART 

IN  PRODUCTION 

Title— Binning   Time  Cast  Details        R«l.        Me  ■« 

ady  Pays   Off,   The   Darnell-MrNally 

  1950-51   

kkott  4  Costello  Meet  the  Invisible  Man..  Abbott  &  Costello 

»   "dot   MeHally-Russell   Mar  .  .  .115. 

paehe  Drums   (T)   Grey-McNally   8-28... June  

edtime  for  Bonio   (83)   Reeean-Lynnn   9-11  ...  Feb  .  112 

right  Victory   Dow-Kennedy   8-28  

Details  under  title:  Lights  Oat 

•ttle  Drive   (T)   Mecrea-S*ockwell   12-4  

»»«.  The   (T)   Smith-Carey   4-9  

omm'   Round  the  Mountain   Abbott  &  Costello-Shay  1-29  

Details  under  title:  The  Real  McCoy 

'•Jorted  (88)   Toren-Chandler   10-10  ...  Nov ....  103 

•ouble  Crossbones   (T)    (75)   O'Connor-Carter   10-10  .  .  Apr  .  .. .117 

'•t  Man,  The   Smart-Keadows   May  ...  120 

iddler's  Green   Wooters-Conte   3-12  

:l»e    Day    (T)   hull-Duff   4-9  

'rtnebie  (T)   MeCrta-Wintirs   5-8  . .  .Jan.  . .  .108 

'raneis  Goes  to  the  Races   uoonnor-White   12-4  

■olden  Horde.  The   (T)   Blytbe-Farrar   1-29  

■room  Wore  Spurs  (80)   Rogers-Carson   7-31. 

•""•t   (142)   DUWer-SlmtaoM   

••rwy  (104)   Stewart-Hill   5-«  . 

lollywoed  Story.  The   Coflte-Adamt   12-18  . 

rio  Man,   The   Keyes-Chandler   1-29. 

t*»iaj  Raider.   (T)    (80)   M amity-Chapman   6-5. 

<*»!«   Bid   It   Blythe-Stevens   6-19 

-Ittle  Egypt    (T)   Fkming-stevens   12-4. 

•a  and  Pa  Kettle  at  the  Fair   Maln-Kilbrlde   2-27. 

»«  and  Pa  Kettle  Back  on  the  Farm  . . . .  Maln-KllWide   2-27  . 

■Mnet,  The  (78)   Mirray-Walsh   Foreign  . 

Mark  of  the  Renegade  (T)  . 
Details  gnder  title:  Don 


114 .. . 2-26 

101  

107.  10-23 


May 


Feb 


Til  (87)   

■ntary  Sikmarlne   

Om  Never  Knows   

Operation  Disaster  (100)   

Prlnc.  Who  Wat  A  Thief.  The  (T)   

SaitgJer's   Island  (T)   

Target   Unknown  (90)   

Thunder  On   the  Hill   

Details   under    title:    The    High  Groend 

Tomahawk   (T)  (82)   

Undercover  Girl  (83)   

Under   the   Gun  (84)   

Up  Front  (92)   

COMPLETED   

Abbott  1  Sostello  li  the  Foreign  Legion  (79) 

•attain  Call  at  Ciitin  Creek  (86)   

Doeort  Hawk,  The  <T)  (77)   

Loilia  (JO)   

Spy   Hint  (75)   

Details   under    title:    Pan  her  s  Moon 

Woman  en  the   Run  (77)   

Wyoming   Mail    (T)  (87)   


Certis-Laerle   9-25.. 

Keyes-Ch.indler  7-17 

»te»jns-Nleol   9-11  . 

Coltert-Blyth   11-20.  . 

Hemn-DeCarlo    6-5  . 

imith-Brady   7-31 

lottor-Conte   5-22  . 

Wayne-twrll   10-9  . 

1949-50   

Abiiott  t  Costtllo   5-8  . 

O'Connor-Arden  .  2-28 

Dctarlo-Greene    4-10  . 

Bylngton-Reagan  .  .12-13 
loren-Ouff   2-27  . 

SUeriCan-O'Koofe   5-22  . 

Smith-McNall,   5-22  . 


N  » 

102 

Dec  . 

106 

Jan 

113 

1-29 

May 

121 

Feb 

111 

Feb  . 

110 

1-29 

D  c 

. .105. 

.11-6 

J  n 

109 

1-1 

.Apr. 

118 

3-12 

Aug  . 

June 

918 

Al| 

.  925. 

8-14 

Aeg  . 

S26 

6-19 

920. 

7-31 

Oct 

932 

Oct 

931 

WARNER  BROTHERS 


1950-51  Feature 


C'omplelrd  (35)      In  Production  (3) 


RELEASE  CHART 

IN  PRODUCTION 
Title—  Inning   TlBl  Cut  Details 

Distant  Orums   Uuper-Aldon   4-23 

As  Time  Goes   By   Killand-Tk-rncy  4-23 

Details  under  title:  Baby  For  Midge 

Faroe    of  Arms   

Painting  the  Clouds  with  Sunshine 

Details  under   title:   Golddiggrr.   of  Las 


Holden-Ohon 
.  Mayo-Morgan 
Vegas 

1950  51  - 

.  Ann  Sheridan 

.Douglas-Mayo 


3-12 


.  Garfield-Real  ... 

.  Brlan-Agar   

.  Peck-Mayo   

.  Cooler-Roman  . 
.  Flynn-dedavilland 
.  Bogart-Roberts 

.  Scott-Brian   

.  Lawrcnce—Wyman 

Cravriord-Young 
.  Cochran-Andre 
.  LovoJoy-Hart    .  .  . 

Brian-Cochrane   .  . 


AJcatrai    Island  (64)   

Along  the  Great  Divide   

Details   under   title:   The  Travelers 

Breaking  Point,  Thi  (97)   

Breakthroigh  (91)   

Curtain   Horatio  Hornklower  (T)   

Dallas  (T)  (94)   

Dodge  City  (104)   

Enforeer,  The  (87)   

Fort  Worth  (T)   

Clan   Menagerie,  The  (107)   

Goodbye.    My  Fancy  (107)   

Hlgtrtny  301  (83)   

I   Was  A  Communist  (83)   

Inside  the  Walls  of  Folsom  Prison   

Details  under  title:  The  Folsom  Story 

Jim  Thorpe,  All-Amerlcan   Laneasler-Blehford 

Lightning  Strikes   Twice    (91)   Ronian-Todd 

Lillaby  of  Broadway    (T)    (92)   Day-Nelson  ... 

Moonlight   Bay    (T)   MacKae-Day 

North  of  the   Rio  Grande   McCrea-Mayo    .  .  . 

Ortalls  inder  title:  Colorado  Territory 

Only  The  Valiant   (105)   Peek-Payton  ... 

Operation    Pacific    (109)   Waync-Neal  ... 

Pretty  Baby    (92)   Seott-Morgan 

Raton  Pass   (84)   Morgan-Neal 

Rooky  Moon  tain    (83)   Flynn-Wymore 

Saa  Oiestin   (70)   Bogart-Sberldan  . 

Storm  Warning  (91)   Rogers-Reagan  .. 

Oetalls   inder  title:  Storm  Center 

On  A  Train   Walker-Roman 

Named  Desire,  A   Brando-Leigh 

(T)    (80)   Scott-Jcrgens    .  . 

Tea  For  Two  (T)    (98)   Day-MaeRae  .... 

Throe  Setrets    (98)   Parker-Neal-Roman 

Tomorrow  Is  Another  Day   Boman-Cochran 

Virginia   City    (121)   Flynn-Cogart  . 

West  Point  Story.  The  (107)   Cagney-Mayo 


4-10 

6-19 
. .2-13 

Reissue 

8-  14 

1-  15 

. . 11-7 . 

9-  25 

2-  13 

1-  15 . 
.11-6 

.  9-11 

2-  13 
9-11 
1-29 

.  y-27 


. .8-14 
.  9-11 
. . .1-2. 
. . 7-31 
. .6-19 
.  Reissue 
. .12-5. 


11-6 


9-30. . 

005 

9-03 

.  12-9  . 

010 

11-6 

12-30 

!  on. 

12-4 

3-17  . 

017 

2-24 

.  015. 

2-26 

10-28  . 

007 

ii-^ 

. . 5-19 . . 

024 

4-23 

. .1-13. 

012 

...  5-5 . . 

023 

3-10 

019 

2-26 

3-24 

020 

.  .  4-9 

.4-21 

022 

.  3-12 

.  1-27 

013 

.  l-*9 

.9-16  . 

004 

.7-J1 

. . .4-7. . 

021 

4-9 

.11-11 

008 

.     9-9. . 

003 

. .2-10. 

014. 

. .1-29 

3-3.  . 

016. 

.2-12 

.  .9-2. 

001. 

8-28 

10-14 . . 

.006. 

10-23 

. .3-17. . 

.018 

. 11-25 . . 

. .009. 

.11-20 

Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat')  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper  addressed   containers   and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  «fi  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  Stv.  Phil*.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


MAY    7  ,  1951 


SI 


IS  THE  KIND  OF  ENTERTAINMENT 
THAT  WILL  BRING  MILLIONS  FLOCKING 
TO  THE  THEATRES!" 


-FILM  BULLETIN 


m  CENTURY-FOX 


$3  per  Year 


25c  per  Copy 


BULLETIN 


MAY  21,  1951 


WHAT  AILS  US? 

LOUIS  NIZER  Pyschoanalyzes 
Movie  Industry  and  Finds  It 
Suffering  from  Anxiety  Neurosis 

Page  Seven 


UAS  NEW  LEASE  ON  LIFE 

Industry  Will  Profit  By  The 
Rebirth  of  This  Distributor 

Page  Nine 

OLD-FASHIONED  BALLYHOO 

Let's  Have  More  of  It 

Page  Nineteen 


Paramount 
Delivers 


PASSAGE 
WEST 


PAYNE 

DENNIS 

KEEFE 

ARLEEN 

WHELAN 

Color  by 

TECHNICOLOR 


DATE 

TITLE 

JULY 

PINE  and  THOMAS' 
PdSS3g6   W6St  TECHNICOLOR 

BILLY  WILDER'S 

Ace  In  The  Hole 

HAL  WALLIS' 

Peking  Express 

AUGUST 

HAL  WALLIS' 

That's  My  Boy 

NAT  HOLT'S 

U/oftlO+h   C0L0R  BY 

Ifdipdin  TECHNICOLOR 

FRANK  CAPRA'S 

Here  Comes  The  Groo 

SEPTEMBER 

GEORGE  STEVENS' 

A  Place  In  The  Sun 

PERLBERG  AND  SEATON'S 

Rhubarb 

PINE  and  THOMAS' 

Crosswinds  teSSlor 

OCTOBER 

Submarine  Command 

GEORGE  STEVENS' 

Something  To  Live  For 

When  Worlds  Collide  4 

NOVEMBER 

Darling,  How  Could  Yd! 

DECEMBER 

PINE  and  THOMAS' 
II _M  _,   ■/_„_,  COLOR  BY 
MOng   KOng  TECHNICOLOR 

???Hope  Comedy 

(TO  BE  TITLED  BY  THE  PUBLIC  IN  BIG  COAST  TO(P 

ULY 


the  first  two  of  the  15  July-to-December  attractions  that 
answer  your  demands  for  quality-and-quantity  product 


KIRK 

DOUGLAS 

In  a  Champion  Role 
—  the  reporter  who 
covers  the  greatest 
human  interest  story 
of  our  time. 


JAN 
STERLING 

who  becomes  a  top-ranking  star 

BOB  ARTHUR  -  PORTER  HALL 

Produced  and  Directed  by 

BILLY  WILDER 

Lightning  strikes  again  as  Academy 
Award-winner  Bitty  Wilder  brings  the  screen 
another  tremendous  emotional  wallop! 


WRITTEN  BT  BILLY  WILDER,  LESSER  SAMUELS 
AND  WAITER  NEWMAN 


Nationally  Advertised  in 
LIFE— LOOK— COLLIER'S  and 
The  SATURDAY  EVENING  POST. 


EXPLOITATIO 


..MORE  THAN  100  THEATRES  IN  THE 
BOSTON,  PHILADELPHIA,  PITTSBURGH  AND 
WASHINGTON  EXCHANGE  TERRITORIES  OPEN- 
ING  DURING  MAY  ON  A  SURGING  TIDAL  WAVE 
OF  BOXOFFICE  BALLYHOO! 


DANGER  IN  THE  SPY  NETS  OF  THE  ORIENT! 

THRILLS  FROM  TRUTH!...  Amazing  expose  of  ruthless  intrigue  behind 
a  curtain  of  fury. . .  told  in  the  story  of  a  mystery  dame  who  knew 
her  wav  around,  and  a  man  who  gambled  his  life  to  follow! 


EXPLOSION!! 


►t  with  the  timely  picture  that  gives  every  showman  a  boxoffice 
chance  to  show  what  he's  made  of!  Every  aid  you  need  to  spread  the 
word:  Flash  posters  screaming  with  showmanship;  big,  special  4-page 
tabloid  herald;  ads  and  accessories  keyed  to  the  highest  pitch  of  excite- 
ment! . . .  Ride  it  NOW — while  Asia  and  the  Orient  are  the  top  head- 
lines every  day! 


starring 


B  FLORENCE  MARLY 
*  ROBERT  PEYTON 

A  BREAKSTON  McGOWAN  PRODUCTION 
fay  &  Direction  by  DORRELL  and  STUART 


S    NOTE!  >l 

'      This  picture  was  filmed  EN-  ^ 
TIRELY  IN  JAPAN— including  all 
dramatic  material  of  spy  activi- 
ties, geisha  girls,  Kamikaze  pilot 
rituals,  underworld  dens,  night  life, 
etc.— with  the  approval  of  THE  U.  S. 
DEPT.  OF  DEFENSE -U.  S.  ARMY, 
FAR  EAST  COMMAND-THE  JAP- 
ANESE GOVERNMENT  and  THE 
L      TOKYO  METROPOLITAN  J 

POUCE!  ^ft^ 


BIGGEST  ATTENDANCE  AT  MUSIC  HALL,  N.Y.,  IN  SV2  YEARS! 

Lines  around  block  night  and  day  forecast  long  run! 

HAPPY  DAYS  ARE  HERE  AGAIH!  LOOM 

"CARUSO"  BIGGEST  5-DAY  GROSS  OF  ANY  M-G-M  PICTURE  IN  MUSIC  HA 
HISTORY!  PREVIOUS  M-G-M  RECORD  HOLDERS  ALL  PLAYED  ON  HOLIDAYS 

FLASH!  Hold-overs  set  new  high! 

FLASH !  In  first  48  engagements  "Caruso"  tops  "Royal  Wedding"  Easter  biz  by  20>. 
Hold-over  take  tops  "Royal  Wedding"  by  even  greater  margin,  39%,  indicatii* 
terrific  word-of-mouth.  Hold  extra  time! 

FLASH!  First  out-of-town  engagements  in  first  week  top  such  M-G-M  hits  s 
"Summer  Stock,"  "Three  Little  Words,"  "Kim,"  etc. 

FLASH !  Tops  famed  "Annie  Get  Your  Gun"  in  many  spots  including  Buffalo,  Na 
Orleans,  Cleveland,  Pittsburgh,  Charleroi,  Pa.,  San  Diego,  Tucson,  San  Francises 
Oakland,  San  Jose,  Seattle.  (Chicago  close  to  "Annie's"  Holiday  biz!) 

FLASH!  Press-time!  New  Orleans  biggest  week-end  in  4  years!  Cleveland 
gross  best  in  4  years!  And  more  good  news  every  day! 

CARUSO   IS  JUST  ONE  OF  M-G-M's  BIG  SPRING-SUMMER  HIT! 

 *  

"THERE'S  NOTHING  WRONG  WITH  THIS  BUSINESS  THAT  GOOD  PICTURES  CANT  CURE."-avv/w^  m.  scbek 


BULLETIN 


EDITORIAL 

VOL.  19,  NO.  11  MAY  21,  10.',  I 

Page  Seven 

ft 


REVIEWS  in  This  Issue 


Santa  Fe   10 

Pier  No.  23   14 

I  Was  An  American  Spy   10 

Apache  Drums    14 

My  True  Story    11 

The  Fat  Man    15 

Cavalry  Scout   11 

Ghost  Chasers   15 

Smugglers  Island   15 

w :  .  14 

Hollywood  Story    10 

Double  Crossbones   11 

Katie  Did  It   11 

Her  First  Romance    15 


ft 


FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  Leonard  Coulter, 
Edi'orial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Taylor.  Pub- 
lication Manager:  Robert  Heath.  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave.,  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


What  Is  U 


Those  who  attended  the  Schwalhcrg  testimonial 
at  the  Waldorf  Astoria  Hotel  last  Tuesday  even- 
ing were  priviledged  to  hear  a  hrilliant  and  in- 
spiring speech  by  l.ouis  Nizer,  the  prominent 
attorney. 

Assuming  the  role  of  a  psychiatrist,  Mr.  Nizer 
offered  the  opinion  that  the  motion  picture  indus- 
try is  suffering  from  a  rather  common  condition 
known  to  the  medical  profession  as  "anxiety 
neurosis."  This  is  the  ailment  of  the  mind  that 
produces  fear,  panic,  and  often  blindness  or 
paralysis.  A  complete  cure  very  often  if  effected 
merely  by  the  patient  "talking  himself  out"  about 
the  causes  of  the  anxiety. 

Recommending  this  cure  for  our  business,  Dr. 
Nizer  put  the  movie  industry  down  on  the  psy- 
chiatrist's couch  and  proceeded: 

"As  you  talk,  the  first  thing  you  find  out  is  that 
this  is  a  recurrent  disease.  Vou  have  had  attacks 
of  anxiety  neurosis  in  the  past.  The  first  major 
one  was  in  the  1900's  when  radio  came  into  being. 
Vou  could  not  understand  how  you  could  con- 
tinue to  live  and  compete  with  a  new  device 
which  was  bringing  free  entertainment  into  the 
home.  Your  anxiety  turned  out  to  be  baseless  .  .  . 

"The  second  time  you  had  an  attack  was  in 
the  1920's  when  sound  came  into  the  industry. 
You  were  certain  that  you  could  not  spend  the 
hundreds  of  millions  of  dollars  necessary  to  con- 
vert silent  stages  to  sound  stages  in  Hollywood 
and  spend  the  hundreds  of  millions  of  dollars 
necessary  to  convert  theatres  to  sound  .  .  .  That 
anxiety  attack  was  baseless  .  .  . 

"Now  you  are  having  a  recurrence  of  a  full 
scale  anxiety  neurosis  breakdown.  Your  anxiety 
is  due,  chiefly,  to  television.  You  will  observe,  as 
in  the  case  of  all  the  other  instances,  that  you 
were  quite  prosperous  when  you  grew  pale  and 
paralyzed.  It  is  one  of  the  symptoms  of  this  dis- 
ease that  it  is  the  fear  of  the  future  that  brings  you 
down. 

"Today,  it  is  the  fear  of  the  future  that  brings 
you  down.  Today,  it  is  by  anticipation  that  you 
have  become  sick.  That  realization  in  itself  re- 
stores a  little  confidence. 

"More  important  than  that,  you  realize  as  you 
look  back  that  the  reason  your  fears  were  un- 
warranted was  that  at  all  times  you  had  an  un- 
tou<  hahly  superior  quality  product.  You  had  then, 
as  you  have  now,  a  product  of  unsurpassable  qual- 
ity. There  was  nothing  on  the  horizon  then,  nor  is 
there  anything  now,  that  could  compete  with  the 
scope,  the  magnitude,  the  technical  perfection 
and  the  sheer  entertainment  contribution  of  mo- 


iir  Illni!ssV 


(ion  pictures.  You  have  a  product  costing  million* 
of  dollars,  which  is  given  to  the  public  at  the 
cheapest  price  imaginable — forty  or  fifty  cents. 
You  did  not  have  then,  ami  you  do  not  have  now. 
any  competition.  It  has  diversions.  People  are 
diverted  in  oilier  direction!  from  it,  but  for  real 
competition  you  have  to  have  a  form  of  enter- 
tainment equal  in  quality  to  the  motion  picture. 
Thai  simply  does  not  exist  .  .  . 

"The  second  thing  >ou  learn  as  you  talk  is  that 
you  have  become  the  kind  of  man  who  stops  look- 
ing for  work  afler  he  has  gotten  a  job!  That's 
very  bad.  This  is  the  kind  of  industry  where,  after 
you  have  a  job,  you've  got  to  go  out  to  look  for 
work  to  do  the  job  right.  Yu  are  in  an  entertain- 
ment industry  and  there  is  no  limitation  to  the 
possibilities  of  showmanship. 

"From  the  old  calliope  and  banner  to  the  mod- 
ern techniques  of  tie-ins,  radio,  television  advertis- 
ing and  civic  activity  in  the  local  community,  you 
must  continue  to  stimulate  public  interest  in  your 
form  of  entertainment  .  .  . 

"The  third  thing  you  find  out  about  yourself 
is  that  you  must  look  a  fad  in  the  face  even  when 
it  is  unpleasant.  The  word  'television'  has  been 
avoided  for  a  long  time.  Now  it  is  spoken  with 
trepidation.  I  think  you  ought  to  look  the  word 
right  in  the  face  .  .  .  Television  is  a  magnificent 
new  technique  which  can  substitute  for  the  double 
feature.  It  brings  new  support  to  motion  picture 
entertainment,  right  to  your  door,  in  the  most 
attractive  manner. 

"This  suggests  the  solution.  We  must  obtain  an 
exclusive — I  stress  the  word  "exclusive" — license 
from  the  Federal  Communications  Commission  for 
a  private  channel  which  will  carry  television  to 
theatres  throughout  the  country.  We  have  the 
capacity  to  outbid  any  sponsor  for  special  attrac- 
tions. Such  attractions  will  appear  only  in  motion 
picture  theatres.  They  will  not  be  available  in 
the  home  .  .  . 

"The  motion  picture  industry  has  a  meritorious 
case  for  its  application  to  the  government  of  an 
exclusive  channel.  The  motion  picture  industry  has 
served  our  government  well  .  .  .  Such  a  request 
should  be  made  by  the  entire  industry,  not  by 
any  segment.  All  the  honorahle  economic,  political 
and  public  relations  resources  of  our  industry 
should  he  presented  to  the  highest  government 
officials,  but  we  must  act  as  a  unit — not  as  a 
discordant  group. 

"If  we  succeed  in  this  plan,  not  only  will  the 
slide  of  receipts  stop,  but  we  will  experience  a 
new  era  of  prosperity  which  will  exceed  any 
success  in  the  past." 


If  your  mind  is  on  this  fi9ure"V5>C^  (don/t  ,et  us  bo,her  you^ 


BUT  if  it's  on  this  figure* 


"Should  reap  a  tidy  profit  for 
all  concerned!"  —Daily  Variety 

"An  exploitation  natural!" 

—Hollywood  Reporter 

"Diverting.  Delivers  excitement 
and  Has  appeal!"  —Film  Daily 


TRADE  RAVES! 

"Absorbing,  thrilling  for  all!" 

—Showmen's 

"For  excellent  returns  in  bally- 
hoo market.  Builds  strong 
mood  and  sustained  sus- 
pense!" —Variety 


"No  question  about  business. 
Aces  back-to-back!"MP  Herald 

"A  natural!"  — Boxoff/ce 

"A  boxoffice  bonanza.  An  ace- 
high  merchandising  product!" 

—MP  Daily 


PreMjent  Krim  7elU  ojf  t/cpeJ  &  Plan* 


UA's  New  Lease  On  Life 


|j  "The  company  had  been  left  to  get  on  the 
ery  brink  of  bankruptcy.  You  can  imagine 

i  jiow  much  soul-searching  went  on  before  we 
leaded  to  take  on  the  job  of  putting  the 

Business  back  on  its  feet.  We  knew  it  was 

wore  conducive  to  the  production  of  ulcers 
han  of  motion  pictures.  But  we  felt,  and  we 
new  the  industry  felt,  that  there  was  a  place 
or  United  Artists.  As  soon  as  we  got  into 
he  negotiations  many  sideline  cheerleaders 
old  us  to  go  ahead  and  put  this  deal 
ogether." 

Arthur  B.  Krim,  President  of  United 
irtists,  a  clear-eyed,  vigorous  young  man 
nth  an  easy  informality  of  manner,  was 
alking  about  the  reasons  why  he  and  Bob 
Jenjamin,  with  money  from  Chicago's  Walter 
\.  Heller  Company,  had  hoisted  themselves 
lto  the  hottest  seat  in  the  industry.  Only  a 
ew  months  before,  a  group  headed  by  Max 
Cravetz  had  bought  an  option  on  the  Pick- 
ord-Chaplin  stockholding  in  UA,  but  had 
ailed  to  swing  the  company  back  on  the 
oad  to  prosperity.  Their  experience,  and  the 
xperience  of  others  who,  over  the  years, 
ave  had  business  dealings  with  Mary  Pick- 
>rd  and  Charles  Chaplin,  made  the  new 
ilvage  operation  a  hazardous  adventure.  No 
ronder  the  sideliners  cheered. 

Krim  makes  no  secret  of  the  grimness  of 
Inited  Artists'  position  when  he  and  his  col- 
.>agues  arrived  on  the  scene.  The  Company 
ad  one  or  two  pictures  in  release,  and  a  few 
oming  up.  B.ut  to  all  intents  and  purposes 
fie  program*,  sheet  was  blank,  and  the  losses 
'ere  "very  severe."  Money  had  to  be  got  into 
he  till  quickly;  that  is  to  say,  income  had 
)  be  found  before  too  much  of  UA's  new- 
aund  capital  dribbled  down  the  drain. 


By  LEONARD  COULT  ER 


CxduMe  $L  BULLETIN  Jeature 


The  new  management  held  no  inquests.  It 
was  concerned  with  the  future,  not  with  the 
past;  and  Arthur  Krim  says,  "Don't  ask  me 
who  was  to  blame  for  the  company's  plight. 
I  don't  blame  any  one  individual.  United 
Artists  had  been  going  downhill  for  years." 

It  was,  in  fact,  racing  downhill  at  break- 
neck speed,  and  for  the  first  four  weeks  of 
the  Krim-Benjamin  regime  UA's  new  bosses 
put  aside  their  dreams  while  they  created  the 
nucleus  of  an  organization  which  would 
squeeze  the  last  dime  out  of  the  product  go- 
ing through  the  mill,  and  could  round  up  a 
few  finished  pictures  for  release. 

Despite  all  their  endeavors,  Krim  and 
Benjamin  were  not  able  to  stem  the  tide.  A 
month  passed  and  heavy  losses  were  still  be- 
ing piled  up.  But  they  had,  in  the  meantime, 
shown  such  vigor  and  determination  that 
United  Artists'  prestige  was  beginning  to  in- 
crease again  among  independent  producers, 
and  Krim  was  able  to  announce  with  pride 
that  20  pictures  would  be  delivered  to  ex- 
hibitors during  1951. 

"We  were  thrilled  by  the  support  we  got", 
Krim  says.  "Every  exhibitor  we  talked  to 
took  the  view  that  United  Artists  was  im- 
portant to  him.  and  that  if  we  could  not 
guarantee  him  this  year  the  kind  of  release 
schedule  for  which  the  company  was  once 
renowned,  he  would  go  along  with  us  and 
thus  help  us  to  provide  such  a  schedule  later 
on." 


Encouraged  by  this  reception,  Krim  and 
Benjamin  and  their  team  persisted  in  their 
negotiations  for  new  products  and  achieved 
some  remarkable  successes.  Within  six  week] 
of  being  in  the  saddle  they  were  able  to 
promise  at  least  24  pictures  during  1952,  at 
the  rate  of  two  a  month — some  of  them 
capable  of  earning  top  grossses. 

"The  kind  of  UA  which  the  industry 
wants",  Krim  declares,  "is  one  which  will 
distribute  a  program  exclusively  of  top  'A' 
pictures,  and  that  is  our  target."  He  adds 
that  there  is  no  present  intention  of  entering 
(he  production  field.  UA  will  remain  a  dis- 
tributing company,  but  it  will  arrange  finance 
in  some  cases,  and  will  expect  a  profit  par- 
ticipation in  such  pictures.  Such  capital  will 
not  come  out  of  United  Artists'  own  ex- 
chequer, but  will  be  finance  company  money. 

As  for  distribution  fees,  Krim  believes  that 
a  fair  figure  for  a  top  picture  is  30  percent, 
but  that  the  rate  should  be  flexible.  It  could 
be  more,  or  less,  than  that  percentage,  de- 
pendent on  the  individual  picture.  "But  it 
is  imperative  that  we  have  a  distribution  rate 
which  will  make  it  possible  for  us  to  exist, 
and  to  develop  along  the  lines  we  have  set 
for  ourselves  as  a  vital  cog  in  the  machinery 
of  the  motion  picture  industry." 

When  the  deal  with  Miss  Pickford  and  Mr. 
Chaplin  was  first  engineered  by  Arthur  Krim 
and  his  associates,  the  new  management  was 
given  three  years  in  which  to  prove  itself. 
The  Krim  group  bought  50  percent  of  United 
Artists'  stock.  This  stock  was  put  on  deposit 
with  the  Chemical  Bank  as  escrow,  and  the 
contract  provided  that  it  would  be  delivered 
to  Krim  and  his  friends  should  the  company 
show  a  profit  in  1951,  1952  or  1953.  In  that 
(Continued  on  page  16) 


United  Artists  Top  Command :  Youngstein,  Heincman,  Benjamin,  Krim,  Fox. 


'HOLLYWOOD  STORY'  INTERESTING,  NOVEL  MURDER  MYSTERY 

Rates  •  •  +  generally  as  top  dualler 


Universal-International 
76  minutes 

Richard  Conte,  Julia  Adams,  Richard  Egan, 
Henry  Hull,  Fred  Clark,  Jim  Backus,  House- 
ley  Stevenson,  Paul  Cavanaugh,  Katherine 
Meskill,  Louis  Lettieri. 
Directed  by  William  Castle. 

"Hollywood  Story"  is  an  unusual  and  enter- 
taining mystery  drama — told  against  the  in- 
triguing atmospheric  background  of  the  motion 
picture  industry.  The  principal  drawbacks  in 
Leonard  Goldstein's  production  are  the  weak 
cast  names  and  a  lack  of  coherence  in  the 
screenplay  in  blending  the  two  periods  of 
time — the  present  and  the  silent  picture  Holly- 
wood of  21  years  ago.  However,  as  novel  pro- 
gram fare  "Hollywood  Story"  holds  attention 
and  in  its  "in-between"  bracket  can  be  counted 
upon  for  at  least  average  business  when 
coupled  with  an  attraction  of  similar  produc- 
tion caliber.  Apart  from  its  failure  to  fuse  the 
periods,  the  screenplay  is  literate,  witty  and 

I  WAS  AN  AMERICAN  SPY' 

Rates  •  •  +  on  its  exploitation  values 

Allied  Artists 
85  minutes 

Ann  Dvorak,  Gene  Evans,  Douglas  Kennedy, 
Richard  Loo,  Leon  Lontong,  Chahing,  Philip 
Ahn,  Marya  Marco,  Nadene  Ashdown,  How- 
ard Chuman,  Freddie  Revelala. 
Directed  by  Lesley  Selander. 

This  rather  wild  and  woolly  melodramatic 
tale  of  espionage  offers  the  elements  that  will 
please  action  fans,  but  it  lacks  the  credibility 
to  satisfy  discriminating  patrons.  Based  on  the 
dangerous  and  intriguing  war-time  adventures 
of  Claire  Phillips,  which  she  recorded  in  the 
novel,  "Manila  Espionage,"  and  for  which  she 
was  awarded  the  Medal  of  Valor,  this  Allied 
Artists  production  relates  the  story  in  episodic 
style.  There  are  many  interesting  and  some 
exciting  incidents.  What  the  film  lacks  is  re- 


suspenseful.  William  Castles  direction  ac- 
counts for  an  effectively  sinister  mood,  and 
the  leading  characterizations  are  well  devel- 
oped. 

Richard  Conte,  in  the  role  of  a  producer 
who  stumbles  on  an  old  Hollywood  scandal 
and  decides  to  solve  it,  gives  a  calm,  re- 
strained performance  that  renders  his  quest 
natural  and  logical.  Julia  Adams,  the  feminine 
lead,  shows  her  inexperience,  but  newcomer 
Richard  Egan,  as  a  glib  police  lieutenant,  is 
definitely  star  material.  Henry  Hull,  Fred 
Clark,  and  particularly  Jim  Backus  who  plays 
an  amusing  caricature  of  a  Hollywood  agent, 
supply  first  rate  support. 

STORY:  Conte,  established  as  a  success- 


ful producer,  arrives  in  Hollywood  for  an  in-) 
dependent  venture.  He  is  given  an  old  studic 
that  hasn't  been  used  much  since  the  silent 
days.  Conte's  curiosity  is  stirred  by  a  murdeil 
which  took  place  in  one  of  the  dressing  rooms 
— that  of  a  famed  director  of  silent  days.  He 
determines  to  use  the  mystery  as  the  basis] 
for  a  script,  but  to  accomplish  this  he  must) 
fill  the  gaps  in  the  unsolved  crime.  Actually 
he  is  rather  forced  to  this  step,  because  mys-; 
terious  doings  suddenly  take  place  when  wore 
of  the  project  slips  out.  The  daughter  of  £ 
feminine  silent  star  involved  in  the  case  ap- 
pears, and  Conte  discovers  that  his  preseni! 
partner,  Fred  Clark,  had  been  the  director's 
business  manager.  Other  figures  appear  frorr) 
the  past — among  them  derelict  writer  Henr>j 
Hull.  Conte's  life  is  in  danger  several  time; 
but  by  painstakingly  piecing  the  scraps  oi 
evidence  together  and  with  the  considerably 
help  of  Richard  Egan  he  is  able  to  pin  dowr! 
the  culprit.    HANNA  (Hollywood). 


MELODRAMATIC  WAR  DRAMA 


straint  in  the  direction,  for  Lesley  Selander 
gave  it  heavy-handed,  old-fashioned  treatment, 
making  the  Miss  Phillips  character,  played  by 
Ann  Dvorak,  a  caricature  of  Mati  Hari.  For 
all  this,  "I  was  An  American  Spy"  does  en- 
gender more  than  a  modicum  of  suspense,  and 
it  should  enjoy  reasonably  good  box  office  re- 
sponse generally.  Where  exploited,  it  may 
garner  surprising  returns. 

Most  of  the  footage  is  devoted  to  Miss 
Dvorak,  and  with  her  performance  as  the  crux 
it  is  inevitable  that  the  other  actors  would 
follow  suit  in  overstating  their  roles.  The  ex- 
ceptions are  Richard  Loo,  in  the  part  of  a 
Japanese  intelligence  officer  and  Gene  Evans 
who  plays  the  same  hard-fighting  G.I.  that 
won  him  a  reputation  in  "Steel  Helmet." 
Douglas  Kennedy  has  an  embarrasing  time  of 
it  as  the  soldier  Dvorak  loves  who  is  killed 


shortly  after  their  marriage  in  the  jungle  o 
Manila. 

STORY:  Ann  Dvorak  is  one  of  the  man;; 
Americans  facing  the  Japanese  in  Manila.  Shi 
insists  on  marrying  Douglas  Kennedy  beforij 
he  goes  out  to  fight  the  invader.  A  few  daya 
later,  hiding  behind  the  brush,  she  sees  hinf 
shot  down  by  the  Japanese.  She  determines  II 
avenge  his  death,  goes  to  Manila,  poses  as  ail 
Italian,  and  succeeds  in  opening  a  night  clul; 
where  she  entertains  the  top  military  an<j 
civilian  brass  of  the  Japanese.  She  begin, 
operation  of  an  intricate  spy  system  whic/j 
sends  information  to  American  forces;  help  B 
the  guerillas.  Eventually  her  identity  become:! 
known;  she  endures  unspeakable  tortures  buj 
successfully  avoids  incriminating  others.  Th 
recapture  of  Manila  saves  her  from  furthei 
horrors.  JAMES. 


SANTE  FE'  ACTIONFUL,  TECHNICOLOR  WESTERN 

Rates  •   •   •  in  action  houses;  less  elsewhere 


< Columbia 
87  minutes 

Randolph  Scott,  Janis  Carter,  Jerome 
Conrtland,  Peter  Thompson,  John  Archer, 
Warner  Anderson,  Roy  Roberts,  Billy  House, 
(Hin  Bowlin,  Allene  Roberts,  Jock  CPMah- 
oney,  Harry  Cording,  Sven  Hugo  Borg, 
Frank  Ferguson,  Irving  Pichel,  Harry  Tyler, 
Chief  Thundercloud,  Paul  E.  Burns. 
Directed  b>  Irving  I'ichel. 

There's  too  much  talk  to  go  with  the  action 
and  excitement  in  "Sante  Fe".  The  .sagebrush 
melodrama  ends  some  10  minutes  after  its 
logical  conclusion,  principally  due  to  some 
mighty  long  speeches  by  players  who  should 
do  their  talking  with  gun,  fist,  and  saddle. 
The  script  also  is  a  bit  confusing  in  defining 
characters  and  explaining  the  several  locales 
covered.  These  criti<al  observations,  however 
will  not  be  too  serious  in  action  spots,  where 
the  Randolph  Scott  draw  and  a  good  quota 


of  the  usual  outdoor  film  hullabaloo  is  a  good 
bet  for  the  average  adventure  fan.  The  Harry 
Joe  Brown  Production  is  handsomely  mounted, 
colorful  in  its  Technicolor  trappings,  and  in- 
terestingly authentic  in  its  excellent  atmos- 
phere of  pioneer  railroading.  Irving  Pichel's 
direction  is  heavy-handed  at  times,  especially 
when  he's  dealing  with  some  of  the  long- 
winded  dialogue. 

Randolph  Scott,  an  experienced  hand  at 
matters  Western,  gives  his  typical  stalwart 
performance.  Janis  Carter,  in  the  feminine 
lead,  is  the  lass  who  has  most  of  the  trouble 
with  the  big  speeches.  Jerome  Courtland,  John 
Archer,  and  Peter  Thompson  as  brothers 
driven  to  a  life  of  crime  by  their  own  conceit 
are  excellent.  Warner  Anderson  and  Roy 
Roberts  stand  out  in  the  large  cast  of  support- 
ing players — the  latter  is  particularly  good  as 


the  brains  behind  the  evil  doings  of  thil 
brothers. 

STORY:  After  the  Civil  War,  Southerne1 
Randolph  Scott  signs  up  to  help  build  th«i 
Santa  Fe  railroad.  His  brothers,  however,  lool 
for  easier  money  and  ways  to  avenge  themi 
selves  against  the  North.  They  join  forces  witl 
Roberts  to  operate  a  saloon  that  interfere 
with  the  work  of  the  railroad.  Then  they  sted 
out  and  begin  picking  off  the  Sante  Fe  pay] 
rolls.  Eventually,  Janis  Carter,  secretary  to  th 
construction  engineer,  learns  of  Scott's  relaj 
tionship  to  the  hoodlums.  Hesitant  at  first,  sb 
eventually  exposes  him.  He  is  arrested  but  oil 
convincing  the  authorities  of  his  willingness  t'l 
fight  on  the  side  of  law  and  order,  he  lead] 
them  to  the  railway  station  where  he  kno\v! 
his  brothers  are  plotting  another  holdup.  Ii 
the  ensuing  gun  fight,  the  bovs  are  killed. 

HANNA  (Hollywood) 


10 


FILM  BULLETI 


'KATIE  DID  IT'  LEISURELY  FAMILY  COMEDY 

Rates  •  •  4   in  neighborhood  houses;  n.g.  for  action  spots 


Universal-International 
81  minutes 

Ann  Blyth,  Mark  Stevens,  Cecil  Kellaway, 
Jesse  White,  Harold  Vermilyea,  Craig  Ste- 
vens,   William    Lynn,    Elizabeth  Patterson, 
Jimmy  Hunt,  Irving  Bacon,  Raymond  Largay, 
Peter  Leeds,  Ethyl  May  Halls. 
Directed  by  Frederick  de  Cordova. 

"Katie  Did  It"  is  one  of  those  leisurely 
family  comedies  that  will  please  in  some  loca- 
tions and  disappoint  in  others.  Its  best 
chances  lie  in  family  and  hinterland  houses. 
The  story  is  slim,  built  on  chance,  coinci- 
dence, and  misunderstandings.  The  burden  of 
entertainment  falls,  therefore,  on  the  shoulders 
of  the  players  and  the  director.  In  this  in- 
stance the  cast  is  several  shades  more  stimu- 
lating than  their  screenplay,  and  Frederick  de 
Cordova  puts  them  through  their  paces  in 


bright  enough  fashion.  He  also  makes  adroit 
use  of  the  natural  New  England  backgrounds 
— giving  the  affair  pleasing  atmosphere  and 
some  degree  of  charm.  "Katie  Did  It"  be- 
comes, then,  that  hapless  in-between  show 
which  neither  offends  nor  entertains  greatly 
— it's  just  there. 

Ann  Blyth,  playing  a  puritanical  New  Eng- 
land miss  who  discovers  "life"  in  the  big  city 
of  New  York  and  in  the  arms  of  a  "wicked'' 
commercial  artist,  looks  pretty  as  a  picture 
and  performs  with  appropriate  naivete.  Mark 
Stevens  is  bright  and  zany  as  the  artist,  and 
Cecil  Kellaway  lifts  the  proceedings  with  his 
every  appearance  as  Ann's  improvident, 
bibulous  uncle.  Jesse  White,  Harold  Ver- 
milyea, Craig  Stevens,  William  Lynn,  and 
Elizabeth  Patterson  as  typical  New  England 
stereotypes  are  often  amusing. 


STORY:  When  uncle  Kellaway  gets  into 
financial  troubles  after  making  and  losing  a 
big  horse  bet,  Ann  Blyth  decides  to  go  to 
work — as  much  to  get  the  money  for  him  as 
to  display  resentment  of  her  strict  new  Eng- 
land upbringing.  In  New  York,  all  she  can 
find  in  the  way  of  a  job  is  that  of  model  for 
Mark  Stevens,  an  artist  whom  she  had  met 
the  summer  before  in  her  home  town.  Their 
association  soon  blossoms  into  love,  but  a 
misunderstanding  occurs  in  which  she  be- 
lieves his  sister-in-law  is  actually  his  wife. 
She  dashes  back  home  and  accepts  the  offer 
of  a  persistent  local  suitor.  On  the  eve  of 
their  marriage,  her  picture,  clad  in  a  bathinp 
suit,  suddenly  appears  on  billboards  along  the 
countryside.  This  precipitates  a  scandal  and 
gives  Stevens  an  opportunity  to  prove  he's 
still  single  and  very  much  in  love  with  Ann. 


CAVALRY  SCOUT'  EXCITING  OUTDOOR  MELODRAMA  IN  CINECOLOR 


Rates  •  •  •  —  in  action  houses;    •  • 

Monogram 
78  minutes 

Rod  Cameron,  Audrey  Long,  Jim  Davis, 
James  Millican,  James  Arness,  John  Doucette 
William  Phillips,  Stephen  Chase,  Roy  Mai- 
linson,  Eddv  Waller,  Frank  Wilcox,  Cliff 
Clark. 

Directed  by  Lesley  Selander. 

"Cavalry  Scout"  has  action  and  suspense 
aplenty.  While  the  plot  is  not  unusual,  it  is 
given  a  decided  lift  thanks  to  adroit  scripting, 
a  well  done  Cinecolor  period  (1870's)  produc- 
tion by  Walter  Mirisch.  and  top  notch  action 
elements.  Director  Lesley  Selander,  working 
his  way  expertly  through  the  last  named,  fills 


+  as  dualler  elsewhere 

the  show  with  the  thrills  and  excitement  that 
pay  off  in  audience  appeal.  Given  a  first  rate 
cast  with  which  to  work.  Selander  also  made 
the  characters  credible,  a  factor  that  contri- 
butes much  to  the  overall  conviction  of  the 
narrative. 

This  Monogram  release  is  going  to  enjoy 
much  success  in  houses  catering  to  the  action 
element.  In  other  situations,  "Cavalry  Scout" 
will  stand  up  strongly  as  a  co-feature  with  a 
comedy  or  musical. 

Rod  Cameron,  big  and  husky,  handles  the 
heroics  with  vigor.  Audrey  Long,  with  more 
to  do  than  the  average  heroine  of  outdoor 
dramas,  brings  charm  and  appeal  to  her  spot 


as  a  hotel  operator.  And  Jim  Davis  plays  the 
part  of  Cameron's  aide  with  poise  and  natural- 
ness. Supporting  players,  in  the  main,  are 
good. 

STORY:  The  problem  of  keeping  guns — 
the  newly-invented  Catling — out  of  the  hands 
of  the  Indians  is  the  concern  of  "Cavalry- 
Scout. "  Cameron,  a  scout,  is  given  the  job 
of  exposing  the  activities  of  James  Millican 
in  fomenting  uprisings  by  shipping  weapons 
to  the  Indians  on  his  freight  line.  To  defeat 
Cameron's  objectives,  Millican  and  his  cohorts 
kidnap  Miss  Long  and  hold  her  hostage.  In 
rescuing  her,  Cameron's  men  succeed  in  re- 
trieving the  guns.  ANGEL. 


DOUBLE  CROSSBONES    MEAGRE  LAUGHS  IN  SILLY  YARN 

Rates  •  •  generally 

hard  to  fill  it  with  acceptable  entertainment 
values,  a  fair  portion  of  which  can  be  found 
in  the  musical  interludes  and  some  of  the 
comedy  sequences.  O'Connor's  dancing  is  en- 
ergetically displayed,  and  the  farcical  atmos- 
phere is  occasionally  apparent  in  the  sea  and 
ship  scenes.  Director  Charles  Barton  keeps 
his  direction  bouncy  and  light — qualities  that 
sometimes  compensate  for  the  shortcomings 
of  the  screenplay.  The  attraction  is  strictly 
for  dyed-in-the-wool  O'Connor  fans. 

Helena  Carter  makes  as  much  of  her  fem- 
inine lead  as  the  yarn  allows,  and  Will  Geer. 
playing  O'Connor's  buddy,  draws  several 
quiet  chuckles.  John  Emery  romps  through 
the  part  of  the  heavy  with  no  restraint  what- 


Universal-International 
76  minutes 

Donald  O'Connor,  Helena  Carter,  Will  Geer, 
John  Emery,  Hope  Emerson,  Stanley  Logan, 
Kathryn  Givney,  Hayden  Rorke,  Morgan  Far- 
ley, Charles  McGraw,  Alan  Napier,  Robert 
Barrat. 

Directed  by  Charles  T.  Barton.  

"Double  Crossbones."  despite  its  techni- 
color photography,  is  a  long  way  from  being 
up  to  the  standard  of  the  usual  Donald 
O'Connor  musical  comedy,  which  has  scored 
well  in  the  naborhoods  and  hinterlands.  The 
script  is  a  silly  account  of  a  bank  clerk  who 
becomes  mixed  up  with  pirates.  It  makes  very 
little  sense,  and  consequently  the  star  and  his 
supporting  cast  are  obliged  to  work  overly 


soever.  The  pirates,  a  daffy  lot,  are  portrayed 
by  Hope  Emerson.  Charles  McGraw,  Alan 
Napier,  and  Robert  Barrat. 

STORY:  The  narrative  casts  O'Connor  as 
a  store  clerk  who  falls  in  love  with  Helena 
Carter,  a  pretty  young  lady  whose  hand  is 
also  sought  by  John  Emery,  the  Governor.  To 
escape  Emory's  wrath.  O'Connor  takes  refuge 
on  a  pirate's  ship.  Obliged  to  turn  pirate  him- 
self, he  learns  that  Emery  is  the  big  shot  be- 
hind their  activities,  using  his  position  to 
provide  them  with  information  about  ship 
movements.  O'Connor's  efforts  in  exposing 
Emery  and  winning  Miss  Carter's  affection 
consume  the  bulk  of  the  running  time. 

HANNA  (Hollywood). 


*MY  TRUE  STORY'  MINOR  MELODRAMA 

Rates  •  •  as  supporting  dualler 


Columbia 
68  minutes 

Helen    Walker,    Willard    Parker,  Elisabeth 
Risdon,  Emory  Parnell,  Aldo  DaRe,  Wilton 
Graff,  Ivan  Treisault,  Ben  Welden,  Fred  F. 
Sears,  Mary  Newton,  Ann  Tyrell. 
Directed  by  Mickey  Rooney.' 

This  is  the  initial  venture  in  what  is  pre- 
sumed to  be  a  series  done  in  collaboration  with 
True  Story  magazine.  It  emerges  as  a  typical 
Columbia  quickie,  notable  chiefly  for  the  fact 
that  it  is  the  initial  directorial  effort  of  Mickey 
Rooney.  It  affords  little  evidence  that  Mickey- 
is  better  suited  behind  the  cameras,  for  "My 


True  Story"  is  routine  in  every  respect.  It 
moves  at  a  slow  pace  and  fails  to  build  sym- 
pathy for  its  central  character,  a  girl  parolee 
who  desires  to  go  straight.  Milton  Feldman's 
production  is  obviously  on  the  modest  side, 
although  he  has  managed  to  use  his  limited 
budget  as  shrewdly  as  possible.  This  is  for  the 
lower  half  of  dual  bills.  It  can  be  exploited 
to  garner  fair  returns. 

Helen  Walker,  as  the  fallen  girl,  lends  a 
degree  of  conviction  to  the  part.  And  unlike  so 
many  of  her  ex-convict  sisters.  Miss  Walker 
accomplishes  the  transition  from  tough  babe 
to  honest  woman  without  affecting  a  complete 


change  of  characterization.  Elisabeth  Risdon. 
as  always,  is  splendid  as  the  old  lady  who 
changes  the  girl's  attitude  without  actually 
realizing  it,  and  Willard  Parker's  romantics  as 
the  neighborhood  druggist  are  believable. 

STORY:  Wilton  Graff,  a  gang  head,  ar- 
ranges Helen  Walker's  parole  in  order  to  spot 
her  as  companion  to  Elisabeth  Risdon.  owner 
of  a  quantity  of  oil  of  myrrh  which  is  neces- 
sary to  the  manufacture  of  expensive  per- 
fume. She's  supposed  to  steal  it.  Affected  by 
the  old  lady's  kindness,  she  informs  the  police: 
Graff  and  his  impatient  gang  are  rounded  up. 

JAMES. 


MAY,     23,  1951 


11 


FIGHTING  C 

FIGHTING  COAST  GUARD  starring  BRIAN  DOB! 
with  JOHN  RUSSELL  -  Richard  jaeckel  •  martin  milner  •  steve  bro:  * 

Screen  Play  by  Kenneth  Garnet  •  Story  by  Charles  Marquis  Warren  •  Technical  Adviser  -  Lt  Command 

A  REPUBLIC 

Republic  Pictures  Corporation  -  He  w 


★      ★  ★ 


ST 


REST  TUCKER  •  ELLA  RAINES 

Id  SONS  OF  THE  PIONEERS 

ub.G  R.  •  Associate  Producer-Director  -  JOSEPH  KANE 

t  E 


JNAL  PRE-RELEASE  PREMIERES! 


M'  CHOPPY,  UNSAVORY  CHASE  YARN  HAS  SUSPENSE 

Rates  •  •  as  dualler  in  action  and  art  houses — less  in  family  spots 

 '         of  such  fare  in  today's  market  will  militate 


Columbia  (Nebenzal) 
Columbia-Nebenzal 
90  minutes 

David  Wayne,  Howard  da  Silva,  Luther  Ad- 
ler,  Martin  Gabel,  Steve  Brodie,  Raymond 
Burr,  Glenn  Anders,  Karen  Morley,  Norman 
Lloyd,  John  Miljan,  Walter  Burke,  Roy 
Engel,  Benny  Burt,  Lennie  Bremen,  Jim 
Barkus,  Janine  Perreau,  Frances  Karath, 
Robin  Fletcher,  Bernard  Szold,  Jorja  Curt- 
right. 

Directed  by  Joseph  Losey. 

"M,"  a  masterpiece  of  its  kind  in  the  early 
30's  when  Peter  Lorre  rose  to  prominence  in 
the  role  of  the  maniacal  killer  of  children, 
is  brought  once  more  to  the  screen  by  its 
original  sponsor,  Seymour  Nebenzal.  While 
the  new  version  still  contains  effective  sus- 
pense qualities  as  played  by  a  splendid  cast 
under  the  direction  of  Joseph  Losey,  the  fact 
that  it  is  a  remake,  and  the  diminished  appeal 


against  its  grossing  power.  Faced  with  the 
inescapable  fact  that  the  script  of  "M"  is 
loose,  choppy,  and  episodic,  Losey  concentrates 
on  developing  the  chase  elements  as  the  mo- 
tivating force.  Additional  advantages  are 
found  in  the  realistic  atmosphere  achieved  by 
shooting  the  picture  along  interesting  ex- 
teriors of  old  sections  of  Los  Angeles.  The 
story  line  is  disturbing  and  unsavory — hardly 
the  kind  of  fare  an  exhibitor  will  want  to  put 
before  family  audiences.  But  in  the  action  and 
art  houses  it  can  be  counted  upon  to  be  of 
more  than  average  interest. 

David  Wayne,  in  the  role  of  the  killer, 
makes  the  part  a  histrionic  tour  de  force.  He 
plays  the  hysterical  scenes  in  bravura  style 
and  is  always  fascinating.  However,  Wayne  is 
the  victim  of  his  own  charm,  and  his  associ- 


ation with  glib,  light  comedy  roles  makes  the 
portrayal  less  convincing  than  it  should  be. 
Howard  da  Silva's  harassed  police  officer  is  a 
thoughtful  characterization,  but  Luther  Adler 
overplays  the  part  of  a  broken  down  attorney. 
Martin  Gabel's  gangster  overlord  is  one  of 
those  character  roles  that  stand  out. 

STORY:  When  the  deaths  of  several  chil- 
dren reveal  that  a  sadistic  killer  is  at  large,  a 
whole  city  is  stirred.  Warnings  are  issued  by 
the  police  and  a  huge  manhunt  is  instigated. 
But  the  best  efforts  of  the  law  lead  nowhere, 
so  the  city's  underworld  takes  over — not  so 
much  from  altruistic  aims  but  to  prevent  in- 
terference with  their  operations.  They  track 
down  Wayne,  finding  him  in  a  huge,  old  build- 
ing. The  thugs  want  to  kill  him  on  the  spot, 
but  Gabel  prevails  upon  them  to  turn  the  mad- 
man over  to  the  police. 

HANNA  (Hollywood). 


'APACHE  DRUM'  INTERESTING,  OFF-BEAT  TECHNICOLOR  WESTERN 

Rates  •  •  + 


Universal-International 
75  minutes 

Stephen  McNally,  Coleen  Gray,  Willard 
Parker,  Arthur  Shields,  James  Griffith,  Ar- 
mando Silvestre,  Georgia  Backus,  Clarence 
Muse,  Ruthelma  Stevens,  James  Best,  Chinto 
Gusman,  Ray  Bennett. 
Directed  by  Hugo  Fregonese. 

Imaginative  and  off  the  beaten  track  in  the 
development  of  its  story  and  structure  of  its 
action  elements.  "Apache  Drums"  is  the  post- 
humous production  credit  of  the  late  Val  Lew- 
ton.  Like  all  of  Lewton's  work,  it  is  imagina- 
tive, resourceful,  and  different.  These  attri- 
butes, while  they  may  not  wholly  satisfy  the 
avid  action  fans,  should  bring  this  Universal- 
International  Technicolor  film  better  response 
in  better  class  houses.  Adult  audiences  will 
appreciate  its  realism,  the  stark,  natural  back- 
grounds, and  the  characterizations  which  are 


much  more  like  real  people  than  the  "heroes 
and  heavies"  one  usually  encounters  in  sage- 
brush celluloid.  Hugo  Fregonese's  direction 
paints  a  vivid  picture  of  frontier  life,  and  his 
handling  of  the  physical  encounters  is  note- 
worthy. David  Chandler's  screenplay  is  some- 
what verbose,  particularly  in  the  first  half, 
which  moves  too  slowly. 

Stephen  McNally  is  admirably  cast  as  a 
ne'er  do  well  whose  misadventures  lead  him 
into  conflict  with  the  townspeople  until  Indian 
raids  provide  him  with  an  opportunity  to 
prove  himself.  Coleen  Gray  is  sweet  and  at- 
tractive as  the  girl  he  wants  to  marry,  and 
Willard  is  convincing  as  a  gallant  two-fisted 
blacksmith  who  steps  out  of  the  romantic  pic- 
ture when  he  realizes  McNally  is  her  man. 
Arthur  Shields  is  alternately  droll  and  sincere 
as  a  devil-hunting  preacher.  Armando  Silvestra 
plays  an  Indian  with  sympathy  and  quiet 


PIER  23'  FIRST  OF  TV-FILM  EXHIBITION  SERIES 


Rates  •  as  dualler  in  action  houses 

Lippert  (Spartan) 
."57  minutes 

Hugh  Beaumont,  Ann  Savage,  Edward 
Brophy,  Richard  Travis,  Margia  Dean,  Mike 
Mazurki,  David  Bruce,  Raymond  Greenleaf, 
Eve  Miller,  Hai  ry  llnvdrn,  joy  Lansing,  Peter 
Mamakos,  Chris  Drake,  Johnny  Indrasano, 
Bill  Varga,  Richard  Monahan,  Charles  Wag- 
enheim. 

Directed  by  William  Berke. 

"Pier  23"  is  the  first  of  a  series  of  six  pic- 
tures (already  completed  by  Spartan  produc- 
tions for  Lippert  release)  which  have  been  pro- 
duced with  an  eye  for  eventual  television 
showings  after  distribution  through  normal  ex- 
hibit ion  channels.  The  budget  for  individual 
entries  is  well  under  that  of  the  usual  inde- 
pendent B,  and  none  was  more  than  four  days 
before  the  cameras.  "Pier  23"  establishes  the 
pattern  for  the  group  which  records  the  melo- 
dramatic adventures  of  three  characters — 
Hugh  Beaumont,  an  adventurer;  Richard 
Travis,  a  police  lieutenant;  and  Edward 
Brophy,  a  sort  of  bibulous  philosopher. 

The  subject,  running  a  brief  57  minutes. 


combines  two  stories — divided  so  as  to  present 
two  half  hour  Video  segments.  The  production, 
if  somewhat  better  than  the  usual  TV  show,  is 
considerably  below  the  quality  of  motion  pic- 
ture fare.  Still,  the  camera  uses  colorful  San 
Francisco  advantageously  in  forming  atmos- 
pheric night  shots  and  scenic  views.  The  direc- 
tion of  William  Berke  takes  due  note  of  TV 
preoccupation  with  the  plunging  neckline,  and 
at  times  action  qualities  are  sacrificed  to  in- 
sure the  proper  display  of  glandular  develop- 
ment. 

The  episodes  make  the  common  mistake  of 
most  celluloid  short  story  endeavors — that  of 
telling  too  complicated  a  yarn  in  too  short  a 
time  and  introducing  more  characters  than  the 
onlooker  is  capable  of  absorbing.  Inevitably, 
there  are  those  "sum-up"  scenes  in  which  the 
sleuths  toss  off  some  half  dozen  assorted 
names,  and  the  spectator  hasn't  the  faintest 
notion  of  which  characters  are  being  referred 
to.  The  frequent  use  of  narrative  to  bridge 
times  gaps,  etc.,  only  adds  to  the  confusion,  as 
docs  the  habit  of  talking  about  action  which 


dignity. 

STORY:  Forced  to  leave  an  early  Western 
town,  McNally  encounters  evidences  of  an 
Apache  raid  on  the  road.  He  returns  to  the 
village,  but  his  warnings  go  unheeded  until  an 
arrow-riddled  stage  coach  careens  into  the 
square.  Next  day  the  water  supply  is  cut  off, 
and  the  citizens  prepare  for  a  seige.  Rescue  is 
possible  only  if  troops  can  reach  them  in  time. 
The  Apaches  soon  have  everyone  imprisoned 
in  the  difficult-to-defend  church.  Ingeniously 
McNally,  Parker  and  the  others  go  to  work  in 
the  hours-long  battle  against  the  Red  Men. 
Their  near  failure  is  ended  with  the  timely 
arrival  of  the  troops.  In  its  details,  the  story 
sounds  formula.  The  punch  of  "Apache 
Drums"  lies  in  the  completely  believable  way 
in  which  the  developments  are  worked  out  and 
in  the  normal,  everyday  reactions  of  the  char- 
acters.   HANNA  (Hollywood). 


is  never  seen  on  the  screen.  Unlike  the  East 
and  the  West — TV  production  and  film  manu- 
facture will  one  day  meet,  but  "Pier  23"  is 
neither  good  movie  nor  good  TV.  It  is  value- 
less to  the  exhibitor  except  as  a  dualler  in  the 
unlikely  instance  that  nothing  else  is  available. 

STORY:  In  the  first  sequence,  Hugh  Beau- 
mont is  invited  to  pick  up  a  bribe  involving 
a  fixed  wrestling  match.  One  of  the  wrestlers 
is  killed  in  the  ring,  and  Beaumont's  own  life 
is  threatened  several  times  before  he  gets  to 
the  bottom  of  the  matter.  This  reviewer, 
totally  taken  aback  by  the  number  of  char- 
acters toting  guns  and  wandering  in  and  out 
for  no  apparent  reason,  is  at  a  total  loss  to 
explain  the  final  conclusion. 

The  second  half  starts  more  promisingly  but 
soon  deteriorates  under  the  pressure  of  the 
confused  script  and  again,  the  quantity  of 
people  involved.  A  priest  asks  Beaumont  to 
meet  a  convict,  escaping  from  prison.  An  as- 
sortment of  murders  follows — and  once  more 
a  denouement  is  reached  which  leaves  one 
ignorant  of  the  findings.  ANGEL. 


14 


FILM  BULLETIN 


SMUGGLERS'  ISLAND'  CONFUSING  STORY  MARS  TECHNICOLOR  MELODRAMA 


<?ates  •  • 


n  action  houses;  fair  dualler  elsewhere 

yon  to  bring  notes  of  suspense  and  derring-do 


Spversal-International 
i '5  minutes 

j  eff  Chandler,  Evelyn  Keyes,  Philip  Friend, 
firvin   Miller,  Durkv  Louie,  Dave  Wolfe, 
ay  Novello,  H.  T.  Tsiang. 
Mtected  l>>  Edward  Ludwig. 

A  more  cohesive  story  might  have  made 
.-Smugglers'  Island"  worthy  of  its  rather  good 
(Technicolor  production  frame.  As  matters 
hand,  this  Universal  melodrama  relies  largely 
pa  its  visual  appeal  and  action  elements  for 
•ntertainment  values,  and  the  spectator,  often 
Its  not,  is  in  the  dark  as  to  just  what  all  the 
(flouting  is  about.  However,  for  the  action 
fans,  there  are  plenty  of  fisticuffs,  intrigue, 
fond  mysterious  Orientals  slithering  hither  and 


to  the  account  of  gold  smuggling  in  a  faraway 
South  Sea  island.  "Smugglers'  Island"  will  do 
all  right  where  such  mellers  hold  appeal,  but 
elsewhere  it   will  be  quite  disappointing. 

Not  many  players  are  involved  in  the  foray, 
with  Jeff  Chandler.  Evelyn  Keyes.  and  Philip 
Friend  carrying  the  action  for  the  most  part. 
Chandler's  he-man  technique  is  shown  ad- 
vantageously in  the  role  of  an  adventurer  who 
makes  the  best  of  an  illegal  escapade.  Evelyn 
Keyes.  playing  an  ambiguously  written  part, 
does  her  best  under  the  circumstances.  Philip 
Friend  is  convincing  as  the  smooth  unscrupul- 
ous husband  with  whom  she  is  no  longer  in 
love.  Ducky  Louie  is  amusing  as  Chandler's 


young  pal,  and  Marvin  Miller  stands  out  as 
boss  man  in  the  roster  of  slant-eyed  heavies. 
Director  Edward  Ludwig's  concentration  on 
pace  sacrifices  lucidity  on  the  altar  of  action. 

STORY:  Chandler,  proprietor  of  a  little 
boat,  is  lured  into  helping  Evelyn  Keyes  re- 
trieve some  cargo  ostensibly  lost  in  a  plane 
crash.  The  boxes,  pulled  up  from  the  sea,  turn 
out  to  contain  gold.  Chandler  at  first  wants 
to  wash  his  hands  of  the  deal  but  when  he 
discovers  a  quasi-legal  way  to  unload  the 
stuff,  he  sets  sail  for  China,  accompanied  by 
Miss  Keyes  and  Friend.  An  encounter  with 
pirates  and  Friend's  greediness  nip  the  project 
en  route,  but  Keyes  and  Chandler  are  in  love 
and  well  rid  of  the  golden  burden.  ANGEL. 


HER  FIRST  ROMANCE'  DISAPPOINTING  MARGARET  O'BRIEN  STARRER 


\ates  •  •  as  dualler  in  family  houses;  n.g, 

Columbia 
".i  minutes 

Margaret  O'Brien,  Allen  Martin,  Jr.,  Jimmy 
I  lunt,  Sharyn  Moffett,  Ann  Doran,  Lloyd 
i  lorrigan,  Elinor  Donahue,  Susan  Stevens, 

tlari»>a  O'Brien,  Arthur  Space,  Otto  Hulett, 
oii  Pace,  Harlan  Warde,  Maudie  Prickett. 

directed  by  Seymour  Friedman. 

This  will  sadly  disappoint  Margaret 
O'Brien's  fans.  The  emergence  of  young  Miss 

)'Brien  as  a  flip,  wise-cracking  bobby-soxer 
Im  her  return  to  the  screen  in  "Her  First  Ro- 
mance" was  an  effort  to  provide  the  former 
I'hild  actress  with  a  role  directly  opposite  to 
jhe  kind  she  played  as  a  moppet.  The  at- 

empt  misfires,  and  she  seems  to  be  more 
nrash    than    youthfully    sophisticated— rude 


for  action  spots 

rather  than  zany.  Oddly,  she  is  an  unsympa- 
thetic character.  More  adroit  supervision  of 
the  script  by  the  producer  (who  shrewdly 
chooses  to  forego  billing  )  and  a  firmer  direc- 
torial rein  on  the  star's  exuberance  might 
have  made  some  difference  in  terms  of  audi- 
ence reaction.  Seymour  Friedman's  direction 
of  the  dull,  unbelievable  script  is  as  stereo- 
typed as  his  material.  Curiosity  to  see  the 
"grown-up"  O'Brien  will  be  the  major  box- 
office  asset,  but  word-of-mouth  should  soon 
tear  this  down. 

Generally  the  supporting  cast  is  made  up 
of  young  people,  and  if  they  are  not  always 
convincing  the  fault  is  with  the  silly  antics 
they  are  obliged  to  perform.  Quite  the  best 
is  Allen  Martin,  Jr.,  who  plays  the  juvenile 


opposite  O'Brien.  Elinor  Donahue  stands  out 
as  the  third  point  of  a  youthful  romantic  tri- 
angle. Among  the  adults  who  register  are 
Lloyd  Corrigan  and  Ann  Doran. 

STORY:  Margaret  O'Brien  sets  her  cap  for 
the  affections  of  Allen  Martin.  To  implement 
her  position  she  sets  out  to  capture  the  title 
of  Queen  of  a  fiesta  at  a  summer  camp  in  the 
sure  knowledge  that  Martin  will  be  the  King. 
He,  it  appears,  needs  $25  to  complete  a 
"project."  Margaret  scurries  home,  extracts 
the  amount  from  her  father's  safe,  and  in  so 
doing  inadvertantly  carries  along  a  valuable 
business  paper.  This  precipitates  trouble  for 
pater  and  eventually  her  own  disgrace.  Full 
of  remorse  she  rejects  the  opportunity  to  be 
Queen  of  the  fiesta.  JAMES. 


GHOST  CHASERS'  AMUSING  SPOOK  YARN  WITH  BOWERY  BOYS 

?ates  •  •  as  dualler  for  action  and  neighborhood  houses 


Sonogram 
»9  minutes 

Leo  Gorcey,  Huntz  Hall,  Llovd  Corrigan, 
j-ela    Bliss,    Philip    Van    /an. It.  Bernard 

iorcey,  Robert  Coogan,  William  Benedict, 

iuddy  Gorman,  David  Gorcey. 
Directed  by  William  Beaudine. 

Although  lacking  the  action  qualities  usually 
issociated  with  this  Jan  Grippo  series  for 
Monogram,  "Ghost  Chasers"  turns  out  to  be 
t  bright  entry  in  the  group  featuring  Leo 
Gorcey  and  his  Bowery  pals.  The  amusing 
premise  of  the  screenplay  is  one  reason;  the 
[act  that  a  ghost  comedy  is  well-suited  to 
he  Bowery  boys'  talents  is  another.  Gorcey's 
nalapropisms.  a  standard  feature  of  the  group, 


are  held  to  a  minimum,  to  definite  advantage. 
The  gag  has  been  overworked,  and  we  wonder 
if  producer  Grippo  has  noted  that  the  juvenile 
audience  at  which  the  Bowery  comedies  are 
aimed  don't  really  understand  Gorcey's  abuse 
of  the  English  language.  William  Beaudine's 
direction  is  brisk  and  successful  in  creating 
a  pleasant  air  of  fantasy  by  means  of  the 
character  played  by  Lloyd  Corrigan — that  of 
a  real  ghost  who  has  been  busy  at  the  business 
of  haunting  since  the  days  of  the  Pilgrims. 

Most  of  the  comedy  antics  are  supplied  by 
Huntz  Hall  as  the  kid  to  whom  Corrigan  takes 
a  fancy  and  for  whom  he  performs  amazing 
feats  of  ghostly  magic.  Lela  Bliss  is  on  deck 


THE  FAT  MAN'  MILDLY  DIVERTING  MYSTERY 

\ates  •  •  as  supporting  dualler 


i  Universal-International 
"7  minutes 

I.  Scott  Smart,  Julie  London,  Rock  Hudson, 
'linton  Sundberg,  Jayne  Meadows,  John  Rus- 
ell,  Jerome  Cowan,  Emmett  Kelly,  Lucille 
|Jarkley,  Robert  Osterloh,  Harry  Lewis, 
Teddy  Hart. 

Directed  by  William  Castle.  

If  U-I  expects  to  put  "The  Fat  Man"  into 
he  detective  business  on  a  permanent  basis, 
he  studio  will  have  to  furnish  the  character 
■stronger  scripts  than  the  unimaginative  yarn 
i-onjured  up  for  his  debut.  The  radio  "eye" 
Woesn't  have  the  material  in  this  initial  effort 
o  mystify  anyone,  least  of  all  the  detective 
htory  addicts  at  whom  the  picture  is  essentially 


aimed.  The  yarn  is  muddled  and  the  motives 
of  those  involved  in  the  murder  are  somewhat 
obscure.  However,  this  Universal  offering  man- 
ages to  be  mildly  diverting  chiefly  by  virtue 
of  the  playing  of  J.  Scott  Smart,  famed  as 
radio's  "Fat  Man."  The  production  setting  of 
Aubrey  Schenk  is  above  average,  but  the  di- 
rection of  William  Castle  lacks  punch.  "The 
Fat  Man"  will  serve  adequately  on  the  lower 
half  of  double  bills. 

Mr.  Smart  handles  the  title  role  with 
aplomb  and  good  humor.  Clinton  Sundberg.  in 
the  part  of  his  assistant,  garners  a  few 
chuckles.  Julie  London  is  excellent  as  the  vic- 
tim's wife,  and  John  Russell  essays  the  heavy 


for  a  strong  performance  as  a  phoney  medium. 

STORY:  When  a  widowed  neighbor  falls 
into  the  clutches  of  a  medium  who  promises 
to  achieve  communication  with  her  son.  Hall 
and  his  buddies  do  their  own  experimenting 
with  ghostly  manifestations  and  see  that  it's 
just  a  trick.  They  get  back  the  woman's  money 
and  set  out  to  expose  bigger  game  in  the 
persons  of  Lela  Bliss  and  Yan  Zandt.  Cor- 
rigan. it  happens,  is  in  the  earth's  orbit  for 
the  very  same  reason — to  clean  up  phoney 
spiritualists.  Through  his  friendship  for  Hall 
he  is  able  to  lead  them  to  the  back  room 
where  the  seance  gadgets  are  stored,  thus  ob- 
taining the  evidence  necessary  to  put  them 
out  of  business.    HANNA  (Hollywood). 


chores  with  cool  efficiency.  Jerome  Cowari  is 
well  cast  as  the  inevitable  district  attorney, 
and  circus  clown  Emmett  Kelly  is  close  to 
home  in  the  part  of  a  Big  Top  funny  man. 

STORY:  Smart  is  called  to  investigate  the 
death  of  a  dentist.  On  checking  the  files  he 
discovers  the  R-rays  of  a  young  man,  Rock 
Hudson,  are  missing.  This  leads  him  to  investi- 
gate Hudson's  past:  he  discovers  Hudson  has 
been  a  small  time  criminal  and  prison  buddy 
of  circus  clown  Emmett  Kelly.  A  bit  more 
sleuthing,  and  Smart  is  able  to  pin  the  rap  on 
Kelly  and  prove  that  the  murders  were  done 
in  collaboration  with  racketeer  John  Russell. 

HANNA  (Hollywood) 


UY,     2  3,     1  9  5  1 


15 


"OUOT6S 


LITTLE  DIVIDEND' 


FATHER'S 

M-G-M 

"Buoyant,  if  not  a  hearty,  comedy — a  cut 
above  most  attempts  to  follow  on  the  foot- 
steps of  a  popular  act;'— GUERNSEY,  N.  Y. 
HERALD  TRIBUNE. 

"Catches  the  inevitable  human  responsive- 
ness of  its  audience  .  .  .  Small  and  light  and 
breezv;  there  is  no  profound  drama  here." — 
PECK,  N.  Y.  COMPASS. 

"Demands  three  cheers  and  a  loud  hosannah 
.  .  .  Long,  continuous  line  of  chuckles  .  .  . 
Fine  quality  and  superlative  entertainment." 
— WINSTEN,  N.  Y.  POST. 

"Compares  very  favorably  with  its  pre- 
decessor .  .  .  Has  not  the  high  spots  in 
hilarity  and  lacks  some  of  the  satirical  bite. 
But  you  cannot  get  mad  at  a  movie  just  be- 
cause it  is  not  quite  as  good  as  the  best 
comedv  of  last  year."  —  COOK,  N.  Y. 
WORLD  TELEGRAM. 

"Merriest  movie  of  the  year  .  .  .  Not  only 
as  good  as  'Father  of  the  Bride' — but  better! 
It's  a  long  chuckle  from  beginning  to  end  .  .  . 
Will  pay  off,  I  believe,  as  the  next  Academv 
Award  winner."— O'CONNOR,  N.  Y.  JOUR- 
NAL AMERICAN. 


What  the  Newspaper  Critics  Say  Ahout  New  Films 

'I  WAS  A  COMMUNIST 
FOR  THE  F.B.I. 

WARNER  BROS. 


"Hissing  and  horrendous  spy  film  ...  An 
erratic  amalgam  of  exciting  journalistic  re- 
port, conventional  'chase'  melodrama,  patriotic 
chest-thumping  and  reckless  'red'  smears  .  .  . 
Taut  style  of  'thriller'  fiction  .  .  .  Glows  with 
patriotism.  But  it  plays  a  bit  recklessly  with 
fire."— CROWTHER,  N.  Y.  TIMES. 

"Comic  strip  melodrama  .  .  .  Loud  argu- 
ment in  a  mediocre  movie  .  .  .  Contains  more 
of  second-rate  Hollywood  than  of  realism  .  .  . 
Essentially  a  transposition  of  the  old  gang- 
land drama  into  a  new  and  contemporary 
context."  —  GUERNSEY,  N.  Y.  HERALD 
TRIBUNE. 

"As  violent  melodrama  .  .  .  trots  out  plenty 
of  fast  and  furious  action.  But  as  a  blow  to 
the  Communist  cause  it  does  not  rate  very 
high."  —  COOK,  N.  Y.  WORLD  TELE- 
GRAM. 

"Uncomfortably  close  to  fictional  melo- 
drama .  .  .  Will  be  praised  and  damned  more 
in  accordance  with  the  political  sympathies  of 
the  spectator  than  on  its  own  merits." — 
WINSTEN,  N.  Y.  POST. 


DOUBLE  CROSSBONES 

UNIVERSAL-INTERNATIONAL 

"This  travesty  .  .  .  has  the  grace  not  t( 
take  itself  seriously  even  though  it  is 
dressed  up  in  bright  Technicolor  ...  A  lim[ 
lampoon."— A.W.,  N.  Y.  TIMES. 

"Pirate  screen  yarn  played  mostly  foi 
laughs  .  .  .  Innocent  of  any  depth  or  sub 
telty."— HERALD  TRIBUNE. 

"Combination  of  costume  romantic  fa 
and  Donald  O'Connor  constitute  in  itself 
criticism  this  department  will  not  attempt 
top  with  mere  dirty  words."  —  WINSTEN 
N.  Y.  POST. 

THE  FIRST  LEGION' 

UNITED  ARTISTS 

"Religious  bones  of  this  plot  have  real  dra- 
matic meat  on  them  .  .  .  Effective  without 
losing  one  bit  of  religious  reverence." — WIN 
STEN,  N.  Y.  POST. 

"Spurious  and  dull  and  empty  and  unin- 
spired and  even  hokey."  —  PECK,  N.  Y 
COMPASS. 

"Faithful,  temperate  and  generally  reason1 
able  .  .  .  Should  appeal  to  those  of  contem 
plative  mind."— CROWTHER,  N.  Y.  TIMES 

"Inspirational  film  with  a  religious  them 
.  .  .  Well  acted  and  generally  interesti 
drama  of  ideas  :  .  .  Has  a  special  and  p 
vocative   appeal."  —  GUERNSEY,  N. 
HERALD  TRIBUNE. 


UA's  New  Lease  On  Lite 


(Continued  from  Page  9) 

event,  their  control  of  the  management  would 
be  extended  for  a  further  period  of  at  least 
seven  years. 

Already  it  seems  as  though  the  Krim  man- 
agement is  in  to  stay,  and  that  the  stock  will 
be  delivered.  For  in  the  past  week  or  two 
the  new,  invigorated  United  Artists  has  ab- 
sorbed Eagle  Lion  Classics  and  has  acquired 
distribution  and  exhibition  contracts  which, 
Krim  states,  "will  immediately  stem  our 
losses." 

The  ELC  deal  was  accomplished  with  in- 
credible swiftness.  Arthur  Krim  was  away  on 
the  Coast,  in  the  thick  of  negotiations  for 
new  pictures  to  put  into  release.  At  about 
5:30  p.m.  on  the  afternoon  of  Friday,  April 
6,  Matty  Fox  made  the  first  tentative  ap- 
proach to  the  owners  of  ELC.  At  3  o'clock 
on  Monday,  April  9,  a  first  conference  was 
held.  By  3  on  the  Wednesday  afternoon  of 
the  same  week  the  papers  were  signed,  sealed 
and  delivered,  and  Eagle  Lion  had  become 
a  wholly-owned  subsidiary  of  United  Artists. 

It  was  a  cashless  transaction,  under  which 
I  \  look  over  ELC.  its  pictures  and  its  dis- 
tribution contracts,  but  none  of  its  liabilities 
or  exchanges.  The  vendors  of  the  ELC  stock 
— Pal  he  Industries — were  handed  a  long-term 
laboratory  contract  by  United  Artists. 

One  result  of  this  transaction  was  to  give 
UA  a  substantial  number  of  pictures  to  add 
to  the  20  originally  scheduled  for  this  year. 
16 


It  seemed,  however,  to  contradict  Arthur 
Krim's  previously-announced  intention  of 
seeking  only  "top  'A'  "  product,  for  Eagle 
Lion  is  not  noted  for  that  class  of  movie. 

Krim  has  an  answer  to  this  criticism.  He 
classes  the  Eagle  Lion  purchase  as  belonging 
to  the  first  phase  of  the  new  management's 
plan:  that  part  of  it  which  sought  to  clap 
the  brakes  on  UA's  slide  towards  disaster. 
It  was  conceived  as  providing  a  source  of 
immediate  revenue  only,  and  to  give  United 
Artists  a  breathing  space  in  which  to  build-up 
to  phase  two.  Assured  of  a  gain  in  1951  in- 
come, it  could  afford  to  be  more  discriminat- 
ing when  negotiating  for  1052  releases. 

Says  Krim:  "I  want  everybody  to  under- 
stand that  this  development  does  not  change 
our  basic  plan.  Let  there  be  no  misunder- 
standing on  that  score:  our  aim  is  a  program 
of  exclusively  top  category  pictures." 

No-one  in  the  business — least  of  all  the 
exhibitor — will  challenge  the  wisdom  of  that 
decision.  Its  over-all  effects  on  the  motion 
picture  industry  could  be  profound.  Inde- 
pendent producers,  it  is  hoped,  will  stop  flirt- 
inu  with  the  dangerous  damozel  of  Federal 
finance.  New  exploitation  ideas  may  be  de- 
veloped in  the  search  for  maximum  playing 
time.  Cheap,  unimaginative,  rubbishy  films 
which  do  the  industry  positive  harm  at  this 
time  of  acute  competition,  will  be  frozen  out 
if  United  Artists  can  keep  up  the  pace  of  the 
past  few  weeks,  and  not  lose  sight  of  its  ob- 
jective. 


Of  one  thing  exhibitors  can  be  certain 
Future  UA  product  will  get  the  advertising 
publicity,  exploitation  treatment  to  the  hilt 
In  vice-president  Max  E.  Youngstein,  th 
company  has  one  of  the  film  industry':; 
dynamos,  a  perpetual  motion  character  whi 
will  settle  for  nothing  less  than  extraction  o 
every  ounce  of  exploitive  value  from  even! 
picture  he  handles. 

Youngstein  immediately  set  about  the  taskj 
of  building  a  nationwide  staff  of  field  mer 
to  work  hand  in  hand  with  the  local  exhibi 
tors.  The  UA  press  books  immediately  showec 
evidence  of  his  two-fisted  type  of  boxoffict 
attack.  Stars  of  forthcoming  UA  releases  im| 
mediately  went  out  on  coast  to  coast  pub| 
licity  tours.  Immediately,  the  whole  UA  pic] 
ture  perked  up  and  this  famous  old  compam 
immediately  assumed  importance  in  the  in 
dustry's  scheme  of  things.  Everything  abou 
Max  Youngstein  is  immediate.  While  other 
may  dream  of  the  old  days,  or  sit  and  worn 
about  the  future,  this  fellow  merely  works 
Oddly,  he  firmly  believes  work  pays  off 

Perhaps  this  rebirth  of  United  Artists  ma) 
mark  a  turning-point  for  our  industry  in  it 
struggle  against  rival  forms  of  entertainmen 
and  its  effort  to  win  back  its  "lost  audience 
But  if  you,  as  an  exhibitor,  want  it  lo  pay 
off  you,  too,  must  play  your  par*  by  CO 
operating  all  along  the  line  in  the  bigger  an 
better  exploitation  campaigns  which  will  b 
coming  your  way. 

FILM  BULLETI 


-and  keep  going  now  with... 
BIRD  OF  PARADISE  -  YOU'RE  IN  THE  NAVY  NOW 

co/or  by  TECHNICOLOR 

I  CAN  GET  IT  FOR  YOU  WHOLESALE -FOLLOW  THE 
UN  •  14  HOURS  •  RAWHIDE  •  ON  THE  RIVIERA 

co/or  by  TECHNICOLOR 

CENTURY- FOX 


/ 


Short  Subjects 


By  BARN 


METRO'S  MIKE  SIMONS,  two-fisted 
exhibitor  relations  expert,  socked  across 
his  advice  to  exhibitors  in  no  uncertain  terms 
at  the  Georgia  Theatre  Owners  convention 
in  Atlanta.  "Let's  start  slugging  and  keep 
slugging!"  he  advised  theatremen  in  reference 
to  snide  remarks  that  television  was  killing 
our  business. 

"When  your  neighbor  who  runs  the  filling 
station  or  restaurant,  or  the  one  who  sells 
refrigerators  or  furniture,  grins  and  remarks 
that  it  looks  like  you're  going  to  become  a 
television  victim,  ask  him  why  he  thinks  that's 
a  prospect  to  smile  about;  ask  him  how  much 
gasoline  he  thinks  he  can  sell  people  who  sit 
at  home  looking  at  the  'big  17-inch  screen' 
instead  of  driving  their  automobiles  down- 
town to  look  at  your  17-foot  screen?  Or 
how  many  restaurant  meals  he  thinks  he  is 
going  to  serve  to  people  who  sit  at  home  by 
the  fireside  looking  at  TV?  Ask  any  merchant 
how  he'd  really  like  to  have  you  turn  out 
your  lights  for  good!" 

And  that  advice,  friends,  is  a  must  for 
theatremen  who  have  been  taking  the  last 
rites  for  their  business.  If  you  keep  crying 
you're  dead,  you  can  hardly  blame  anyone 
for  wanting  to  bury  you. 

THE  WALDORF  ASTORIA'S  famed  Star- 
light Ballroom  was  crowded  to  the  raft- 
ers last  Tuesday  night  with  industryites  who 
came  to  honor  Alfred  W.  Schwalberg  at  a 
testimonial  dinner  celebrating  his  30th  anni- 
versary in  the  film  business.  Prominent  ex- 
hibitors, some  600  from  all  over  the  U.  S. 
and  Canada,  assembled  to  pay  their  respects 
to  the  genial  president  of  the  Paramount 
film  distribution  organization.  It  was  an  im- 
pressive and  beautifully  staged  affair.  Bob 
O'Donnell  came  in  from  the  wide  open  spaces 
to  serve  as  toastmaster  and  the  speakers  in- 
cluded Barney  Balaban,  Adolph  Zukor,  John 
Fitzgibbons,  Austin  Keough,  Frank  Walker, 
and  Louis  Nizer.  The  latter's  "psychoanalysis" 
of  the  motion  picture  industry  received  rous- 
ing acclaim.  Mr.  Balaban  took  the  occasion 
to  make  an  impassioned  call  for  unity  in  the 
industry.  The  guest  of  honor  expressed  his 
gratitude  in  an  emotional  talk  that  brought 
him  a  standing  ovation.  The  affair  also  served 
to  introduce  to  the  assemblage  Paramount's 
"Golden  Circle"  of  future  stars.  To  testi- 
monial committee  chairman  E.  K.  "Ted" 
O'Shea  a  low  bow  for  his  handling  of  the 
affair. 

INITIAL  PUBLICITY  blast  for  20th-Fox's 
big  Technicolor  "David  and  Bathsheba" 
will  be  aimed  at  three  distant  age  and  social 
levels  of  the  American  public.  A  trio  of 
touring  units,  to  go  into  key  city  and  grass 
roots  throughout  the  summer,  have  been  care- 
fully calculated  for  their  individual  audience 
appeal  and  will  work  on  an  itinerary  designed 
to  take  them  to  the  most  influential  markets 
and  trade  centers  of  the  country.  The  first 
unit,  headed  by  Walter  Talun  who  plays  the 
Philistine  Giant,  is  aimed  at  the  youth  group 
from  six  to  seventeen  in  medium — size  and 
smaller  cities.  Francis  X.  Bushman.  King  Saul 
in  the  film,  will  key  his  larger-cities  tour  to 
the  historical,  cultural  and  religious  back- 
18 


U-I'S  SOCHIN 

New  Assistant  Saks  Head 


ground  of  the  film,  in  an  attempt  to  attract 
the  over-35  age  group.  The  third  unit,  angled 
at  the  18-35  category — but  undoubtedly  due 
to  snare  plenty  of  stragglers  from  the  older 
and  younger  groups — is  a  glamour  brigade 
headed  by  the  six  harem  wives.  At  least 
75,000,000  people  are  expected  to  be  reached 
through  the  units. 

THE  "HOPALONG  CASSIDY  protagon- 
ists", the  new  generation  of  20,000,000 
potential  movie  customers,  are  the  ones  who 
must  be  cultivated  by  the  industry,  Universal 
director  of  public  relations  Maurice  A.  Berg- 
man told  the  annual  convention  of  the 
Georgia  MPTOO.  "These  new  customers — 
this  new  generation — is  the  backbone  of  our 
business,"  Bergman  declared.  "They  are 
young.  They  are  the  spenders  of  tomorrow." 
And,  he  adds,  the  industry  has  lost  a  large 
segment  of  the  older  people  of  its  regular 
audience  because  of  poor  merchandising  of  its 
theatres  and  its  films  rather  than  because  of 
uninteresting  product.  "The  best  public  re- 
lations," Bergman  opined,  "is  to  shout  to  the 
public  in  every  media  that  you  can  have  a 
good  time  today  at  the  movies.  Let's  not  only 
expend  our  energies  toward  this  end  but  let's 
also  spend  our  money  to  this  end." 

AS  THOUGH  Philadelphia  exhibitors  didn't 
have  enough  headaches,  the  city  now 
has  a  law  requiring  all  movie  houses  to  pro- 
vide and  maintain  a  separate  auxiliary  bat- 
tery lighting  system  hooked  up  so  that 
"adequate  illumination  for  orderly  evacua- 
tion" may  be  available  in  event  of  interrup- 
tion of  regular  electric  service.  Exhibitors 
are  required  to  comply  with  the  regulations 
by  the  end  of  June  or  face  a  fine  and/or 
imprisonment  penalty. 

UVTOT  FOR  small  towns",  a  term  often 
Jl\|   applied    to    "quality"    films,    is  a 
blasphemy   to   both   picture   and  audience. 
Paramount's  Al  Schwalberg  believes.  Analyz- 


ing the  factors  that  make  up  the  "Small 
Town",  Schwalberg  finds  that  while  these 
communities  are  not  as  populous  as  theft 
metropolis,  "this  does  not  necessarily  mean  I 
that  the  people  in  the  'Small  Town'  are  less 
intelligent  nor  that  they  are  less  capable  of 
appreciating  fine  things.  If  anything,"  he  adds, 
"it  would  seem  to  me  that  the  ratio  of  family  j 
education  interest  is  higher  in  the  'Small  i 
Town'  on  the  average  than  it  is  in  the  largest 
metropolitan  and  cosmopolitan  cities.  .  .  J 
Also  every  'Small  Town'  has  its  proportionate 
sha^re  of  women.  I  think  everyone  will  con- 
cede that  a  'Woman's  Picture'  has  more 
chance  of  success  at  the  boxoffice  than  many 
other  types.  If  therefore  a  certain  picture  is 
properly  presented  to  the  women  of  a  smaller 
community,  there  is  no  reason  why  they  will  I 
not  respond.  And,  when  Sis  and  Mother  de- 
cide to  go  to  see  a  certain  movie,  you  cant 
bet  your  bottom  dollar  that  Sis'  beau  andf 
Dad  will  be  there  too."  Any  questions? 

ONE  OF  THE  most  heartening  aspects  for  i 
United  Artists  has  been  the  encourage- 
ment and  confidence  expressed  by  leading  ex- 
hibitors and  exhibitor  organizations  in  the  new 
management  of  the  film  company.  Allied 
States  president  Trueman  T.  Rembusch,  in  a  I 
wire  to  sales  v.p.  William  J.  Heineman  at' 
UA's  "Blueprint  for  Tomorrow"  sales  conven-l 
tion  offered  his  congratulations  on  the  won- 
derful job  you  and  your  group  are  doing  in 
revitalizing  United  Artists."  He  had  special 
praise  for  vice-president  Max  Youngstein, 
head  of  ad-publicity,  as  "one  of  the  most  J 
constructive  thinking  men  in  the  industry  to- 
day. His  enthusiasm,  drive  and  courage  wilH 
benefit  the  entire  industry  as  well  as  Unitedl 
Artists." 

OF  MEN  AND  THINGS:  Irving  Sochinl 
has  been  named  to  the  newly-created  post  > 
of  assistant  to  domestic  sales  manager  Charles  ( 
J.  Feldman.  Succeeding  Sochin  as  head  of  the 
U-I  Special  Films  Division  is  Harry  Feller- 
man,   sales  supervisor  for  the  New  Yorkl 
branch  .  .  .  UA  permanent  field  publicity- 
exploitation  representatives  have  now  reachedl 
the  minimum  figure  of  eight  promised  by 
v.p.  Max  Youngstein  a  few  short  weeks  ago. 
They  are:   Max  Miller,   Philadelphia  area^ 
Joseph  Mansfield,  Boston-New  England;  Mil- 
ton Overman,  Dallas-Southwest;  H.  M.  "Ad-j 
die"  Addison,  Atlanta-South;   Peter  Bayes.H 
Denver-Rocky   Mt;    Charles   Baron,  Pitts-lj 
burgh-Detroit-Cleveland ;    Robert   Goodfried  J 
Pacific  Coast,  and  Wally  Louis  Heim,  Mid- i 
west  .  .  .  Joseph  A.  Bisdale  has  been  upped 
to  assistant  to  Paramount  Shorts  Subjects 
chief  Oscar  A.  Morgan  .  .  .  Kenneth  Lloyd 
has  been  named  Salt  Lake  City  branch  man- 
ager, replacing  Charles  Walker,  resigned  •  •  ■ 
Max  Birnbaum  replaces  Al  Daytz  as  Warner 
New  Haven  branch  head  .  .  .  Jerome  Safron  j 
is  the  new  UA  district  manager  in  charge  of 
the  Boston-New  Haven-Philadelphia-Washing- 
ton-Pittsburgh  territory  .  .  .  Samuel  Goldwyn 
will  chairman  the  Hollywood  Bowl  celebra- 
tion for  the  May  24  appearance  of  Israel  t 
Prime  Minister  David  Ben-Gurion  .  .  .  1TO 
of  Montana's  semi-annual  confab  will  tee  off 
at  the  Northern  Hotel,  Billings,  on  June  6. 

FILM  BULLETINl 


^  iet  J  Hate  tflcre  ctf  TkU 


Old-Fashioned  Ballyhoo 


AD  FOR  'TOKYO  FILE  212' 

The  Industry  Cut  Its  Teeth  On  Thi 


When  the  bright,  glittering,  indestructible 
toy  that  became  a  child's  favorite  is  once 
again  pulled  out  from  the  box  full  of  newer 
ind  flimsier  playthings  that  have  buried  it,  it 
is  embraced  with  even  greater  delight.  In  the 
movie  industry,  the  good,  old-fashioned  bally- 
hoo on  which  the  infant  flickers  cut  its  teeth 
is  beginning  to  show  up  once  again,  and 
showmen  throughout  the  industry  are  eager 
[o  embrace  it  with  the  same  delight  of  the 
child.  This  is  something  they  want,  something 
they  need. 

A  prime  example  of  the  old-time  bally  is 
RKO's  Geisha  girl  campaign  in  conjunction 
,svith  key  city  openings  of  "Tokyo  File  212." 
A  minor,  starless  melodrama — "a  good  little 
action  film" — it  was  obviously  slated  for  box- 
office  obscurity  without  the  proper  exploita- 
:ion  push.  However,  RKO's  advertising  chief. 
Barret  McCormick.  sensing  the  need  for 
something  special  to  exploit  this  novelty  pic- 
ture, had  other  plans. 

Utilizing  the  exploitangle  that  the  picture 
,.vas  actually  filmed  in  Japan  (with  American 
stars,  director,  and  technicians).  McCormick 
.vent  all-out  on  a  promotional  campaign  that 
las  been  garnering  reams  of  publicity.  A 
roupe  of  Geisha  girls,  the  mystery-shrouded 
[apanese  entertainers,  allegedly  (nor  do  we 
jioubt  it)  was  flown  over  from  Nippon  to 
iippear  for  the  first  time  on  an  American 
:heatre  stage.  Accompanying  them  on  the 
lationwide  tour  was  the  glamorous  star  of 
he  film,  Florence  Marly,  who  joined  in  the 
J.a.'s  for  the  various  key  openings. 

The  unusual  sight  of  the  Japanese  geishas 
n  full  costume  at  various  points  of  interest 
»*as  a  sure  bet  for  newspaper  photos  and 
stories— with  the  name  of  film  inevitably 
nentioned— in  each  city.  The  girls  at  the 
Lincoln  Memorial,  in  front  of  Independence 
Hall,  sipping  Cokes  or  eating  hot  dogs,  and 
dozens  of  other  poses  made  the  news  columns. 


In  each  city,  large,  striking  ads  heralded 
their  stage  appearance  at  the  film's  opening. 
In  the  Philadelphia  Daily  News,  a  two-page 
spread  in  feature  form  socked  the  reading 
public  with  the  bally. 

Stories  about  the  difficulties  of  filming  in 
Japan  were  circulated.  The  script,  first  of  all, 
had  to  be  adapted  to  keep  pace  with  the 
Korean  war  developments.  Approval  of 
General  MacArthur  and  the  Japanese  govern- 
ment had  to  be  obtained  for  shooting. 

Eighty  percent  of  the  shooting  time  was 

beset  by  rain.  The  American  stars,  idolized 
by  Japanese  movie  fans,  were  constantly  on 
the  verge  of  being  mobbed,  as  were  the  tech- 
nicians. And  that  was  only  a  fraction  of  the 


hazards  involved  during  the  filming,  intriguing 
fodder  for  the  publicity  mills. 

What  RKO's  McCormick  has  done  with 
"Tokyo  File  212."  can  be  effected  by  every 
film  company  for  a  great  bulk  of  their  out- 
put. And  not  on  just  the  so-called  "exploita- 
tion pictures" — too  often  a  synonym  for  the 
cheap  quickie  with  a  gimmick— but  on  the 
high-budgeted  "class"  product  even  more 
effectively. 

Very  often  the  effects  of  this  ballyhoo  are 
not  immediately  apparent.  A  first-run  on 
which  the  promotion  has  been  lavished  may 
find  the  film's  gross  for  that  theatre  has  not 
appreciably  changed  despite  the  big  cam- 
paign. But  the  seeds  that  will  sprout  in  the 
subsequents  have  been  planted.  It  is  in  these 
situations  that  the  campaign  will  often  pay 
its  biggest  dividends.  When  it  comes  to  the 
neighborhood  theatre,  the  picture  will  no 
longer  be  just  a  cold  title:  it  will  strike  a 
responsive  note  in  the  potential  moviegoer 
that  may  mean  just  the  extra  little  push 
necessary  to  get  them  into  the  theatre. 

It  certainly  behooves  the  exhibitor,  where 
the  distributor  has  placed  his  showmanship 
wiles  at  the  theatreman's  disposal,  to  augment 
the  promotion  with  his  own  best  efforts  as 
well  as  with  cash. 

This  industry  needs — desperately— a  return 
to  the  old-time  ballyhoo  on  which  it  was 
nurtured.  The  film  companies,  with  their 
trained  pitchmen  and  ballyhoo  specialists, 
must  lead  the  way.  RKO's  Geisha  Girl  stunt 
merits  praise  as  a  step  in  the  right  direction. 

19 


STUDIO  SIZ€-UPS 

Behind  the  Scenes  of  Film  Production 
XicluM*  ^BULLETIN  feature 


COLUMBIA 

COL  CONTINUES  HEAVY 
PRODUCTION  THROUGH  MAY 

Production  continues  at  a  rather  heavy  pace 
here.  The  year's  peak  in  activity  was  hit  on 
May  15.  when  two  new  short-budgeters  went 
before  the  cameras,  to  bring  the  total  number 
of  films  shooting  simultaneously  to  six.  The 
May  15th  starters  were:  'Jungle  Jim  and  the 
Giant  Killer,"  latest  in  the  series  starring 
Johnny  Weismuller,  and  a  new  Charles 
Starrett-Smiley  Burnett  sagebrusher,  "Pecos 
River."  Producer  Sam  Katzman  and  Director 
Lou  Landers  introduced  a  new  name  in  the 
cast  of  this  most  recent  "Jungle  Jim"  entry 
in  the  person  of  Bob  Waterfield.  pro  footballer 
husband  of  Jane  Russell.  As  has  been  the  case 
throughout  the  series,  filming  will  be  held  to 
a  very  short  schedule. 

The  remaining  four  pictures  shooting  at  mid- 
month  were:  "Ten  Tall  Men"  (Burt  Lancaster 
— Jody  Lawrence),  a  Halburt  Production  for 
Columbia  release,  being  filmed  in  Technicolor; 
"Man  In  the  Saddle"  (Randolph  Scott— Joan 
Leslie),  also  in  Technicolor;  "The  Dark  Page" 
(Kroderick  Crawford  —  John  Derek  —  Joan 
Leslie)  and  "Small  Wonder"  (Robert  Cum- 
mings— Barbara  Hale),  another  Halburt  Pro- 
duction with  Frank  Tashlin  directing  for  Pro- 
ducer Harold  Hecht. 

Next  to  roll  will  be  "The  Sure  Thing."  a 
Sidney  Buckman  production,  due  to  go  before 
the  cameras  May  28,  with  a  cast  as  yet  un- 
announced. 

Stanley  Kramer  has  set  a  tentative  July 
starting  date  for  "My  Six  Convicts,"  his  first 
for  Columbia.  Hugo  Fregonese,  who  has  been 
signed  to  a  three-picture  pact,  will  direct,  with 
Fdna  and  Edward  Anhalt  serving  as  associate 
producers. 

Larry  Parks'  starring  contract  with  the 
Cower  Street  company  has  been  formally  can- 
celled by  mutual  consent.  Although  denied,  it 
is  generally  believed  that  the  parting  resulted 
from  Parks'  recent  testimony  before  the  House 
Un-American  Affairs  Committee,  during  which 
he  admitted  that  he  had  been  a  member  of  the 
Communist  party.  The  pact  reportedly  guaran- 
teed Parks  $50,000  per  picture. 


LIPPERT  PRODUCTIONS 

LIPPERT  DEALS  FOR  INDE 
FILMS.  BACKLOG  TOTALS  10 

Robert  L.  Lippcrt  stands  to  give  some  of  tin 
older  and  wealthier  releasing  companies  ii 
Hollywood  a  real  run  for  their  money  as  ai 


important  distributor  for  independent  films. 
Since  his  recent  announcement  that  he  planned 
to  augment  his  own  production  slate  with  out- 
side inde  product,  Lippert  has  been  huddling 
with  a  half  dozen  or  more  producers  on  pictures 
that  would  be  a  definite  asset  to  some  of  the 
major  releasing  outfits. 

One  such  deal  that  should  be  settled  by  the 
time  this  reaches  print  is  for  the  picture 
"Night  of  Fame."  filmed  in  Italy  last  year, 
with  Mischa  Auer  and  Marilyn  Buford  in  the 
starring  roles. 

Currently  rolling  here  is  "Leave  It  To  The 
Marines"  (Sid  Melton),  which  producer  Sig- 
mund  Xeufeld  and  director  Samuel  Newfield 
put  before  the  cameras  on  May  14.  Scheduled 
to  start  today  (21)  is  "Off  We  Go"  (Sid 
Melton),  also  produced  by  Sigmund  Xeufeld 
and  directed  by  Samuel  Xewfield. 

The  company's  backlog  now  totals  10  films, 
entirely  exclusive  of  any  outside  deals.  This 
is  the  largest,  and  from  the  standpoint  of 
quality,  the  most  impressive  the  company  has 
boasted  at  any  time  during  its  four-year  history. 
All  ten  pictures  will  be  released  during  the 
three  month  period.  May  through  July.  They 
are:  "Little  Big  Horn,"  "Savage  Drums," 
"Kentucky  Jubliee."  "Danger  Zone,"  "Roaring 
City,"  "Pier  23,"  "Yes  Sir,  Mr.  Bones."  "Show- 
time," "G.  I.  Jane,"  and  "Lost  Continent." 

Lippert  and  Cesar  Romero  are  talking  a  one- 
picture-per-year  deal  to  team  Romero  and  Chick- 
Chandler.  Plans  are  to  start  a  series  starring 
the  pair  in  the  same  roles  they  play  in  "Lost 
Continent,"  which  has  just  been  completed. 
However,  this  series,  which  would  feature  the 
pair  as  an  air  force  pilot  and  his  co-pilot, 
could  not  be  started  until  early  next  year, 
since  Romero  already  has  a  secont  1951  com- 
mitment with  Lippert. 


METRO-GOLDWYN-MAYER 

SIX  BIG  ONES  ROLLING, 
SCHARY  READIES  FOUR  MORE 

With  six  high-budget  features  shooting 
simultaneously  during  the  first  three  weeks  of 
May,  production  chief  Dore  Schary  has  eased 
off  a  bit  temporarily  to  clean  up  the  heavy 
current  program.  Nothing  new  has  gone  before 
the  cameras  since  April  30th.  However,  he  is 
holding  a  quartet  of  new  features  in  abeyance, 
ready  to  put  them  to  work  as  rapidly  as  those 
now  filming  arc  cleared  from  the  sound  stages. 

Next  to  roll  will  be  "Lone  Star"  (Clark 
Gable — Ava  Gardner),  which  producer  Z. 
Wayne  Griffin  and  director  Vincent  Sherman 
expect  to  start  on  May  18.    The  script  calls 


for  mostly  outdoor  work,  with  a  minimum 
sets,  but  the  budget  runs  well  over  a  milli 
dollars  and  will  require  almost  two  months 
film.  On  May  28,  Arthur  Freed  will  place 
top-bracket  musicals  before  the  cameras,  bo 
in  Technicolor  and  both  budgeted  at  well 
a  million  dollars  apiece.  "Belle  of  Xew  Yo 
(Fred  Astaire — Vera-Ellen — Keenan  W 
has  been  assigned  to  director  Chuck  Walt* 
and  "Sirigin'  In  the  Rain"  (Gene  Kelly 
Debbie  Reynolds — Donald  O'Connor),  will 
co-directed  by  Kelly  and  Stanley  Donen. 

Of  the    six    features    currently  filming, 
western   satire,   "Callaway    Went  Thatawa 
(Fred   MacMurray  —  Dorothy  McGuire 
Howard  Keel)  was  the  last  to  start.   The  pr. 
ducer-director    team   of    Panama  and  Frai 
are  reining  the  production.  Others  still  befc 
the   cameras  are :  "Angels  And   the  Pirate 
(Paul  Douglas — Janet  Leigh — Keenan  Wynr 
"Westward   the  Women"    (Robert  Taylor 
Denise  Darcel),  "The  Light  Touch"  (Stew; 
Granger — Pier  Angeli),  "Too  Young  to  Ki< 
(Tune  Allyson — Van  Johnson),  and  "Man  W 
A  Cloak"  (Joseph  Cotten — Barbara  Stanwy 
— Louis  Calhern). 

Rumors    continue  to    run  rampant   on  f 
Metro  lot  regarding  Louis  B.  Mayer's  possif^ 
move-over  to  another  studio.    Several  pror 
nent  producers,  among  them  Arthur  Freed,  ar 
such  semi-executive  personnel  as  publicity  chi 
Howard   Strickling,  are  all  reputedly  malar] 
plans  to  follow  their  old  chief,  if  and  wh^ 
the  time  arrives.    It  is  definitely  to  be  hoot 
that    the   studio  won't  split  into  Mayer  arl 
Dore  Schnary  camps,  thereby  dissipating  oil 
of  the  oldest  and  best-staffed  organizations  I 
the  industrv. 


MONOGRAM— AA 

PRODUCTION  SURGES  WITH 
IMPRESSIVE  SLATE  FOR  MAY 

When  Prexy  Steve  Broidy  told  represent 
tives  to  his  company's  regional  sales  meetir 
in  Colorado  Springs,  recently,  that  he  antll 
cipated  a  strong  upswing  in  business  during  Q 
next  six  months,  he  obviously  wasn't  talkit! 
just  for  publicity.  His  first  move  on  returniij 
to  Hollywood  was  to  launch  the  heaviest  pn 
duction  upsurge  the  company  has  seen  in 
long  time.  A  total  of  seven  films  are  beiil 
rushed  into  production,  either  under  the  Mom, 
gram  or  Allied  Artists  aegis  during  the  mon 
of  May  alone. 

Topping  the  impressive  May  slate  is  "Til 
Police  Story."   which  producer  S.  R.  Dunk! 
will   start  this  week.    The  property  has  be«| 
kicking  around  the  lot  for  a  good  many  montW 
and  is  destined   to  be  one  of  Allied  Artisfl 
major  productions   of   recent  years.  Assigw 
meuts  of  cast  and  director  were  expected  to  I 
made  shortly.    Additional    May   starters  arJ. 
"Stage  Coach   Driver"   (Whip  Wilson — Fuzaj 
Knight),  which  producer  Vincent  Fenm-lly  ail 
director  L.  D.  Collins  greenlighted  May  8;  tH 
Walter  Mirisch  production  of  "Flight  to  Mars] 
filmed    in    Cinecolor    and  directed  by  Lesl 
Selandcr.  starting  May  12;  "Rodeo,"  anothd 
(Continued  on  Page  2'\ 


20 


FILM  BULLETI 


For  the  first  time 

N  ITS  IOO-YEAR  HISTORY 
THE  CAMERAS  GO 

Inside  th*  Wauls  o? 


as smwrnfrcm 

jt  mama  jrrfijrcr/dJr 

AS  £V£A  IYAS  StfOHW 
INSIDE  THE  WALLS 
OF  A  THEATRE/ 


STARRING 

STEVE  COCHRAh 


PHILIP  CARE^ 
TED  de  CORSI/ 
DOROTHY  HAR1 

Written  and  Directed  byCRANE  WILBUR  p*-***  BRYAN  FOYMlS 


J 


I  STUDIO  SIZ6-UPS 

Cinecolor  biggie  produced  by  Mirisch,  with 
William  Beaudine  directing  and  starring  Jane 
Night,  May  16;  "Sea  Tiger,"  Jean  Yarbrough 
directing  for  William  F.  Broidy,  set  for  May 
21,  with  a  still-unannounced  cast;  and  "Let's 
Go  Navy"  (Leo  Gorcey— Huntz  Hall— The 
Bowery  Boys),  to  roll  on  May  28  with  Pro- 
ducer Jan  Grippo  and  Director  William  Beau- 
dine  helming  the  production. 

Only  one  picture  has  been  completed  during 
the  past  fortnight,  and  that  is  the  Allied  Artists' 
production  of  "Disc  Jockey,"  with  al  all-star 
musical  cast,  headed  by  Ginny  Simms,  Michael 
O'Shea,  Jane  Nigh,  Tom  Drake,  Russ  Morgan, 
Tommy  Dorsey,  Lenny  Kent,  Herb  Jeffries 
and  Sarah  Vaughan.  Will  Jason  directed  for 
producer  Maurice  Duke  and  brought  the 
picture  in  on  a  20-day  shooting  schedule. 

PARAMOUNT 

SIX  ON  SETS  GIVE  PAR. 
BRIGHT  HOPES  FOR  FUTURE 

The  over-all  production  picture  at  Paramount 
continues  to  be  one  of  the  brightest  in  town. 
With  the  start  of  "Silver  City"  (Yvonne  de 
Carlo  —  Edmond  O'Brien  —  Barry  Fitzgerald) 
during  the  early  part  of  the  month,  the  total 
films  shooting  rose  to  six.  "Silver  City,"  a 
Nat  Holt  production,  by  Byron  Haskin  and 
filmed  in  Technicolor.  This  will  be  one  of 
Holt's  highest-budgeted  productions  in  recent 
months. 

Others  currently  before  the  cameras  are 
Pine-Thomas'  "Hong  Kong"  (Ronald  Reagan 
— Rhonda  Fleming),  directed  by  Lewis  R. 
Foster;  Cecil  B.  DeMille's  "The  Greatest 
Show  on  Earth"  (Betty  Hutton — James  Stewart 
— Cornel  Wilde — Dorothy  Lamour)  ;  Perlberg 
Seaton's  "Aaron  Slick  from  Punkin  Crick" 
(Alan  Young — Dinah  Shore)  ;  "Rage  of  the 
Vulture"  (Alan  Ladd — Deborah  Kerr — Charles 
Boyer),  with  Everett  Riskin  producing  and 
Charles  Vidor  directing,  and  "My  Son  John" 
(Helen  Hayes— Van  Heflin— Robert  Walker 
—  Dean  Jagger),  Leo  McCarey  producer- 
director. 

Another  Technicolor  outdoor  film  "War- 
bonnet,"  with  Charlton  Heston  listed  as  one 
of  tin-  stars,  will  go  before  the  cameras  in 
June.  George  Marshall  is  slated  as  director, 
with  Mel  Epstein  producing. 

Further  evidence  that  Paramount  will  place 
a  much  heavier  emphasis  on  filmusicals  is 
hinted  in  the  promotion  of  Robert  Donal,  music 
director  and  composer,  to   full-time  producer. 


12  to  15  musicals  are  under  consideration  by 
production  chief  Don  Hartman,  who  is  re- 
sponsible for  the  company's  suddenly  increased 
interest  in  this  type  of  production.  Hartman 
says  he  expects  to  turn  out  a  minimum  of  3  to 
5  musicals  annually. 

A  deal  has  been  set  up  by  Hartman  with 
Charles  Vidor  to  direct  one  picture  per  annum 
for  three  years  for  Paramount.  The  only  other 
contract  deal  is  with  William  Hammerstein, 
wIki  lias  joined  the  company  as  a  producer.  He 
is  the  son  of  Oscar  Hammerstein  II. 

REPUBLIC 

NEW  JOHN  FORD  FILM  TOPS 
IMPRESSIVE  REPUBLIC  SLATE 

The  emphasis  seems  to  be  on  the  high-budget 
type  of  production  at  Republic  this  month, 
with  two  of  the  three  pictures  currently  before 
the  cameras  far  ahead  of  the  average  Republic- 
budgeted  picture,  and  a  fourth  about  to  start  in 
Ireland  which  will  be  one  of  the  most  ex- 
pensive this  studio  has  produced  in  recent  years. 

Before  the  cameras  at  the  present  time  are: 
'■Wings  Across  the  Pacific"  (Wendell  Corey- 
Forrest  Tucker — Vera  Ralston),  which  has 
been  in  active  production  since  April  3 ;  "The 
Sea  Hornet"  (Red  Cameron— Adele  Mara), 
which  Producer-Director  Joseph  Kane  rolled 
on  April  28,  and  "Pals  of  the  Golden  West" 
(Roy  Rogers  —  Dale  Evans),  directed  by 
William  Witney  and  produced  by  Edward  J. 
White,  launched  on  May  7.  Within  the  next 
couple  of  weeks,  this  trio  of  films  will  be  joined 
by  John  Ford's  production  of  "The  Quiet  Man," 
which  will  be  shot  entirely  in  Ireland,  with 
Ford  doubling  as  producer  and  director. 

Barring  last  minute  changes  in  plans,  still 
one  more  picture  may  get  the  greenlight  this 
month,  namely  "Oklahoma  Annie,"  the  next 
Judy  Canova  starring  vehicle.  "Annie"  will 
be  filmed  in  a  special  new  three-color  Trucolor 
process.  R.  G.  Springsteen  will  direct  for  as- 
sociate producer  Sidney  Picker.  The  picture 
reputedly  has  an  18-day  shooting  schedule. 

RKO 

REPORT  GOLDWYN  LEADING 
REVOLT  OF  INDE  PRODUCERS 

There  arc  persistent  rumors  here  in  Holly- 
wood that  RKO  is  facing  the  possibility  of 
losing  independent  units  which  furnish  the 
company  with  some  of  its  top  product.  Howard 
Hughes  is  reported  to  be  at  sword's  point  witli 
Sam  Goldwyn,  among  others,  and  it  is  no 
secret  that  Goldwyn  is  talking  to  other  inde- 
pendents regarding  the  organization  of  a  new 
production    and    distribution.    Conceivably,  it 


might  be  Mr.  G's  quaint  idea  to  spread  thhl 
story  around  to  bring  Mr.  Hughes  around  tc 
agreement  on  something  Goldwyn  desires.  For-' 
give  us  if  we  express  a  serious  doubt  that 
anyone  in  this  day  will  plunge  into  an  expensive 
and  risky  enterprise  like  a  new  distributior 
company. 

Despite  the  perilous  possibility  that  Goldw 
may  depart,  RKO  appears  to  have  a  tower  o 
strength  in  the  Wald-Krasna   unit,  which  ' 
roaring  along    with  its  plans   and  will  < 
launch  a  full-scale  production  slate  under 
steam.    Within  the   next  60   days,  W-K  wil 
greenlight  no  less  than  six  high-budget  featui 
as  many  as  four  rolling  at  one  time. 

First  to  start  will  be  "High  Heels",  w' ' 
producer  Harriet  Parsons  expects  to  put  bef 
the  cameras  on  June  1,  with  a  still  unannounc 
cast.  Others,  in  the  order  they  will  follow  are 
"Clash  By  Night,"  "Size  12,"  "Cowpoke," 
"All  the  Beautiful  Girls"  (formerly  titl- 
"USO  Story"),  and  "Strike  A  Match". 

With  the  addition  of  "South  of  Samoa"  t 
Samuel  Goldwyn's  slate,  his  independent  pr_ 
ducing  company  now  has  four  pictures  plann" 
for  1951-52.  "Samoa,"  based  on  Somerset 
Maugham's  "Mackintosh,"  will  be  filmed  in 
the  Samoan  Islands  in  Technicolor  next  year, 
starring  Farley  Granger  and  Joan  Evans.  The 
remaining  three  pictures  on  his  upcoming  char 
are:  "I  Want  You"  (Dana  Andrews — Doroth 
McGuire  —  Farley  Granger),  "The  Grea 
American  Pastime,"  and  "The  Hans  Christia 
Andersen  Story"  (Danny  Kaye  —  Mor 
Shearer),  which  will  be  budgeted  in  excess  o 
$3,000,000,  establishing  a  new  high  for 
Goldwyn  production. 

Still  shooting  at  RKO  are:  Wald-Krasna' 
"The  Blue  Veil,"  (Jane  Wyman  —  Richa- 
Carlson — Charles  Laughton — Joan  Blondejl  : 
Edmund  Grainger's  "The  Racket"  (Robert 
Mitchum — Lizabeth  Scott — Robert  Ryan),  and 
"The  Las  Vegas  Story"  (Jane  Russell — Victo- 
Mature). 

20TH  CENTURY-FOX 

ECONOMY  HITS  SALARIES, 
FILM  STANDARDS  TO  BE  HELD 

By  the  time  this  issue  of  FILM  BULLETIN 
is  in  your  hands,  the  announcement  by  20th'" 
president  Spyros  Skouras,  instituting  certain 
overall  economy  measures  and  included  in  which 
will  be  voluntary  salary  cut-backs  by  executives 
and  creative  people  (except  actors),  will  have 
become  generally  known  in  the  industry. 
Although  the  economies  will  also  effect,  t" 
some  extent,  the  budgets  of  future  productions, 
it  is  unlikely  that  the  savings  will  detract  from 
the  usual  high  standard  of  the  company's  pro- 
duct. Production  chief  Darryl  F.  Zanuck,  who 
has  already  made  several  films  for  1952  release 
at  a  cost  of  approximately  $200,000  less  than 


22 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

he  originally  scheduled  budget  of  $1,400,000 
Ler  picture,  will  undoubtedly  continue  to  turn 
hit  the  high  grade  of  picture  that  has  long 
been  associated  with  his  name. 

One  new  feature,  "Don't  Call  Me  Mother" 
(Claudettc   Colbert   —  Wendall  Corey),  was 

[launched  by  producer  Robert  Rassler  on  May 
8  with  a  24-day  shooting  schedule.  Coming  up 

'later  this  month  is  "Zapata"  (Marlon  Brando — 

'jean  Peters),  which  Elia  Kazan  starts  filming 

[on  location  in  Texas  on  May  28. 

"Chuck-a-Luck,"  the  Fidelity  Pictures  pro- 
I  (faction  for  Fox  Velcase  starring  Marlene 
I  Dietrich.    Mel    Ferrer  and  Arthur  Kennedy, 

wound  last  week  after  40  days  of  shooting. 

Fritz  Lang  directed. 

Important  new  contract  deals  signed  in  recent 
weeks  include  a  term  pact  for  director  Jacques 
i  Tourneur,  and  a  straight  seven-year  pact  for 
j  producer  Samuel  G.  Engel. 

UNITED  ARTISTS 

STEPPING  UP  BUDGETS  ON 
FILMS  ACQUIRED  ON  ELEC  DEAL 

Now  that  the  new  owners  of  United  Artists, 
are  beginning  to  cut  through  the  maze  of  detail 
surrounding  their  recent  purchase  of  Eagle- 
Lion-Classics,  it  is  becoming  evident  that  the 
entire  industry  stands  to  profit  by  the  merger. 
|  Pictures  contracted  for  by  ELC  and  taken  over 
i  by  UA  will  be  filmed  on  higher  budgets  than 
originally  anticipated,  sales  promotion  will  be 
more  intensified  and  the  general  product  short- 
age will  be  considerably  alleviated. 

Indicative  of  the  higher  budgets  to  be  ac- 
i  corded    the     ELC     commitments    are  two 
i  DeMyrtha  Productions  pictures,  "Double  Cross" 
i  and  "Eleven  Days."  which  are  due  to  go  before 
I  the  cameras  in  the  next  few  weeks.  Following 
conferences  between  Mike  Phillips,  DeMyrtha 
prexy,  and   UA   chief  Arthur  Krim,   it  was 
I  decided  that  both  features  should  have  their 
j  budgets  hypoed  to  insure  a  higher  calibre  of 
I  product.  First  of  the  pair  to  roll,  about  June  1, 
,  will  be  "Double  Cross,"  a  prize  fight  story,  for 
which  Mickey  Rooney  has  been  set  to  direct. 

First  of  the  24  independent  productions  to  go 
for  the  1952  release  schedule  is  "Chicago  Call- 
ing"   (Dan  Duryea)    to  be  directed  by  John 


Reinhardt  for  producer  Peter  Rerneis,  with 
Joe  Justman  as  executive  producer.  The  picture 
is  slated  to  roll  during  the  closing  days  of  this 
month. 

It  is  also  becoming  evident  that  Pathe  In- 
dustries, ELC  parent  organization,  will  fare 
equally  well  as  a  result  of  UA's  purchase  of 
the  foster  organization.  According  to  terms  of 
the  sale,  Pathe  will  get  all  laboratory  work  on 
the  forthcoming  product,  assuring  the  company 
of  upwards  of  $1,500,000  business  over  a  ten- 
year  period. 

UNIVERSAL-INTERNATIONAL 

U-1  MAINTAINS  CAPACITY 
PACE  WITH  6  NEW  STARTERS 

With  the  start  of  six  new  pictures — two  of 
them  in  Technicolor — during  the  month  of 
May,  Universal-International  continues  to  main- 
tain the  heavy  production  schedule  that's  kept 
every  department  of  the  studio  operating  at 
capacity  level  since  the  first  of  the  year. 

"Flame  of  Araby"  (Jeff  Chandler— Maureen 
O'Hara),  started  on  location  at  Big  Pine, 
California,  May  2,  with  Charles  LaMont  direct- 
ing. "Reunion  in  Reno"  (Mark  Stevens  — 
Peggy  Dow),  rolled  the  same  week  on  location 
in  Reno,  with  Kurt  Neumann  directing  for 
producer  Leonard  Goldstein.  "The  Door," 
starring  Charles  Laughton,  Boris  Karloff  and 
Sally  Forrest,  followed  on  May  17,  Joseph 
Pevuey  directing  for  producer  Ted  Richmond. 
On  May  11,  director  Bob  Boetticher  launched 
"The  Cimarron  Kid"  (Audie  Murphy— Beverly 
Tyler),  for  producer  Ted  Richmond.  Rolling 
later  are:  "The  Treasure  of  Franchard" 
(William  Powell),  to  be  produced  by  Leonard 
Goldstein  and  directed  by  Ted  Tetzlaff,  and 
"Weekend  With  Father"  (Van  Heflin), 
Douglas  Sirk  directing  for  producer  Ted  Rich- 
mond. "Flame  of  Araby,"  "The  Cimarron 
Kid"  and  "The  Treasure  of  Franchard"  are  all 
to  be  in  Technicolor. 

Two  other  features,  both  of  which  went 
before  the  cameras  in  April,  are  still  filming, 
with  the  result  that  the  lot  will  have  a  total 
of  eight  pictures  going  at  one  time.  The  carry- 
overs are  "The  Lady  Pays  Off"  (Linda  Darnell 
—Stephen  McNally),  and  "Finders  Keepers" 
(Tom  Ewell  —  Julia  Adams),  directed  by 
Frederick  de  Cordova  for  producer  Leonard 
Goldstein. 

Two  new  "Kettle"  family  pictures  are  on  tap, 
as  a  result  of  the  heavy  grosses  the  series 
continues  to  pile  up.  Despite  the  fact  that  the 


nut  on  the  series  has  been  held  to  a  minimum, 
grosses  have  been  running  between  one  and 
two  million  dollars. 

WARNER  BROTHERS 

REVIVED  WB  ACTIVITY  IN 
WAKE  OF  SALE  BREAK-OFF 

Collapse  nf  negotiations  for  the  Lurie  syn- 
dicate to  take  over  the  Warner  Brothers  in- 
terest has  most  of  Hollywood  speculating  on 
the  future  of  the  Burbank  film  studio.  The 
rumors  that  Warners  would  turn  the  studio's 
facilities  to  the  production  of  television  films, 
still  persist,  but  this  hardly  seems  likely  in 
view  of  the  current  activity  and  projected  pro- 
gram. 

Lending  further  credence  to  the  belief  that 
production  will  be  limited  to  theatrical  films  is 
the  studio's  revived  interest  in  maintaining  a 
strong  star  contract  roster — something  they 
have  been  gradually  trying  to  get  away  from 
during  the  past  year.  With  Alan  Ladd  set  for  a 
long  term  compact,  the  Warners  have  cut  off 
talks  with  such  Warner  contract  talent  as  Jane 
Wyman,  Humphrey  Bogart,  John  Wayne  and 
Errol  Flynn,  who  were  reputedly  negotiating 
to  buy  off  their  pacts. 

A  new  deal  has  also  been  inked  with  A. 
Pam  Blumenthal,  business  head  of  Fidelity 
Pictures,  for  release  of  Fidelity's  projected 
program  of  ten  pictures.  Moreover,  sources 
close  to  the  brothers  say  they  are  making  over- 
tures to  several  other  inde  producers  for  out- 
side product,  as  a  means  of  reducing  studio 
overhead  per  picture. 

There  has  been  no  interruption  in  the  busy 
production  schedule  which  the  company  had  on 
tap  at  the  time  the  abortive  sale  negotiations 
were  inaugurated.  No  less  than  five  pictures 
are  starting  during  May,  in  addition  to  two 
features  carrying  over  from  last  month.  The 
new  group  includes  "Starlift,"  a  high-budgeted 
starring  the  lot's  top  musical  talent,  Doris  Day, 
Virginia  Mayo,  Gene  Nelson  and  Gordon 
MacRae,  with  Roy  DelRuth  directing  for  Pro- 
ducer Bryan  Foy.  Other  features  rolling  this 
month  are:  "Come  Fill  the  Cup"  (James 
Cagncy),  Gordon  Douglas  directing  for  Henry 
Blanke;  "Room  For  One  More"  (Cary  Grant 
— Betsy  Drake),  Norman  Taurog  megging, 
Henry  Blanke  again  producing;  "Bugles  in 
the  Afternoon,"  a  Technicolor  Cagney  Pro- 
ductions picture  starring  Ray  Milland,  with 
Roy  Rowland  directing  for  Producer  William 
Cagney;  and  "The  Tanks  Are  Coming,"  Bryan 
Foy  producing,  with  a  cast  to  be  announced 
later  this  week. 


MAY,     23,  1951 


23 


FOX  ECONOMIES  TO  SAVE 
$14,000,000  COSTS  IN  YEAR 

At  a  time  when  the  emphasis  is  on  the  "loss" 
in  profit  and  loss  statements,  a  remarkable 
financial  phenomenon  was  unveiled  in  the  20th 
Century-Fox  statement  for  the  first  13  weeks 
in  1951.  The  report  shows  an  increase  in  film 
rentals  and  theatre  receipts  of  almost  $78,000 
over  the  corresponding  period  in  1950. 

In  spite  of  the  higher  gross,  the  net  earn- 
ings for  the  first  quarter  in  1951  show  a  dip  of 
almost  one  million  dollars.  It  is  this  decrease  in 
the  face  of  higher  grosses  that  points  up  the 
need  for  the  practical  economy  measures  20th's 
president  Spyros  Skouras  outlined  in  his  report 
to  the  annual  stockholders  meeting  last  week, 
which  will  effect  annual  savings  approximating 
$14,000,000  in  expenses.  Of  this  amount  $2,500,- 
000  will  come  from  slashes  in  the  company's 
higher-bracketed  salaries. 

Pointing  out  the  fact  that  20th  has  made 
more  pictures  in  1950-51,  and  thereby  effected 
considerable  savings  in  production  by  reducing 
the  average  cost  per  picture,  Skouras  stated 
that  out-of-line  wartime  salaries  have  not  yet 
been  brought  down  to  their  proper  level.  The 
salary  savings,  Skouras  added,  "can  make  it 
possible  for  us  to  produce  a  greater  quantity  of 
quality  pictures  which  will  serve  as  a  great 
tonic  for  our  industry  and  answer  the  demand 
of  the  movie-going  public." 

To  bring  about  these  economies,  voluntary 
wage  cuts  among  executives  and  creative  people 
(not  actors),  will  go  into  effect  July  1  and  con- 
tinue for  two  and  a  half  years.  The  salary  re- 
ductions will  be  25%  on  $500-$1000  weekuy; 
35%  on  $100-2000  weekly,  and  50%  on  all  higher 
salaries.  The  executives  will  have  the  oppor- 
tunity to  participate  in  50%  of  the  film  profits 
up  to  a  point  whereby  their  original  salaries  will 
be  restored.  This  according,  to  Skouras,  will 
not  include  any  profits  from  National  Theatres. 

In  addition  to  salary  savings,  economies  al- 
ready instituted  in  production  and  distribution 
will  be  approximately  $4,000,000,  while  the  fu- 
ture budget  cuts  on  production  will  save  about 
$200,000  per  picture,  totaling  some  $7,500,000 
annually. 


"We  Couldn't  Do  It" — H.  M. 

Commenting  upon  the  turnabout  which 
caused  termination  of  negotiations  for  the 
sale  of  the  Warner  Brothers'  stock  to  the 
syndicate  headed  by  Louis  R.  Lurie,  presi- 
dent Harry  M.  Warner  declared : 

"While  Mr.  Lurie  was  prepared  and 
willing  to  meet  most  of  our  preliminary 
stipulations  and  others  were  still  under 
consideration,  we  felt  that  we  could  not 
withdraw  from  the  great  undertaking 
which  has  been  so  vital  a  part  of  our 
lives  .  .  .  Our  efforts  in  the  matter  of  pro- 
dcction  and  distribution  will  still  be  cou- 
pled with  the  reshaping  of  the  Warner 
Theatre  Circuit  so  that  it  complies  with 
the  legal  decree  and  still  remains  as  a 
money  earning  entity." 


BULLETIN 


Volume  19,  Number  11 
May  21,  1951 

News 

and 
Opinion 


METRO'S  RODGERS 

Leo  Won't  Shutter  Houses 


BILL  RODGERS  PROMISES 
AID  TO  DISTRESS  THEATRES 

"Never  let  it  be  said  that  M-G-M  contributed 
to  the  closing  of  any  theatre." 

With  these  words,  William  F.  Rodgers, 
Loew's  vice-president  and  general  sales  manager, 
told  the  conference  of  field  sales  managers  and 
home  office  executives  in  New  York  that  it  is 
his  desire  that  everything  possible  be  done  to 
help  theatres  in  distress  remain  in  operation  . 

In  California  alone,  Rodgers  said,  it  has  been 
reported  that  130  theatres  have  closed,  and  while 
the  degree  has  not  been  so  great  elsewhere,  a 
large  number  of  closings  have  prevailed. 

The  problem  of  drive-in  policies  were  also 
discussed  and  field  executives  were  asked  to 
study  individual  situations  where  unfair  compe- 
tition illicit  exist,  in  order  to  determine  pre- 
ventative measures  in  the  future.  Rodgers  stated 
his  belief  that  offenders  should  not  be  entitled 
to  the  same  availability  as  theatres  which  oper- 
ate on  a  more  legitimate  basis,  and  emphasized 
that,  consistent  with  the  company's  legal  obliga- 
tions, all  steps  possible  would  be  taken  to  mini- 
mize the  extent  of  such  unfair  competition. 


WB  'BIG  4'  SCREENINGS 
AIMS  AT  BOLSTERING  'FAITH' 

Warjier  Brothers  emerged  with  a  vengea~ 
from  the  state  of  uncertainty  which  charact 
ized  the  company's  operations  during  the  sal 
rumors  period  as  the  company  announced  a  s~ 
cial  trade  showing,  preparatory  to  release, 
its  four  biggest  pictures  on  June  12-13. 

Bidding  exhibitors  to  "look  forward  and 
forward  with  optimism  and  faith,"  sales  vi 
president  Ben  Kalmenson  declared  that  "fo 
of  the  finest  pictures  made  and  marketed  at 
same  time"  will   have  a   special  invitatio- 
screening  on  the  two  days  throughout  the  co- 
try,  during  which  there  will  be  on  display  a 
each  showing  enlarged  reproductions  of  sampl 
ads   so  that  the  theatremen  will  know  wh 
methods  Warners  are  planning  to  sell  the  film 

The  four  films,  to  go  into  release  this  summe 
are:  "Jim  Thorpe — All  American"  (Burt  Lan 
caster-Phyllis  Thaxter-Charles  Bickford-Stev 
Cochran)  ;  "A  Streetcar  Named  Desire"  (Vivl 
ten  Leigh-Marlon  Brando)  ;  Alfred  Hitchcock': 
"Strangers  On  A  Train"  (Farley  Granger-Rutl 
Roman-Robert  Walker),  and  "Captain  Horatk 
Hornblower"  (Gregory  Peck- Virginia  Mayo) 

100  THEATRES  WITH  TV  BY 
END  OF  YEAR,  SAYS  HALPERN 

One  hundred  or  more  theatre  television  in 
stallations  which  will  reach  nearly  200.C 
seating  capacity,  will  be  in  process  before  th 
end  of  this  year,  it  was  announced  to  the  con 
vention  of  Motion  Picture  Theatre  Owners  an 
Operators  of  Georgia  last  week  by  Nathan  L 
Halpern,  television  consultant  to  Fabian  Thea 
tres  and  Theatre  Owners  of  America. 

Theatre  TV  can  provide  the  "television  an 
swer"  for  outstanding  sports  and  news  events 
Halpern  pointed  out,  in  addition  to  which  spe- 
cial theatre  TV  entertainment  will  be  developed 
to  meet  the  audience  needs  in  the  theatres. 

Meanwhile,  Walter  A.  Buck,  vice-president 
RCA,  reported  the  receipt  of  new  orders  fo 
more  than  50  RCA  instantaneous  theatre  T 
systems  from  13  of  the  nation's  foremost  exhi 
bitors.  The  biggest  buyer  was  United  Paramoun 
Theatres,  which  ordered  systems  for  20  theatr 
in  its  circuit. 


Kirsch  Hails  Rodgers  Stand 

Commenting  on  William  F.  Rodgers 
instructions  to  Metro  field  representatives 
and  home  office  executives  to  make  every 
effort  to  provide  relief  for  theatres  in  dis- 
tress, Jack  Kirsch,  president  of  Allied  of 
Illinois,  said  in  a  letter  to  Rodgers: 

"Your  latest  statement,  is  to  my  mind, 
one  of  the  most  encouraging  and  construc- 
tive moves  to  come  forward  from  anyone 
in  distribution." 

Continuing,  Kirsch  complimented  Rodg- 
ers for  "your  wise  approach  to  help  stem 
the  growing  trend  of  theatre  closings." 


FILM  BULLETIN 


Xvu:s  tmtl  it  pin  itut 

ALABAN  MAKES  FERVENT 
LEA  FOR  INDUSTRY  UNITY 

I A  call  lor  unity  of  all  factions  in  the  industry 
ks  voiced  by  Paramount's  president  Barney 
klaban  at  the  banquet  and  reception  honoring 
ktribution  head  Al  W.  Schwalberg  last  week. 
'  Pointing  out  that  the  need  for  cooperation  be- 
.een  producer  and  exhibitor  is  dictated  by  an 
ideniable  law  of  economics  as  well  as  common 
nse,  Balaban  said,  "I  know  of  no  other  indus- 
y  in  which  the  relationship  between  the  pro- 
hcers  and  their  customers  is  as  strained  as  it  is 
•tween  these  two  great  segments  of  our  indus- 


i  In  his  address.  Balaban  stressed  the  need  for 
1  more  satisfactory  job  of  furthering  the  pub- 
t  relations  of  the  industry  itself,  in  keeping 

■  5th  the  cxpertness  in  that  field  of  which  the 
idustry  has  always  been  proud. 
I  Unity  is  no  longer  a  luxury — it  is  a  neces- 
ty,"  he  concluded. 

IMPTA'S  100%  COMPO  DUES 
NSWERS  A.  L.  MAYER'S  PLEA 

The  first  concrete  reply  to  Arthur  L.  Mayer's 
)|>cal  to  exhibitors  for  financial   support  to 

cCOMPO  came  from  X.  Y.'s  Metropolitan 
lotion  Picture  Theatres  Ass'n  last  week  when 
I  became  the  first  COMPO  charter  organiza- 
|on  to  register  100  percent  membership  payment 
f  dues.  COMPO  executive  vice-president 
(layer,  had  voiced  his  plea  in  a  talk  before 
forth  Central  Allied,  revealing  that  a  total  of 
H8.6O0  has  been  donated  by  exhibitors,  a  sum 
hich  lias  been  more  than  matched  by  the 
(istributing  companies. 

|  In  his  speech  to  the  members  of  North  Cen- 
jal,  Mayer  called  for  adequate  financial  support 
jf  "an  all-industry  organization  to  improve 
j.ir  business  and  to  defend  our  legitimate  in- 
rrests,"  expressing  his  faith  in  COMPO  and  the 
blief  that  its  members  will  "make  whatever 
icrifices — personal  and  organizational — that  are 
ecessary  to  unite  every  branch  of  our  industry 
building  up  our  boxoffice  and  maintaining 
prestige." 

VOLF.  BERESIN  RENAMED 
'ARIETY  INTERNAT1  HEADS 

;  Marc  J.  Wolf  and  Jack  Beresin  were  re-elect- 
id  chief  barker  and  first  assistant,  respectively, 
f  Variety  Clubs  International  for  their  second 
erms,  at  the  organization's  convention  in  Phila- 
delphia. The  4-day  meeting  closed  with  the  pre- 
sentation of  the  humanitarian  award  to  Paul  G. 
loffman,  former  ERP  head. 

One  of  the  sessions  was  addressed  by  Secre- 
tary of  Commerce  Charles  Sawyer,  who  told  the 
jelegates  that  the  motion  picture  industry  will 
;iot  be  defeated  by  adversity  that  besets  it  today. 
(  Reports  were  made  on  the  charitable  activities 
>f  the  various  Variety  tents.  Special  kudos  went 
f>  Jay  Emanuel  and  his  publishing  outfit  for  a 
me  job  on  the  convention  book.  Las  Vegas  was 
-hosen  as  the  site  of  the  1952  convention. 


PARAMOUNT'S  BALABAN 

Unity  Not  a  Luxury 


LICHTMAN  REALIGNS  SALES, 
SILVERSTONE,  AARON  UPPED 

W  ith  vice-president  Al  Lichtman  in  sole  pos- 
session of  20th  Century-Fox  distribution  reins, 
following  the  departure  of  sales  V.  P.  Andy  W. 
Smith,  Jr.,  the  company  further  consolidated  its 
sales  department  with  the  appointment  of  Edwin 
VV.  Aaron  as  Western  sales  manager  and  Ar- 
thur Silverstone  as  Eastern  head,  the  realign- 
ment will  place  the  activities  of  the  Western. 
Southern  and  Mid- West  divisions  under  the 
supervision  of  Aaron,  while  Silverstone  will 
head  the  Central  Empire  State.  New  England. 
Mid-East  and  Canadian  divisions. 

In  addition  an  Atlantic  division  was  created, 
composed  of  the  Boston,  New  Haven,  Washing- 
ton and  Philadelphia  exchanges,  with  E.  X. 
Callahan  as  division  manager. 

Smith's  9-year  tenure  with  Fox  began  when 
he  was  named  Eastern  division  sales  manager 
in  1942.  He  became  general  sales  manager  in 
1947  and  was  elected  vice-president  in  1949. 


THEATRES  BLACK.  FILM  RED 
IN  FINAL  RK0  PRO  FORMA  NET 

A  net  drop  of  over  five  million  dollars  **■ 
rc|H>rtcd  in  a  pro  forma  statement  for  the  final 
year  of  combined  cxhihition-productioti-distribu- 
tion  by  KKO  Corporation  and  its  subsidiaries. 

The  company  reported  a  net  profit  of  $1,195.- 
577  for  theatre  operations  in  its  1950  pro  forma 
Statement,  and  a  net  loss  of  $5,823,187  on  the 
pro  forma  statement  for  the  picture  company's 
1950  activities.  The  net  loss  for  1950  was  $3,471.- 
041,  as  compared  to  a  net  .profit  of  $1,710,944  in 
1994. 

PARAMOUNT  LAUNCHES  BIG 
AD  CAMPAIGN  FOR  FINAL  15 

Paramount  will  let  the  world  know  about  its 
"More-Bigger-Better  Pictures"  lineup  for  the 
second  half  of  1951  via  a  well-planned,  farsight- 
ed  advertising  campaign.  Jerry  Pickman,  nation- 
al director  of  advertising,  publicity  and  exploi- 
tation, announced  that  the  ads  will  appear  at 
regularly -spaced  intervals,  plugging  sales  angles 
for  approaching  releases  and  reporting  boxoffice 
performances  of  those  already  in  release. 

Pickman  declared  the  "approach  will  be  ex- 
tended to  include  national  and  consumer  adver- 
tising as  well  as  trade  paper  inserts  and  will  be 
in  addition  to  regular  trade  advertisements  for 
each  individual  picture." 


Paramount  Net  Dip: 

A  whopping  half-million  dollar  increase 
in  taxes  dropped  the  Paramount  first 
quarter  net  earnings  of  $1,411,000  just  be- 
low the  $1,441,000  for  the  comparable 
period  in  1950.  Although  no  gross  figures 
were  disclosed,  it  was  apparent  that  the 
gross  take  were  greatly  increased  to  ac- 
count for  only  $40,000  less  in  earnings 
after  a  $590,000  hike  in  taxes  over  the 
first  quarter  in  1950. 


VEEP  &  NEW  DIVISION  HEADS 

Al  Lichtman  Congratulates  Western's  Aaron  (left),  Eastern's  Silverstone 


xt  A  Y  ,     2  3  ,     1  9  5  1 


25 


EXPLOITATION  PICTURE 


THREE  TALES  AND  AIM  AIR  SHD 

"Queen"  Offers  Two-Barreled  Campaign 


The  talents  of  three  famous  American  story-tellers  in  combination  with  one  of 
radio's  most  popular  shows  offers  a  series  of  exploitation  angles  that  should  spur 
any  showman  to  an  all-out  ballyhoo  campaign  for  Robert  Stillman  s  Queen 
For  a  Day".  The  trio  of  writers— Faith  Baldwin,  John  Ashworth  and  Dorothy 
Parker— are  names  well  known  to  millions  of  moviegoers.  Even  more  are  vivid 
listeners  or  know  about  the  air  show  that  has  elevated  thousands  of  women  to 
*.  brieflv  roval  status  and  showered  them  with  gifts.  The  three  stories  (on  the 
order  of  "Quartet''  and  "Trio",  the  successful  Somerset  Maugham  films)  are 
strung  on  the  framework  of  the  radio  and  television  show  with  thrills,  laughs, 
romance  and  pathos  as  their  ingredi- 
ents. The  combo  is  sure-fire  show- 
manship material. 

Working  hand-in-hand  with  the  ex- 


hibitor, United  Artists'  ad-publicity- 
exploitation  department,  headed  by 
Max  Youngstein,  is  giving  an  able 
point-of-sale  promotional  assist.  It  was 
presold  over  the  Mutual  show  when 
the  millions  of  listeners  were  asked 
to  name  the  world  premiere  city  for 
the  film.  A  nationwide  tour  by  the 
"Queen  for  a  Day"  troupe  has  been 
garnering  reams  of  publicity.  The  50- 
city  area  saturation  premieres  are 
being  solidly  sold  with  QFAD  con- 
tests. The  line-up  of  wonderful  prizes 
for  each  area  "Queen"  is  a  tremen- 
dous stimulant  to  the  film  in  each 
territory.  Details  of  the  contest  plan 
are  covered  fully  in  the  UA  press- 
book. 

The  merchandise  tie-ups  have  been 
arranged  witli  Burlington  Trailways 
for  a  round  trip  to  Hollvwood;  with 
Westinghouse  for  a  television  set; 
Samsonite  luggage:  Broilking  broiler; 
Luxite  lingerie:  Benrus  watches; 
Deltah  Pearls;  Old  Gold  Cigarettes. 

TJA's  growing  field  publicity  de- 
partment has  been  alerted  to  offer 
every  possible  aid  to  exhibitors.  It's 
up  to  the  enterprising  showman  not 
to  sloujih  off  this  valuable  assistance. 


FRONT 

The  same  exciting,  car- 
nival-like mood  seen  in  the 
ads  and  posters  can  be  ob- 
tained for  the  theatre  front. 
The  display  pictured  fea- 
tures a  giant  ladder  to 
which  is  attached  the  figure 
of  a  high  diver.  The  set- 
piece  for  the  marquee  top 
is  made  up  from  the  various 
art  elements  in  the  posters 
or  from  art  still  enlarge- 
ments. Colored  spots  on 
figures  would  be  a  sure 
eye-stopper  at  night. 

'QUEEN'  BALLY 

Women's  clubs  have  hailed  the  film.  Have  a 
screening  and  suggest  to  women's  club  leaders 
in  your  locality  that  they  pass  the  word  on  the 
rave  endorsement  by  the  General  Federation  of 
Women's  Clubs  through  bulletins,  meetings,  etc. 

Regional  recruitment  offices  of  all  women's 
military  services  have  been  urged  by  Washing- 
ton to  cooperate  in  furnishing  an  honor  guard 
of  service  personnel  for  the  finals  of  the 
"Queen"  contest.  Contact  local  recruitment  of 
WACS,  Waves  and  Spars  to  arrange 
joint  campaign. 

Personal  ads  in  newspapers  for  "Ex-Queens", 
those  who  have  been  named  on  the  program,  is 
a  good  attention  getter.  Another  twist  is  to 
suggest  to  local  department  stores,  factories, 
etc.,  that  the  employees  name  their  own 
Queens,  for  stage  appearance  on  opening  day. 


^ 4  0™  FOR  A  DAY 

Will        ~  : 

'      '   "*    ""  "->^   \it        -  1  , 

NEWSPAPER  ADS 

Above,  a  sample  layout  for  a  co-op  spread  o 
store  ads.  Merchandising  tie-ins  can  be  arrange 
also,  based  on  the  three  stories  in  the  film.  / 
"three-in-one"  sale,  as  detailed  in  the  press-boo] 
is  one  idea.  Another  is  the  tie-in  for  TH 
Gossamer  World",  one  of  the  tales,  with  to 
stores  or  toy  departments  for  a  special  displa; 

Below,  some  of  the  display  ads.  One  of  th 
most  striking  is  the  long  (280  lines)  2-columj 
ad,  sure  to  steal  any  amusement  page  with  il 
exciting  art  and  intriguing  copy. 


MIKIMI  ni  tNTEKT.MNVWBn  IN  ONt  WONDtRFIL  MOTION  PICTliRE1 


LrlEEN  FORADA 


26 


FILM     B  U  L  L  E  T  I 


EXPLOITATION 
PICTURE 


ot  the  issue 


QUEEN  FOR  A  DAY 


The  trilogy  of  "Queen  For  a  Day",  strung  on  the  framework  of  the  popular  radio  show,  has, 
for  its  most  exciting  tale,  John  Ashworth's  "High  Diver."  This  tell?  ahout  a  young  mill  worker, 
son  of  immigrant  parents,  who  offers  to  do  a  110-foot  dive  into  a  tiny  tank  of  water  to  get 
enough  money  for  his  college  admittance.  His  mother,  meanwhile,  wins  a  scholarship  for  him 
during  a  "Queen  For  a  Day"  show,  hut  arrives  at  the  carnival  too  late  to  stop  the  dive. 

Dorothy  Parker's  "Horsie"  tells  of  a  homely,  equinal  infant  none  whose  appearance  repels 
the  new  lather  of  her  charge.  In  order  finally  to  get  rid  of  her,  he  gives  her  a  corsage  rejected 
by  his  wife  and  a  ticket  to  the  TV  show.  The  next  night,  when  she  is  proclaimed  "Queen",  he 
and  his  wife  sit  in  shame  as  they  see  "Horsie"  ask  as  her  gift,  an  electric  razor  for  her  late 
employer  because  he  was  so  kind  to  her. 

For  the  third  episode.  Faith  Baldwin's  "The  Gossamer  World",  there  are  heart-tugs  in  the 
story  of  a  young  boy,  living  in  an  imaginary  world,  to  his  parents'  concern.  When  hia  mother 
wins  an  electric  train  for  him  on  the  radio  show,  he  starts  to  come  out  of  it  and  on  his  firr-l 
day  at  school  brings  home  a  real  playmate  instead  of  his  gho>tly  friends.  That  night  he  is 
stricken  with  polio,  and  his  mother  writes  a  heartbreaking  letter  to  the  show,  saying  the  gift 
train  will  be  the  boy's  magic  carpet,  for  once  again  he  must  revert  to  the  world  of  his 
imagination. 


PRODUCTIOn 
&  R€LeflS€ 


R€CORD 


1950-51  Features 
*■>  ii  il- 

Westerr 


COLUMBIA 


Completed  (45)  In  Production  (4) 
Completed  (3)  In  Production  (0) 
Completed  (12)      In  Production  (1) 


NEW  PRODUCTIONS 

JUNGLE  JIM  IN  THE  FORBIDDEN  LAND 
Adventure-  Started  May  10 

Cast:    Johnny  Weissrnuller,  Bob  Waterfield,  Shelia  Ryan,  Lyle 


Talbot 
Director:  Lew  Landers 

Story:    Further  adventures  of  Jungle  J 


Producer:  Sami  Katzmai 


RELEASE  CHART 


IN  PRODUCTION 

Till. — Running  Time 

Ten  Tall   Men  (T)   

Dark  Page   

Man  In  the  Saddle   

Small  Wonder  


Cast  Details 

.Lancaster-Lawrence  ...4-9 
.  irawford-  Derek  5-7 

.icott-Leslit   5-7 

Cuinmings-Halc   5-7. 


  1950-51   

COAIMiETED 

Big   Gusher:***  Morris-Foster 

Bonv»»¥tsterday   Crawfofd-Holliday 

Brave    Bulls.   The   (107)   Ferrci-Ouin 

Chain   Gang   Kennedy-Lawrence 

China  Cotviir   Hall-ferraday 

Bill   McGpire-Moore  . 

Criminal    Lawyer   0  Bricn-Wyatt 

9ick  Torpin's    Ride   •Is-yward-Mcdina  . 

Emergency  Wedding   (78)   Parks-Hale   

Firefighters.  The   Williams-Reynolds 


Flying  Missile.  The 
Ftrt  Savage  Raiders 
Ftrv  of  the  Congo  . 
Harlem  Globetrotters, 
H«r  First  Romance  . 
Nir  Wonderful    Lie  . 


. .  6-5 . 
.  .2-26 
5-1C 
. 12-18 . 
.11-6 
.4-10 
. .2-27. 

.Ford-Linfors   7-31. 

.Starrett-Burnette   9-25. 

Weismuller-Talbot   7-3. 

.  Gomez-Dandridge   11-6. 

O'Brien-Martin   8-28. 

.  Klepura-Eagerth   11-10. 


.7-3  .12-50  344. 

3-27  .5-51  

1-50. . . .313. 
6-51  


.1-51. 
. 3-51 . 
.4-51. 


■etalls  under  title:  The   Eternal  Melody 

He's  a  Coekeyed   Wonder    (77)   Rooney-Moore   

Hurricane   Island    (C)   Hall-Windsor   10-23. 

Jungle   Safari   wcissmuller-Greenc   5-7 

Lsrna  Doone  (T)   Hale-Greene   6-5. 

*     Wayne-DaSilva 

Magic  Carpet   Ball-Agar   12-18. 

My   Tr,e  Story   Parker-Walker   12-18. 

(89)   Sullivan-Corey 

 Roiiinson-Cummlns 

87)   Ctimmings-Caulficld 

 Starrett-Burnette 

 Kennedy-Willes  .. 


Me  Sad  Songs  For  Me 
Oetratien  X  (78)  .. 
Petty  Girl,  The  (T) 

Prairie  Roundup   

■•«««•  Ag-nt   


10-24. 


9-26 
7-31. 
7-31. 

the  Outlaw  Trail   Starrett-Burnette   8-28. 

Autry-White   7-5. 


12-50  340.  .11-20 

.7-51  


.6-51. 
.3-51. 

.3-51. 

.3-50. 

2-51. 
.9-50. 
.1-51. 
.3-51. 


.363. 
312. 


♦ieri  ef  the  Whistlino   Pines   .  . 
Details  gndrr  title:  Wings  Westward 
«"ta  Fe   (T)   Sco 


seeret.    The  . 

Silver  Canyon 


Carter  . . . 

.  .uereK-DaRe   6-19 

.  .  Derek-Cobb   2-26 

.  .  Autry-Davis   3-26 


7-3 .. . 4-51 . 


 Bog-irt-ioren 

Son   of   Dr.   jekyll   Hayward-Knox  . 

Saruey  Side  ef  the   Street   Lane-Daniels  ... 

Tax,,    Rangers   Ge0  Montgomery 

Valentino   <T)    (103)   Parkker-Dcxter 


11-20 
. . 3-26 . 
.1-29. 


Valley  ef  Fire   

War  Cry   

Wlien   the   Redskins  Rode 


.6-19. 


Yank  In  Korea,  A  (73) 


1950-51 


COMPM;ii;i) 

Title—  R.nnlng  Tlmr 


.  Autry-Burnette   

i\iontgomcry-Long   5-7. 

Hall-Castle   8-28 

Autry-Burnette   12-18. 

.  McAlli>trr-Phillips   ii_6 


.6-51. 
.4-51. 
.6-51. 

.5-51. 
.4-51. 
.2-51. 


LIPPERT 


<  ornpleted  (14)  In  Production  (0) 
RH.EASE  CHART 

  1949-50-51   


. .  Brit'on-Carker  . 
. .  .Barry-Lowery  . 
.  .Flllson-Havden  . 
. .  Beai.mont-Travis 


Detail!  RH 

. . .9-25  .12-15 
 10-6 


5010. 
4933. 
4-21. . .4925. 
4-20. .  5017. 


In  the  Release  Chart,  the  date  under  "Details"  refers  to  t| 
issue  in  which  starting  date,  cast,  director,  plot,  etc.,  e\ 
peared.  "Rel."  is  the  National  Release  Date.  "No."  is  tj 
Release  Number.  "Rev."  is  the  issue  in  which  the  Revii 
appeared.  There  may  be  variations  in  the  running  time  j 
States  where  there  is  censorship.  All  new  productions  a 
on  1950-51  programs  unless  otherwise  noted.  (T)  imme< 
ately  following  title  and  running  time  denotes  Technicolc 
(C)  Cinecolor,   (TR)   Trucolor,   (A)  Anscolor. 


1-2 


. 4-23 . 


Fast  on  the  Draw   rllison-Hayden 

Fingerprints  Don't  Lie   Travis-Ryan 

G.I.   Jane   Porter-Neal 

Gunfire    Carry-Lowery   8-11.. 

Hijacked   Davis-Jones   5-8... 7-14.. 

Holiday   Rhythm   Hughes-Street   6-5.. 10-13.. 

I  Shot  Billy  the  Kid   (58)   Barry-Lowery   5-8  9-8.. 

Kentucky  Jubilee   Colonna-Porter   2-26 ... 5-18 .  . 

Little  Big  Horn   Ireland-Bridges   2-26 ... 6-18 .  . 

Lo,t   Continent   Romero-Brooke   5-7  

Mask  of  the  Dragon   Travis-Ryan   12-18 ...  3-17 . . 

Motor  Patrol    (67)   Castle-Nigh   3-13. .  .5-12. . 

Pier  23   Beaumont-Savage   5-11.. 

Return  of  Jesse  James  (75)   Ireland-Dvorak   6-5  9-8.. 

Roaring  City   Boaumant-Travis   1-15.  ..  .2-2. . 

Savage  Drums    Saau-Baron   3-26  

Steel    Helmet,    The   Edwards-Brodio   11-6  2-2.. 

Stop   That  Cab   Melton-Adrian   3-31. 

3  Desperate  Men   Foster-Davis   10-23 

That's   Show   Business   Rose-Carroll   4-9 

Train  to   Tombstone   Barry-Lowery   5-8 

West  of   Brazos   Ellison-Hayden   12-19 

Yes   Sir,    Mr.    Bones   .  ...F.  Miller   


.4929. 
.5015. 
.5012 
4932. 
4920. 
4911. 
4931. 
5007. 
5003. 


METRO-COLDWYN-MAYER 


1950-51  Feature* 


Completed  (95)     In  Production  (5) 


IN  PRODUCTION 
Title—  Binning  Tine 

Westward  the  Women   

Callaway  Went  Thataway   

Light   Touch.  The   

Too  Young   To  Kiss   

Man 


RELEASE  CHART 


Cast 

Taylor-Dared 
.Mactohrrav-McGu 
Grainger-Angcli 
Ailyion-Jolinson 


ith   A  Clo 


COMPLETED 

Across  the  Wide  Missouri  (T)  (95) 
American    in   Paris  (T)  

Angels  and  the  Pirates   


Calling  Bulldog  Drummond   

Caase  for  Alarm  (75)   

aatil's  Doorway  (84)   

Dial   1119  (75)   

Excuse  My  Dust  (T)  (82)   

Father's  Little  Dividend  (82)   

Go   For  Broke  (92)   

Great  Caruso,  The  (109)   

Srounds  For  Marriage  (91)   

Home  Town  Story  (61)   

Inside  Straight  (90)   

It's   A   Big  Country   

Kim    (T)  (112)   

Kind  Lady   

King  Solomon's  Mines  (T)  (102) 
Law  and   Lady   Loverly,   The  .... 

Life  of  Her  Own,  A  (108)   

Low  Is  Better  Than  Ever   

Magnificent  Yankee  (89)   

Miniver  Story,  The  (104)   

Mr.    Imperium    (T)  (87)   

Oext  Voice  You  Hear.  The  (82)  . 

No  Questions  Asked  (81)   

North    Country  (A)   

Painted  Hills,  The  (T)  (68)  .. 
Fandora  and  the  Flying  Dutchman  ( 

People   Against  O'Hara   

Feople  We   Love,  The   

)oo  Vadis  (T)   

Kain,   Rain,   Go  Away   

Red  Badge  of  Courage  (81)   

«leh.  Young  and  Pretty  (T)   

Hlght   Cross  (90)   

Rayal  Wedding  (T)  (92)   

Show  Boat  (T)   

Soldier's   Three  (92)   

Strictly  Dishonorable  

Strip,  The   

Tail   Target.  The   

Details  under  title:  Man 

Teresa  (101)   

Texas    Carnival  (T)   

Thin    Knife,  The   

Details  under  title:  The  Bradley  Mason 

Three  Guys  Named  Mike  (90)   

Ta  Please  A  Lady  (92)   

Tout  of  New  Orleans,  The   (T)    (97)    . . 

Twa  Weeks  with  Love  (T)  (92)   

Vengeance  Valley  (T)  (83)   

*ateh  the  Birdie  (70)   


 8-14. 

.  Killy-Caron   8-14  . 

Douglas-Leigh   4-23. 

.  rorrest-Braselle   4-9. 

,  Pidgeun-Leighton   8-28  . 

,  Young-Sullivan   

Taylor-Raymond   8-29. 

,  mompson-Held   3-27  . 

.  Skelton-Forrcst   11-6.. 

,  Tracy-Taylor   10-23  . 

.  Johnson-Anderson   10-9 . 

.Lanza-Blyth   9-26  . 

,  Jolinson-Grayson   6-5  . 

.Crisp-Reynolds 
,  Brian-Dahl     .  . 

.All  Star   

,  Flynn-Stockwell 
,  Barrymore-Evans 

Kerr-branger 
,  Garson-wnaing 
Turner-Corey 
,  eayicr-farks 
Calliern-Harding 
Garson-Pidgeon 
.  Turner-Pmza 
Whitmore-Davis 
.  Sullivan-Dahl 
.  Grmger-Corey 

Williams-Keel   4-24 

iMa;on-(.ardner   

Tracy-O'Brien   4-9 

.  Milland-Hodiak   12-18. 

favlor-Kerr   6-5 

Whitmore-Davis   4-9. 

Murphy-Mauldin   9-11. 

powell-Camonc   12-4 

po*en-Monta:ban   4-10 

Astaire-Powcll   7-17 

liaraticr-Keel   12-4. 

Grangcr-Pidgeon   11-6 

Pitiza-Leio.li   1-29 . 

Rooney-Forrest   l-t9. 

 1-29. 


.9-25. 
.  .4-24. 
12-19  . 

.12-4. 


.7-17. 
10-10  , 

8-14.  . 
.3-13 

.1-1. 
. 3-26 . 


June. 
.Apr. 

May. 

A-r 
.Jan. 

May 


July. 
.Sept. 
.July. 


115 
.iuy . 
.101 


Mar 
July 
.Apr 


Train 


Angeli-Erickson 
Williams-Skelton 
Pidgeon-Haidiny 
Story 

Wyman-Johnson 

Gable-Stanwyck  . 

Grayson-Lanza 

Powcll-Montalban 

Lancaster-Walker 

Skelton-Britton 


.8-14. 
.4-24 
.1-16. 
.4-10  . 
.6-19  . 
.5-22 


119. 
105. 
103 


FILM  BULLETI 


MONOGRAM  -  ALLIED  ARTISTS 


NEW  PRODUCTIONS 

AGECOACH  DRIVER 
Stern— Started  May  8 

st:  Whip  Wilson,  Fuzzy  Knight,  Jim  Bannon,  Gloria  Winter: 
•ector:  Lew  Collins  Producer:  Vincent  Fennellj 

■y:    Efforts  of  an  early  stag.-  driver  to  protect   his  cargo  and  passengers. 


RELEASE  CHART 

  1950-51   

IhMPLETED 

title—  Pennine    Time  Cast  Detail.  R.I 

lording  to   Mn.   Hoyli   Bying'on-Chandler    ...  11-20 ...  5-20 . 

ring   Beliefs   Brown-Hall   5-6. 

■•a  and  the  Hidden  City   Sheffield-England   6-5... 9-24. 

eery  Bartollon   Gorcey-Hall   8-14... 1-21. 

I«    Manana   Fomcs-Uh'erlihy   3-12  .  6-10. 

<alry   Sent   <C)   Cameron-Long   10-9...  5-13. 

•oterfeit   DeFoe-Klna   7-3  

it...  Takes   The   Air   Walburn-Gray   4-9  

.her's  Wild  Game  (61)   Walburn-Gray   10-9... 12-3. 

«l  Claim   Gorcey-Hall   1-29... 4-29. 

rhuayman.   The    (C)   Hindria-Cuburn   3-12. 

n  Henteri,  Tie   Sheffield-Whitfield   1-1. 

n  From  Sonera   (54)   Brown-Hall   11-20. 

ilcan    Silver   Wilson-Clyde   6-5. 

dan   Harrlaoa.   *    (66)   Clarke-Field   2-13. 

ry  Bound   Neal-Toomey   11-6. 

ada  Badnan   Wilson-Knight   2-26. 

rtlim   lin   Frazee-Grant   12-18. 

rra  Panaoe   Morris-Hale   

.11   Best   Albright-Winters   10-23. 

Ini  Yean.  The   (79)   COOK-Moore   

d    Horse    Prairie   Wilson-Knight   2-12. 

new.    The   Kirkwnod-Gleason   9-11  

h  Joekey   Simms-U'Shea   5-7... 7-22. 


Fort  Savage  <T)    H.-yom-Koih 

Great  Missouri  Raid.  The  (T)    (85)  Corey-Carey 

Mere  Comes  the  Groom    I  o.t>y-Wy*  an 

Lasi  Outpost,  The   <T)   Xcag.i  i-lienjin« 

Lemon  Drop  Kid,  Thr   (S1J   Hope-Maiwell 

Lets    Dance    <T)    (112)   Hetton-Anaiee 

Mating   Season.    The   Tlerney-Laid 

Details   under  title:    A    Relative  Stranger 
Molly    (83)   Bert-Loeh 

Rev.   under  title:   Thr  Coldbergs 

Mr.    Mu  i.     (108)   Crotby-Hes-ey 

My   Favorih  Spy   rmpe-Lamarr 

Passago  West   (T)    (80)   Payne -0  Keif, 

Peking   Express   Co.ten-Cal.ee 

Place   In   The   Sun.  A   Clilt-Winiers 


12-4  . 
6-5..  2-51 
K-4  9-51 
.10-23. .3-51 


8-28  . .4-51. 

11-7.  12-50 
12-51 

 7-51. 

3-12  8-51 
10-24  9-51 


.  8-5 . 
.3-25. 
.3-11. 

i.0-15 . 
.2-25. 
.5-27. 
.2-11. 
. .1-7. 
12-31. 
.2-18. 
.  .4-8. 


5199. 
.5120. 
.5152. 
.5115. 
.5107. 
.5107. 


.5151. 


\LLIED  ARTISTS 

he  Ruth  Story.  Tho   


.  Reissue. 


 Bendlx-Trevor 

hon   Manhunt   Grant-Davis   5-7. 

Was  An  American  Spy   Dvorak-Evans   1-29. 

'Happened  On  Fifth  Avenue   DeForc-Sform   Reissue 

ithslde  1-1000  (73)   DeFore-King   

,»rt  6nu   Rod  Cameron   

  1949.50   

Hone  Trail    (64)   Wilson   9-11. 

rata    Territory   Wilson-Clyde   6-5., 

Timber   MaeDoweM-Donnell  ...6-19.. 

M  Blood  (C)   Williams-Nigh   9-25. 

■ba  and  the  Lost  Volcano   ihefheld-Lord   3-27. 

II  of  the  Klondike   Grant-Chinook   10-9. 

j«rok»e   Uprising    (57)   Wilson-Clyde   8-28., 

»fado  Ambush   Brown-Hall   10-23.. 

|l«V   Fury   Vlve^a-Lindfors   , 

t  Rod   (61)   Lydon-Wintcrs   8-14. 

I  Palooka  in  the  Squared  Circle  (63)    . .  Kirkwood-Gleason   , 

flaw  Gold  (51)   Brown-Adams   7-31., 

Itiws  of  Texas   Wilson-Clyde   9-11. 

«•   Show   Rcngire-Qulllan   :4-10. . 

I k  Howe   Landis-Calleia   Reissue.. 

•w  Oog   Grant-Verdugo   5-8., 

Iple  Trouble   Gorcey-Hall   5-8.. 


.4-15. 
.May. 

n-ie. 
i2-e4. 


. .2-4. 
. .7-2. 
.9-10. 
.1-28. 
.6-25. 
12-17 . 
.10-8. 
.1-14. 
3-18. 

10-  22. 
.11-5. 

11-  26. 

12-  K). 
. 6-18 . 
.  .7-9. 
.-716. 

8-13. 


.4908. 
.4904. 

4905 . 

■T920 
.4944. 
.4955. 
.5192. 
.4918. 
.3117. 
.4954. 


liueuec    (T)    (85)   darryn  ore  Ir.-Calvet    .  .  .7-3  .  4-51. 

Redhead   and   the   Cowboy    <82>   f ord-Memlng  3-51 

Red    Mountain    (T)   LadJ-Kenneo.  11-20 

De.ails  under  title:  Quantrell's  Raiders 

"""barb   M.llana-Slerling  3-12  9-51 

Alison  and  Delilah   .T,    (128)   Lamarr-aiatere   10-Zj. . .3-51. 

September   Affair    (104)   Fontalnt-CotUn   8-29  .  2-51 

toeaething  To   Live    For   Fonta  ne-M  Hand  6-5  10-11 

Detail,  under  title:  Mr.  and  Mrs  /Vnonyniojs 

Stooge.   The   Martin-Lewis   2-26  

Submarine    Command   Holden-qisoa   1-15  10-51 

(Details  under  title:  Submarine  Stody.  The) 

That's    My    Boy   Martin-LewU    12-18  .8-51 

f"o    (91)   Simnions-Rennie   Foreign  

Tripoli   (T)    (95)   0  Hara-Payne   3-27  11-11 

Union   Stition    (80)   Holden-Fltzgerald   1-30..  9-50 

warpath   (T)   UBrien-Jagger  9-11  8-51 

When  Worlds  Collide   (T)   Derr-fc.vh    1-1  11-51 

  194940   

Eagle  and  the  Hawk,  The  (T)    (104)   ...  Payne-Fleam,    8-15 

12-5 


.1013  . .  1-1 
020 

5018  3  2  , 

00*  •  - 

,oia  i-» 

.5011. . .12-4 

5007  t-aa 


5025  

1017  

.015  ...1-1 


.5*26  

ll-» 
5005  10-2* 
002  .7-31 

5024 


Forte*.  The  (109)   Stanwyck-Corey 

Lawleu,    The    (83)   Carey-Rassell 

My  Friend  Irma  Goes  West   (90)   Wilson-Lend 

>u»iet   Boulevard   (110)   Holden- 


11-7 


6-  50 
.8-50 

7-  50 
7-50 


.4916  t-13 

4926  7-17 
.4923  . .4-10 

4922  0-l» 

4927  .  4-aM 


RELEASE  CHART 

  1949-51-51 


Bowery   to   Broadway    (94)   0  Connor-Blytr,   2-M) 

Dead  Man  s  Eyes  >b4)   Chaney-Parker  5-50 

East  Side  of  Heaven   (88)    Crosby-Blondell   1-SO 

Flesh  and   Fantasy   (94)   Robinson-Stanwyck   4-50 

Follow  the   Boys   (109)    Ratt-Oietrieh  2-50 

Framed    (60)    Albertson-Moore   3-50 

Frisco  Sal    (94)   Foster-Be*   2-50 

Gollty   ot    Murder    (80)   Sanders-F  Itroerald   6-50 

Sypsy   Wildcat    <T>    (75)   Montei-Hall   6-50 

Here  C3ine  the  Coeds  (TO)   Abbott-CosteHr   6-50 

If   I    Had   My  Way   (93,   Crosby-Jean   1-50 

Imitation   ot   Life    (109)   Colbert-8eaver»   12-49 

I  Stole  a   Million    (80)   Ralt-Trevor   3-50 

Keep  'Em   Slugging    (61)   Bead   End  Kids   5-50. 

Leather    Pushers    (64)   Arlen-Devlne   4-50 

Magnificent   Obsession    (103)   Donne-Taylor   1-58 

Merry   Monahans    (91)   O  Connor-Blythe   6-sO 

Nightmare    (82)   Donlevy-Barrymere   5-50. 

Mr.   Dynamite    (68)   Holan-Hervey    4-50 

Paris   Bombshell    (96)   Seott-Rathbone    2-50 

Parole    (67)   Honter-Prtston   3-50 

Saipect     The    (85)   Laaghton-Ralnes    6-50 

Shadow'  of  a  Doubt  (108)   Wright-Corten   12-49. 

Solllvans    The   Baxter-Mitchell   1-51  

Tough  As  They  Come   (61)   Dead  End   Kids   5-50 

Walk    in   the   Son,   A   Andre«s-Con:e   1-51  

Ton  Can't  Get  Away  With  II   (29)   Garter    Documentary   3-50 


027 
634 
020 
036. 
•23 
016. 
022 
041 
.831. 
032 
021 
018 
017 
039 
037 
028 
035. 
033 
038 
024 
015. 
042. 
019 


PARAMOUNT 


REPUBLIC 


1950-51  Features 


Completed  (40)      In  Production  (6) 


NEW  PRODUCTIONS 

ILVER  CITY  (C> 
pestcrn— Started  May  1 

fast:    Yvonne  De  Carlo,   Edmond   O'Brien,   Barry  Fitzgerald. 

Richard  Arlen 
|>iiector:  Byron  Haskin 

lory:    Life  in  an  early  mining  town  and  a  cold, 
inently  in  the  live?  of  the  miners. 


Producer:  Nat  Hoi' 

.oman  who  figures  prom- 


RELEASE  CHART 

IN  PRODUCTION 
Title—  Rennlno    Tlpje  Ca«<  Details 

j«on  Slick  fron   Punki-i   Crre'<    Shore-voini   4-23 

■eate«t   Show   on   Earth   Hdtton-Stewart   

 Rfagan-Flemino   5-7. 

Son   John   Haye.-ll  II  n   3-26 

of  th^  Vulture,  The   Ladd-Kerr   4-23. 


r 

COMPLETED 


1950-51 


:e  in  The  Hole  (112) 

ipointment  With  Danger  (89)   

'•••alls   ender   title:   Po<t»l  Impeeter 

I  War  with  the  Army  (93)   

•anded  (T)  (103)   

details  ender  title-  Montana  Rides 


City  (98)   

Brat  (82)   

ttettive   Story.  The 
Pant,  (T)  (92) 


Douglas-sterling 

7-51. 

.5023. 

Ladd-Calv;rt 

 8-15. 

5-51. 

.'.i-23 

Martin-Lewis 

1-51 

.5014. 

12-18 

Ladd-Fretdman 

3-27. 

. .1-51. 

5003. 

12-18 

Olivier- tones      .  .  . 

.  .  .  .9-11. 

Documentary  .... 

.10-50. 

5008. 

.10-» 

Milland-  Lamarr 

4^25 '. 

. 10-12 . 

.  5003 

.8-14 

Payne-Fleming 

1-29. 

10-rl. 

Fontaine-Lund 

. .  11-20 

.11-51. 

Heston-Seott 

4-24. 

10-50 

5004! 

Freeman-Arnold 

11-6 

.6-51. 

.5021 

Douglas-Pa-ke;   .  .  . 

. . .  2-26 

Hope-Ball   

 7-4 

. !  ,9-U! 

.5001. 

«-14 

.1  A  V 


1950-51  Features 
Serials 
Westerns 


Completed  (18)  In  Production  (2) 
Completed  (  1)  In  Production  (0) 
Completed  (  9)      In  Production  (1) 


NEW  PRODUCTIONS 


B 


PALS  OF  THE  GOLDEN  WEST 
Western— Started  May  7  «,»_., 
Cast:    Roy  Rogers,  Dale  Evans.  Estelita  Rodriguez,  Pinky  Ler 
Director:  William  Witney  Producer:  Edward  J.  White 

Story:    Not  available. 


RELEASE  CHART 


IX  PRODUCTION 

Title — Rummy  Time 

£ea    Hornet.  The   

Wings    Across    the  Pacific   


  1950-51  — 

COMPLETED 

Belle  Le  Grand   Raiton-Ca..ol| 

Bnekaroo  Sheriff  of  Te«as   Chapin-Janssen 

Bollfighler  and  the  Lady   Staik-»age    .  .  . 

California    Passage   reeker-Mara 

Cuban    Fireball   Esttlita-Vineent 

Don   Daredevil   Rides  Again   Surtii-Towne  . 

Fighting   Coast   Guard   Donievy-Tucker 

Fegitlve  Lady   Paige-Barnes 


5006 


5-7 


2  3.     1  9  5  1 


7-31      1-27 . 

 5-1  

6-3  C009 

3-27  .  12-15. .  5005  

.9-25. . .  3-5. . .5007  

3-12  

1-1  5010  5-7 

 5-26  .5011  

29 


_ 


10-23 
.3-22 
.  11-6 


nl.ana    Aoit     flogeri-RodrisuH 

IMT1  of  th.   Rockies   Rogers-Edwards  . 

Hit  Parade  of  1951    (85)   MacConad-Carroll 

Koneychile   (Tr.)   Canova-Foy,  jr. 

In    Bid    Amirillo   Rojers-Rodriguer   

Insurance   Investigator   (60)   Uenniny-Long   12-18. 

Lady    Possessed   Mason-Havoc   3-26 

Macbeth   Welles-Nolan   

Mill  on  Dollar  Pursuit   Edwards-riagg   3-12. 

Missing  Women    (60)   Edwards-w.ll.can    ...  11-20. 

Night   Raiders  of  Montana   (60)   Lane   12-4. 

Oh,   Susanna!    (Tr)    (90)   Cameron-Tucker   6-19. 


Pride  of  Maryland 


Clements-Stewart   10-9. 


.5-15. 
3-30. 
10-15. 
.  May. 
.5-15. 
.3-23. 
.  June. 
10-20. 
.5-30. 
.2-23. 
.2-28. 
.3-10. 
.1-20 


.5643. 
.5042. 


.5003  

. 5028  

.5025. . .3-12 
.5059. . . .4-9 
.5008... 3-26 
.5023. . .1-29 


Rangers  of  the  Golden  Sage   Cnapin-Janssen   4-9  

II.   Grande    (105)   Wayne-O'Hara   7-3 . .11-15 ...  5004 .. 11-20 

Rodeo  King  and  the  Senorita   Allen-Kay    _3-26 

Ittth   Riders  of  Durango 
•liver  City  Bonania 


10-23 
11-6 
3-26 


.  Lane-Towers 
.  Allen-Ebsen 

_.  'CaCente   Roge,-s-Evans 

Spoilers  of  the  Plains   (66)   Rogers-Ecwards   8-28 

jorrcnier   Carroll-Mara   3-14. 

Details   under  title:  Untitled 

Thunder   In   tod's   Country   P«x-Allen   

Walls  Fargo  Gunmaster   Lane-Chapin   2-12. 

  194948  

Carrol  l-Ralston   3-13. 

.Lane-Walter   3-13. 

.  Patrick-Rockwell   

,  Lane-Waller   6-5. 

.  Native  Cast   

.Perkins-Rockwell   5-8. 


The   

Ceoarod  Wagon  Raid  . 
Destination  Big  House 

Frfcee  Tornado   

Jetpie  Stampede   

Petticoats 


. 6-30 . 
.  6-1. 
. .9-6. 
. 7-29 . 
.9-18. 
.9-18. 
10-23. 


Uewswd    Forest   Trail   Allen-Dennell   11-7 

IHMen  on   Hortrtaek   Lane-Waller   7-31 

Sewwdewn,    The   Elliott-Brennan   8-15. 

aoruot  In  the  West  (C)   Rogers-Edwards   3-27.  .  . 9-25 

Trail  of  Reblu  Hood  (C)   (67)  Rogers-Edwards   7-3  . 12-15 

Trial   Wltheut   Jury   Patrick-Rockwall   2-27  7-8 

Trigger.   Jr.   (Tf.)   Ro|en-E»ani   12-19. .  6-30 

■ooer  Hexleall  Stars   illen-Patriek   11-20 

fiallante  Hideout   Lanu-Wallar   5-8  8-6 


.4929  

.4953  

.4968  

4924  

.4943  

.4946...1-1S 

.4921  

.4945  

.4954  

.4966  


1950-51  Features 


RKO  RADIO 


Completed  (49)      In  Production  (3) 


RELEASE  CHART 


IN  PRODUCTION 

Title— Rinning  Timt 


Cast  Details 

Wyman-Carlion   4-23. 

.Russell-Mature   5-7. 

Milchum-Scolt   4-23. 


1950-51 


COMPLETED 
GROUP  ONE 


.  .7-4. 

2-tn 
.t-tl. 


.4-9. 


6-19 
.6-19 
.7-31. 
.12-3. 
.12-4. 
.8-14. 
.2-13. 


■order   Treasore   Holt-Martin   

•em  Te  Be  Bad   (93)   Fontoine-Ryan    . .  . 

Beoeo   Stead    (67)   Sterllng-Dlxon  ... 

•■trace   (75)   Andrews-Powers  . 

Walk  Softly.  Stranger   (81)   Cotlen-Vallj   

GROUP  TWO 

f  xparhaont    Ateatrar   Howard-Olxon     .  .  . 

■ever   a   Dull   Moment   Donni-MacMurray 

lie  Grande  Patrol   Holt-Martin   

NOT  DESIGNATED 

Alice  In   Wonderland   (T)    Disney  Cartoon  .. 

Behave   Yourself  Winters-liranger 

Best  of  the  Badmen   Ryan-Trevor  .... 

Capture.  The  (81)   Ayres-Wright   

Company  She  Keeps   Breer-O'Keefe 

Details   ender  title:  The  Wall  Outside 

Crack   Down   Williams-Armstrong 

Cry   Danger    (79)   Powel|-r  lemino 

Double   Deal   (64)   Danniog-Wlndsor 

edge  of  Doom   Andrewi-Cranger 

rtjrlag   Leataerneeki    (T)   Wayne-Ryan    . . 

Footllgbt   Varieties    (61)   Paar-Buttcus 

Gambling    louse    (80)   Bendlx-Mature 

Detail,   .oder  title:  Alias  Mike  Fury 

Bun    Notches   Holt-Martin   11-6. 

Sua  Thaader   Halt-Mirtlo   10-24. 

Detalli  under  title:  Mother  of  a  Champion 

Hall   Breed.   The   YOung-Carter   3-26 

Hard.  Poet  and  BoaailM   Trevor-Forrest   7-31 

Hunt  the  Man  Down  (68)   Yeung-Andtrson   5-£2 

•■tails   eai.r  title:    Seven  Witnesses 

I  fa    tnly    Money   Slnatra-Reisell   12-6 

M   Pilot    (T)   Wayne-Leigh   12-19. 

iunglr    Headhenlers    (T)   Travel   

Kon-Tlkl    (73)   Travel   

*aeao   •'uelt-Mltehum   9-11. 

Mad  Wednesday   (80)   Lloyd-Walbirn    ....  10-1 

Mad  With   Meeh  Heart   "jan-Lupinu   5-tS 

Ma«  He  Found.  The    Re!d-luttle   6-5 

M,  Forbidden  Past   (81)   Gardner-Mitehum  ...10-10. 

On   Th«  Uose   Evans-Barl   1-29. 

Oer    Very    Own    (93)   6raager-Blyth   9-12 

Payment   en   Demand    (90)   Davis-Sullivan   2-27. 

•etalli   uader    title:   Story   ef   u  Divorce 

Pistol   Harvest   (60)   Halt-Martin   12-4 

Roadblock   MeGiaw-olxon    10-23 

•usthjr'i    Range   Holt-Martin   1-29 

Saddle    legion    (61)   Holt-Martin   7-31 

Sealed    Cargo    (89)   Colbert- Ryan   u_7 . 

Detalli  under  title:  The  Gaaat  Woman  Andrtwi-r.ains  8-11 
Suert*  Fery  (86)   

Sane  ef  the  Musketeers  (T)   Wlloe-O' Kara   1-2 

•ergot   MeaVaw-Wklte  6-19 


.8-50. 
.8-50. 
.9-50. 

10-  50. 

11-  50. 


11-50 . 
11-50. 
11-50. 


105  

101. 

.9-11 

104. 

8-*a 

103. 

102. 

.9-11 

107. 

.1-15 

106. 

.6-51. 
.6-50. 
.1-31. 


.176  5-7 

.073.  .  .4-S4 
.109. . .1-15 


.2-51. 
12-50. 
.8-50. 


.115. . .2-26 
.11*.... 1-1 
.152. . .12-4 


.5-26. 
4-51. 

2-51. 
10-30. 
.6-51. 

A-51. 


Tarzan's   Peril  (79)   

Texas  Triggerman   

Thing.  The  (81)   

Tokyo   File  212  (84)   

Treasure  Island  (T)  (96)  . 
Two  Tickets  to  Broadway  (T) 
Vendetta   


Barker-rluston  ll-ej.  .  .3-51. ..  .172. .. .  1 

Halt-Martin   7-3   if 

lohey-Sheridan   11-6.  .  .4-51  174.  .  .  tM 

Marty-Pevton    5-51  175 ...  .'■ 

Driscoll-Newton   7-50  191    .7-1  ■ 

Leigh-Martin   11-20  .fgfj 

Doinergue-Delenz   8-19.  .12-50.  .  .  .167. .  .15  I 


20th  CENTURY-FOX 


1951  Feature;; 


Completed  (36)     In  Production  (5) 


NEW  PRODUCTIONS 

DON'T  CALL  ME  MOTHER 
Comedy — Started  May  7 

Cast:    Claudette  Colbert,  Macdonald  Carey,  Zachary  Scott,  B<l 
bara  Bates 

Director:  Richard  Sale  Producer:  Robert  Bass) 

Story:    Young  career  woman  and  her  grown-up  children. 

GOLDEN  GIRL,  THE  (T) 
Musical- -Started  April  30 

Cast:    Dennis  Day,  Mitzi  Gaynor,  Dale  Robertson,  Una  Merk 
James  Barton 

Director:  Lloyd  Bacon  Producer:  George  Jes; 

Story:    Not  available. 


RELEASE  CHART 


IN  PRODUCTION 

Tl'lr — Run-lnq  Time 


A  WAC 
Day  The 
Ce.ert  F 


COMPLETED 

Anne  of  the  Indies 


Details  under  title:  Will  You   Love  Me  I 

Bird  of  Pa-adise  (T)  (100)   

Call  Me  Mister   (T)  (95)   

David  and  Bcthsheba  (T)   


Details  under  title:  Legion  ot  the  Damned 


Dr.  Praetorious  Story, 
Folhw  the  Sun  (90) 
Fourteen  Hours  (91) 
Friendly  Island  (T) 
Frog   Men,  The   


Hall  Angel    (T)  (80)   

Halls  of  Montezuma,  The  (T)  (113) 

Holy   Year,   1950    (  42)   

Hjusc   on  Telegraph   Hill  (93)   

House  On  the  Square   

I  Can  Get  It  For  You  Wholesale  (91) 


Rennie-Neal   

 5-7 

 4-23 

...4-23 

1950-51   

joraan-raget  .... 

 3-12. 

Woolley-Ritter 

1-1. 

.6-51 

In  December? 

.  8-14. 

.3-51. . 

.  .109 

3- 

Grablc-Dailey 

7-17. 

.2-51.. 

..104. 

2- 

Peck-Hayward     .  . 

12-4. 

.9-51. . 

.8-51.. 

1 

Grant-Crain   

 4-9 

Ford-Baxter   

10-9. 

.5-51.  . 

..112. 

Douglas-Basehart    .  . 

.4-51.  . 

3- 

Lundigan-Greer     . .  . 

....3-12. 

Widmark-Andrews    .  . 

1-1. 

.7-51 

MacMurray-Parker 

. . . .1-29. 

Douglas-Darnell 

12-18. . 

.7-51 

Navy 

Youiio-f.ot'.en   

7-17. 

.6-51 

4 

.W.dmark-Gardner   6-5.. 1-51. 

Documentary   Aug. 

Co'tesa-Lundigan   9-11...  6-51. 

.Power-Smith   2-12  

.  Dalley-Hayward   10-23 


I'd  Climb  the  Highest  Mountain  (T)   (88)  .  Hayward-Lundigan   6-5 

Kangaroo   (T)   O'Hara-Lawford   11-20.... 

Kefauver   Crime    Investigation   News    Feature   4-51 

Lucky  Nick  Cain   (87)   Raft-Gray  3-51 

Man  Who  Cheated   Himself,  The   (81)    ...Cobb-Dall   1-51 

Meet  Me  After  The  Show  (T)   Grable-Carey   1-29  

Mr.  Belvedere  Blows  His  Whistle   Wcbb-Dru   4-9... 8-51 

Mudlark,  The  <99)   Dunne-Gulness   6-5..  1-51 

No   Highway   Stewart-Dietrich   9-25...  8-51 

Of  Men  aad  Music  (85)   Concert    Feature   3-51. 


4-51  111. 

2-51.... 105. 


On  the  Riviera   (T)    (SO)   Kaye-Tiirn  y   

Rawhide     (86)   Powcr-Hayward 

Secret  of  Convict  Lake   Ford-Titrney   

Sword  of  Monte  Cristu,  The  (80)   Mentgomery-Corday 

Take  Care  of  My  Little  Girl  (T)    (93)    .  .Crain-Pelers   

Thirteenth  Letter,  The   (85)  ... 


. 9-25 . 

1-  30 . 

2-  12. 
.9-25. 
.11-6. 

.  Darnell-Boyer   8-25. 


You're  In  the  Navy  Now  (93)   Cooper-Albert 

Rev.   under  title:  U.S.S.  Teakettle 


.5-51. 
.5-51. 
.8-51. 
.3-51. 

.7-51  

.2-51. . . .107. 
.4-51  110. 


106 


UNITED  ARTISTS 


1950-51  Features 


Completed  (    )     In  Production  (•) 


COMPLETED 


Admiral  Was  a 


RELEASE  CHART 

—  1949-50   


(84) 


Bad  Man's 
Blue  Lamp 

Cairo  Road   

Circle  of  Danger 
itv  Lights   


Fabiola   Mlebele  Morgan 


..  Hendrlx-E.   O'Brien       11-21  8-4 

.  .:arptntir-Lockwood   4-3. 

.  .Wamer-Hanley   Foreign  3-1. 

..Eric    Porlman   7-6. 

Nilland-Roc   3-8. 

.  ChapliB-Cherrill   Reissue  .  .9-50. 

. .  Preston- Sedan   1-29 .  .    8-3 . 

..Ferrer-Powers   7-17  . .7-20 

.  Farrar-Fltraerald   8-17. 

Foreign  6-1 


Mo.  • 

Ctiap 

Kr  11- 
Lev 


30 


FILM  BULLETI 


,  Boyer-Bettgcr         .  . 

Mm  All  thi  Way  (77)   Car«eld-Wlnters 

SiB,   The   Tierney-Roherts  ... 

|  ,li  8<  Sin    (72)   Loy-Ca«Blns   

M  il  Tr»H.    Tin    (85)   Montgonury-Marshall 

fcL  Patrol  (57)   Emory-Pong   

I  u  irk  Hall.  The  (86)   Harrison-Palmer  ... 

i  Htm   Planet  X   Clark-Field   

II  With   My  Face    (75)   Nelson-Matthews  . 

The   (85)    .  .  Brando-Wright   

Dick   rairbanks-Donlan 

(90)   Canon-Paige   

utlaw  Brother    (82)   Rooney-Htndrli  ... 

Arlette   (86)   Utterling-Williams 

.»  Mmco   (Ail)   rlo.es-Maxwell   

£   Ncagle-Howard  .... 

fi  Twist   (105)   Niwton-Guinness 


la  T 

1 


 5-11 

 7-13. 

3-26  6-15 

 9-8 

.  10-24  .  616 
.10-9  .1-15... 

 4-10.. 

 4-27. . 

 6-8.  .  . 

..8-25. 
8-10 
.1-10. . 
2-27  . 
.3-9.. 
.5-18 


. 11-21 


A  Thief 


Foreign 
Foreign 
. . .1-2. 


-15. 


Once  Over  Lightly 


10-9 


ills  and*  title 

fci  Hy  French   

nr.  The  (92)   

alls  under  title:  Cost  ot  Loving 

/    For  A   Day   (107)   A«ry_MvGavin  .... 

u   The    (93)   Ireiand-Mccamhrldge 

alls  under  title:    Dungeon.  The 

tea    Wman,  The  (91)   Yomd-Orake   

•  i  )ng  Ros.nbloom   Bair-coagan   

■  ng  it  tha  Fair  (90)   Slmmon<-8ogarde   .  . 

at.  way,  the  Dip  (80)   roeh-Haymes   

■i  ett  at  Dawn.  The  (71)   Parr-Shawn   

It  Were  Not  Divided   Underdown-Clanton 

Ma  Hisbands   (78)   *illlams-Arden   7-3..  Ng 

«j  Steps   North   Brldgcs-Padavoni   7-3  .6-1 

■Had  Get   Me    (90)   Lovejoy-Ryan   5-22  5-i 

eider  title:  Sound  of  Fury 

hi  Sals  and  a  Giy   Paigc-Alda   6-29 

nvierld  Slaty   Diryea-Storm   7-21 

Mo  (110)   Magnanl-Brazzi     ....  Foreign .... 5-1 

ft.  I  City  (76)   Uontei-Aomont   1-2 

*H  I  Grow  Up   (90)  .'reston-scott   i2-18 .  .  . 4-20 


 2-51 

 4-3. 

Foreign.  .  .3-89. 

 6-22 

. .2-27. . .1-22. 
Foreign.  ...2-1.. 


3-26 
.2-12 


NIVERSAL-  INTERNATIONAL 


50-51  Features 


Completed  (39)      In  Production  (5) 


NEW  PRODUCTIONS 

WON  IN  RENO 
dy— Started  May  1 

Mark  Stevens,  Peggy  Dow,  Gigi  Perreau,  Frances  Dee, 

Leif  Erickson,  Fay  Baker 
tor:  Kurt  Neumann  Producer:  Leonard  Goldstein 

Small  child  goes  to  Reno  to  divorce  her  parents. 

DOOR 

>ry— Started  May  11 

Charles  Laughton,  Boris  Karloff,  Sally  Forrest 
tor:  Joseph  Pevney  Producer:  Ted  Richmond 

Period  drama  based  on  Robert  Louis  Stevenson  horror  story. 


IN  PRODUCTION 


RELEASE  CHART 


.  Ca<t  Details  R 

P»ys   Off.    The   rarne'l-MrNally   4-23. 

s   Ke«»ws   Vai  den-Adams   5-7. 

of  Arab)    (T)   Chandler-OHara   5-7. 


•*,:  4  CosteJIo  Meet  the  Invisible  Man. 


(T) 


««te  for  Bonio  (83)   

■  Vlttory   

alls  under  title:  Lights  Out 
<«  Orhre  (T) 

«*l  Thi  (T)   

**'   lloand   the  Mountain   

ai|$  under  title:  The  Real  McCoy 

»««d  (88i   

*><  Crisshones  (T)  (75)   

'•Ian.  Thi   

m*  Green   

"-Day  (T)   


1950-51   

.  Abbott  &  Costello 
McNally-Rossell  .  . 
Grey-hicKally   

.  Resnan-Lynnn    .  .  . 


8-28 
.9-11  . 
.8-28. 


.116  

115. . .3-12 

.123  

.112. . .1-29 


.  MeCrea-S'ockwell   12-4.. 

.Smith-Carey   4-9. 

.Abbott  &  Costello-Shay  1-29.. 


Goes  to  the  Races 


Toren-Chandler   10-10 

O'Connor-Carter   10-10 

Smart-Meadow;   

Winters-con  to   3-12 

Hull-Duff    .   4-! 

McCica-Winfers   5-8 

ij  oonnor-wmte   1Z-4 

The  (T)   Blytne-Farrar   1-29 

Wore  Spurs  (80)   Rogers-Carson   7-31 

*y  <142i   Olivier-Simmons   

J"   HO))    Stewart-Hull   5-8 

,*'•«<  Story.   Cor.le-Adams   12-18 

J1  »'».  The   Keyes-ctiandler   1-29 

Ralden  (T)    (8*)   . . .  Murrtty-Chapman   6-5 

"         It   Blytlie-Stevens   6-19 

Z    EW»    <T)   FUnting-sievens   12-4 

J;  "  '«  Kettle  at  tha  Fair   Maln-KI!brlde   2-27 

■;»d  Pi  Kittle  Back  on  thi  Farm   Main-Kiltride   2-27 

"'■».  The   (78)   Murray-Walsh   Foreign 

•f  the  Renegade  (T)   Montalban-Cliarisse   

iL,,e:  Don  Renegade 

.  .O'Connor-Duranle   3-8 

.  .  Carey-Toren   7-31 


■*».  Thi  (87) 
■!■»  Sataarlne 

•""ever  Know,  . 

J»:lH  Disaster   (100)    '. '.'  Mills-Cherry 

2"  Lt«*on   Colleano-Shaw 

U         ***  *  Tl,l,f-  T"»  <T)   Cirtls-La.rie 

»  uVi 


T'ler  Oi  the 
Ills  ender 

4y,  5 


Kcyes-Chandler   7-17 

  . .  .stevons-Nieol   9-11 

 Colbert-Blyth   ll-2« 

Thi  High  Groiid 


. .  Jan  .  . 

.  .108 

.  .Mar.  . 

..114. 

.2-26 

...Not.. 

.101 

...Jan.. 

.107. 

.  June 

.  .124 

.  .  .  Nov.  . 

. .104. 

11-20 

.  .May. . 

.  .122 

.'.'.Apr''. 

! '.  Hi '. 

. /  '.4-9 

. .  Feb. . 

..181. 

.3-26 

...Nov.. 

. .102. 

...  Dee . . 

9  

.106. 

. .  Jan. . 

.113 

. . 1-29 

: ; ;  mV,:  : 

'.'.'in. 

...Fe*.. 

.  in 

Tomahawk  (T) 
Undercover  Girl 


Up  Frcnt  (92) 


(82>   Heflin-DeCarlo   6-5 

(83)   imith-Brady   7-J1 

(*4>   loltor-Conte   5-22 

 Wayne-twill   10-9 

COMPLETED    1949-50   

Abhrtt  &  ImMIi  la  the  foreign  Legion  (79)  AbUolt  4  Colt  I 

•ortajn  Call  at  Ciitu  Creak  (86)   O'Connor-Arden 

Beeirt  Hawk.  The  (T)    (77)   DcCarlo-Greene 

LMl-    <J0>   Bylngton- Reagan 

Sgy   Hint    (75)   Toren-DaB    .  .  . 

Details    under    title:    Panthers  Moon 

Wonun   in   the   Rin    (77)   Sher  iCin-O'Keefe 

Wyoming  Mall    (T)    (87)   Smilh-MeNall, 


WARNER  BROTHERS 


110. 
.105. 


1-29 
.11-6 
1-1 
3-12 


. .5-8  . 

Aig 

924 

2-28 

Jane 

918 

4-10  . 

All 

.  925. 

8-14 

12-13  . 

Aig  . 

.  9t6 

6-4f 

2-27 

June  . 

920 

7-J1 

5-22  . 

Oct 

•32 

5-22  . 

tit 

931 

1950-51  Features 


Completed  (37)       In  Production  11) 


RELEASE  CHART 


IN  PRODUCTION 

Title— Running  Tlfjf 

D  slant  Drums   

h\l   Time  Goes  By   

Details  under  title:   Baby  For 


Cait  Details 

Uocer-Aldon   4-23 

»;ill.ind-Tinncy   4-23. 


195«-51  - 

Ann  Sheridan 

Douglas-Mayo 


A'eatraz    Island  (64)   

Along   the   Great    Divide  (88)   

Details   under   title:   The  Travelers 

Briahing  Point.   The   (97)   Garfield-rlcaj  ... 

Sriakthreigh   s91>   Brian-Agar   

'-••tain    Heratio   Hornblower    (T)   Peck-Mayo 

('alias   (T)    (94)   Coouer-Roman 

Didge  City    (104)    Hynn-deHavilland 

Enforeer.   The    (87)   Bogart-Koberts 

Farce    of    Arms    HuMeii-OKin 

Fort  Worth    (T)   Scott-Brian   

Glasi  Menagerie,  The  (107)   Lawrenee-Wyman 

Goodbye,    My   Fancy    (107)   Crawlord-Yonng 

H.ghway  301   (83)   Co^nran-Andre 

I   Was   A   Communist    (83)   Lo»c)oy-Hart 

Inside  the  Walls  of  Folsom  Prison  (87)     . B  ia;- Cochrane 

Details  under  title:  The  Folsom  Story 

Jim  Thorpe.  All-Ameriian   

Lightning  Strikes   Twice  (91)   

Lullaby  of  Broadway    (T)  (92)   

Moonlight    Bay  (T)   

North   of  the    Rio  Grande   

Details   under  title:   Colorado  Territory 

Only  The  Valant  (105)   

9o*atiin    Pacific  (109)   

Paln;ing  tin  Couds  with  Sunshine  .Mayo-Morgan 

Details  under   title:   Golddiggers  ol   Las  Vegas 


Reissue 

9-9 

oot 

.11-6 

. . .6-2. 

. .025. 

4-10. 

.9-30  . 

005 

9-es 

6-19 

.  12-9 

.010 

2-13 

12-30 

Oil 

12-4 

1-  15 
11-7 

9-25 

2-  13 

I-  15 

II-  6 


10-28 

5-  19 
1-13 

. . . 5-5 . 

6-  16 


007 

024 
012 

023 
026 


lancaster-Bickford   9-11. 

Roo.an-Todd  2-13 

Uay-Nrl:on   9-11. 

MacKae-Oay   1-29 

Mcbrea-Mayo  »-27 . 

Peck-Payton   8-14. 

Waync-Neal   9-11 

3-12 


Pretty   Baby  (92) 

Rzton   Pas»  (84)   

Rooky    Mountain  (83)  

San   Quen  In  (70)   

Storm  Warning  (91)   

Details    under   title:   Storm  Center 

Strangers   On   A  Train   

Streetcar  Named   Desire.  A   

Sugarfoit    (T)  (80)   

Tea    For  Two    (T)  (98)   

Three   Secrets  (£8)   

Tonrorrow   Is   Another  Day   


bcott-Moroan 
Morgan-Neal 
.  l-ryr.n-Wyaiore 


.  .1-2 
. . 7-31 
6-19 

.  9oejart-Sheridan    .  Reisioe 

.  Rogcr,-Reagan   12-5. 

11-6 


11-11 

9-9 
2-10 


.  *a!ker-Roman 

.Brando-Leigh   8-28. 

.  Scott-Jirgcns   

.  Day-MaeRae   4-10. 

.  Parker-Neal-Roman   

.  Roman-Coehran   1-15. 


.  .3-3 
9-2 
10-14 . 


016  . .2-12 
001  8-tS 
006  10-23 


Virginia    City    (121)   Hynn-Ecgart 


vve>i   Point  Story,   The  (107) 


.  Riissie 

.  Cagney-Mayo   6-19. 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member   Nat')    Mini  Carriera 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4*23 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers  who 
cooperated  with  us  by  putting  return  trailers  in  the 
proper   addressed    containers   and   for  wrapping 
and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patron*  have  left  after  tftt  last  show. 

HIGHWAY  EXPRESS  LINES,  Inc. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St^.  Phila.  7 
LOcust  4-0106 
Member  National  Film  Carriers 


TIERNEY 


V; 


DKIVE-IN  Trailer,  .  ■  •*»  .  .  .  to  SELL  yo     P  ^ 

?o  pro.,  your  -P-£g  ^  -m*  *~  come  oacU 
advantages  of  your  DM* 


USE  Framed  DISPLAYAWAYS ! 

...  to  sell  your  attractions  from  Store 
Windows  and  Counters  .  .  .  Hotel  lobbies 

and  Terminals  .  .  .  wherever  there  are 
people  to  be  turned  into  PATRONS! 
Ask  your  NSS  salesman! 


If  you  haven't  received 
your  copy  ...  .  ask  your 
NSS  salesman  ...  or 
write  your  nearest  NSS 
exchange ! 


nfflionfu 


vJ 'pmif amtr Of 


SERVICE 

rttf  /no us mr 


./o#>  Exhibitor  Speaks 

LET'S  BRING 
THE  STARS' 
SALARIES 


LINE! 


Page  Five 


&8t 


,n\y0c*  tec**01* 


5Jt«* 


sum** 


KfflK 


AT  THE 


That's 


fttM»K 

ftete 


UNT 
DELIVERS  I 


to 


WOW 


THOM*s" 


COLOR 


COlOR 


1 


Cross*'"*1 


Oartto& 


Ho>n 


Adventure  in  the  events 
preceding  Custer's 
Last  Stand ! 


Hons 


pmtao^^s'coLORew 

Corned 


EDMOND  O'BRIEN-  DEAN  JAGGER 
FORREST  TUCKER  -  HARRY  CAREY,* 

in 

WARPATH 

Color  by  TECHNICOLOR 


POLLY  BERGEN  •  JAMES  MILLICAN  •  WALLACE  FORD 

DIRECTED  BY  BYRON  HASKIN 
Story  and  Screenplay  by  Frank  Gruber  •  Produced  by  Nat  Holt 


THATS  MY  BOY 


Top  boxoffice  revenue 
with  today's  top 
comedians! 


tinted  bv  HAL  WAIKER 

Aisoe&fe  Prod'jcer, 
Story  and  Screenplay 


Big  business  with  blaz- 
ing action  in  today's 
hot-spot,  China! 


with  Directed  by 

MARVIN  MILLER  •  WILLIAM  DIETERLE 

Screenplay  by  JOHN  MEREDYTH  LUCAS  •  Adaptation  by 
JULES  FURTHMAN  •  From  a  Story  by  HARRY  HERVEY 


mrnm- 

PRODUCTION  STARRING 

CORINNE  ED 

COITEN  CALVETGWENN 


PRODUCTION  STARRING 

JOSEPH  CORINNE  EDMUND 


4  H 


The  M.G.M 


NEW  and  TECHNI G OLOR  too  ! 


ALL-TIME  PREVIEW  HIGH! 

They  tore  down  the  house!  They  cheered!  They  loved  it! 
The  first  Preview  in  the  East  made  history  at  Loew's  72nd 
Street  Theatre,  N.  Y.  The  report  from  Film  Research 
Surveys  is  thrilling:  "New  high  in  audience  recommenda- 
tion for  musicals,  topping  even  The  Great  Caruso'."  This 
makes  it  unanimous.  In  Hollywood  the  Preview  got  "the 
highest  audience  reaction"  in  M-G-M's  Coast  history! 

TRADE  SHOWS  IN  THEATRES! 

It  is  fitting  that  M-G-M's  mighty  attraction  which  has 
already  been  hailed  as  "The  'Gone  With  The  Wind'  of 
Musicals"  should  be  trade-shown  in  theatres.  Invitations 
have  been  mailed.  If  yours  has  not  arrived,  come  anyway. 
As  in  the  case  of  "King  Solomon's  Mines"  we  feel  that 
only  a  theatre  screening  can  truly  convey  the  size  and 
importance  of  "Show  Boat."  DON'T  MISS  THE  BOAT! 


M-G-M  SHOW  BOAT"  starring  KATHRYN  GRAYSON  •  AVA  GARDNER  •  HOWARD 

KEEL  •  with  Joe  E.  Brown  •  Marge  and  Gower  Champion  •  Robert  Sterling  •  Agnes  Moorehead 
William  Warfield  •  Color  by  TECHNICOLOR  •  From  the  Immortal  Musical  Play  "Show  Boat" 
by  l<  rome  Kern  and  Oscar  Hammerstein,  II  •  Based  on  Edna  Ferber's  Novel  •  Screen  Play  by  John 
Lee  Mahin  •  Directed  by  George  Sidney  •  Produced  by  Arthur  Freed 


ALBANY— 6/11— 8S 
GrandTheall 
11  Clinton  Ave 

ATLANTA-6/18-8  >j 

Loew's  Grand  Tl  » 
157  Peachtree  S  t 

BOSTON-6/ll-8:ij' 

Loew's  State  Jt  n 
205  Massachusetts  M 

BUFFALO-6/18-8  1 

Shea's  Buffalo  T  L 
646  Main  Stn 

CHARL0TTE-6/11-  IP 

Center  Theal 
1427  East  Morehea  tnt 

CHICAGO— 6/14-8:  I 
Monroe  Thea 
57  Monroe  Stf 

CINCINNATI— 6/12-  tp.l 
Monte  Vista  Th  * 
6220  Montgomer;  no 

CLEVELAND-6/11  IPJ 

Loew's  State  Tr  rt 
1515  Euclid  Avie 

DALLAS— 6/11-1 « 
Melba  Theat 
1913  Elm  Stn 

DENVER-6/11-  ft 
Lakewood  The  e 
8000  West  Colfax  nut 

DES  MOINES— 6/11-  BP 
Uptown  The  e 
4115  Universi 

DETROIT— 6/12-8  PI 

Globe  Theat 
3520  Grand  River  m 

INDIANAPOLIS-6/18  If 

Loew's  Thea 
35  N.  Pennsylvam  tre 

KANSAS  CITY— 6/11  DP 

Loew's  Midland  at 
1228  Main  St. 

LOS  ANGELES-6/11  M 
Four  Star  Thels 
5112  Wilshire  El. 

MEMPHIS-  6/11  I  PJ 
Loew's  Palace  T  trt 
81  Union  Avi  e 

MILWAUKEE-6/14  »P. 

Tosa  Theati 
6823  W.  North  A  iitt 

MINNEAPOLIS-  6/1  IN 

Granada  The;t 
3022  Hennepin  Aver  Soi 

NEW  HAVEN-  6/11  IP 
Loew's  Poli  Th  fl 
23  Church  Still 

NEW  0RLEANS-6/11  :JH 
Loew's  State  Tltn 
1108  Canal  St  t 

NEW  YORKN.J.-6/t :M 

M-G-M  Screen  >m 
630  Ninth  Ave: 

OKLAHOMA  CITY— 6/  -II 
Home  Theal 
210  Northwest  6tH«* 

OMAHA-6/11-8:F* 

Dundee  Thea 
4952  Dodge  St  t 

PHILADELPHIA-6/1 U 

M-G-M  Screen  *> 
1233  Summer  S*t 

PITTSBURGH-6/11  J» 

Loew's  Penn  Tl  W 
Sixth  Street  and  Pei  Aw 

PORTLAND  6/12  M. 
Laurelhurst  TrW 
15  N.  E.  28th  A  ■ 

ST.  LOUIS  6/18—1  M 

Loew's  State  Tl  W 
715  Washington  *» 
SALT  LAKE  CITY-6/4P 
Southeast  7h< 
2121  South  11tlW 

SAN  FRANCISCO— 6/1  '^ 

Loew's  Warfi 
982  Market  SI  * 

SEATTLE-6/11-1  M 
Greenlake  Thif* 
7107  Woodla 

WASHINGT0N-6/1i:*f 

Loew's  Pala 
1306  F.  Street  U* 


BULLETIN 


EDITORIAL 


Vol.  1<),  No.  12 


June  4,  1951 


Page  Seven 


THINK  IT  OVER 
GROWTH 

'The  old  believe  everything:  the 
'■niddlesiaged  suspect  everything:  the 
voting  know  everything."' 

—OSCAR  WILDE 


REVIEWS  in  This  Issue 


use  My  Dust   

 10 

d,  Fast  and  Beautiful   

 10 

Prowler   

 10 

ImFERIUM  

 11 

ncis  Goes  to  the  Races 

 11 

5Ace  West  

 11 

ht  Into  Morning  

 12 

Old  Amarillo   

 12 

Lion  Hunters 

 12 

Ian  From  Planet  X 


KI LM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Companv.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenliouse  6-7424;  Barney  Stein, 
Managing  Editor:  Tack  Tavlor.  Pub- 
lication Manager:  Robert  Heath,  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave.,  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


JOE  EXHIBITOR  SPEAKS 


ADJUST  STAR  SALARIES 


May   12,  1951 


Mr.  Mo  Wax,  Editor 
Film  Bulletin 


Dear  Sir: 


The  men  who  guide  the  affairs  of  20th  Century-Fox  Film  Corporation  rate  a 
rousing  cheer  from  the  exhibition  branch  of  the  industry  for  their  intelligent  and 
realistic  approach  to  the  problems  posed  by  the  decline  in  movie  business.  The 
agreement  of  executives  receiving  $500  or  more  weekly  to  take  voluntary  cuts  in 
salary  "for  the  duration"  is  certainly  a  sensible  method  of  conserving  income  for 
the  essential  purpose  of  producing  top  quality  pictures — which  is  the  No.  1  answer 
to  our  over-all  problem.  The  executives  who  arc  taking  this  cut  certainly  are 
entitled  to  the  right  to  recouD  the  balance  of  their  original  salaries  from  profits, 
as  the  plan  was  announced  by  Mr.  Skouras. 

So  far,  good;  now,  why  not  follow  through  this  logical  approach  by  taking 
steps  to  curtail  the  exorbitant  salaries  being  drawn  from  our  industry  by  film 
stars? 

For  a  couple  months  I  have  been  carrying  a  newspaper  cliDping  in  mv  pocket, 
and  every  time  I  have  looked  at  it.  I've  fumed.  It's  a  Louella  Parsons  column  out 
of  our  local  newspaper  and  in  it  she  reports  that  Cary  Grant  will  draw  down 
$870,000  (!)  for  three  films.  Let  me  read  it  to  you. 

"Cary  Grant  collects  $290,000  for  'Dr.  Praetorius'  at  20th —  and  the  same 
amount  for  his  next  two  pictures,  a  total  of  $870,000! 

"Columnists  used  to  be  begged  not  to  tell  about  Hollywood  salaries  because, 
for  some  mysterious  reason,  it  made  the  public  'mad'. 

"Considering  that  Cary  can  keep  only  a  minor  part  of  this  staggering  sum  for 
himself,  after  Uncle  Sam  takes  his  cut,  I  don't  see  who  can  be  angry." 

Well,  Miss  Parsons,  here's  one  guy  who  is  angry,  as  mad  as  a  hornet.  I've 
played  a  couple  Cary  Grant  pictures  within  the  past  two  years  that  were  third- 
rate  grossers,  which  only  goes  to  prove  that  stars,  as  such,  are  terribly  overrated 
in  our  business. 

Mind  you,  I'm  not  saying  that  personalities  have  no  value — they  definitely 
have  some — but  they  have  always  been  rated  far  too  highly.  Every  exhibitor  in  the 
land  can  tell  you  that  it's  THE  PICTURE — in  quality,  story,  timeliness,  entertain- 
ment value,  etc. — that  counts.  Cary  Grant  in  one  picture  might  break  your  box- 
office  record,  whereas  in  a  couple  of  duds  such  as  those  ones  I  referred  to  above, 
he  lays  an  egg.  Doesn't  logic  dictate,  therefore,  that  the  star's  name  alone,  is  not 
a  strong  enough  attraction  to  carry  an  inferior  film? 

If  this  industry  is  going  to  meet  today's  difficult  conditions,  the  men  who 
control  the  destinies  of  the  Hollywood  studios  must  stop  the  foolish  bidding  for 
star  names,  many  of  which  have  little  attraction  for  the  public  and  little  value  for 
the  exhibitors  of  films.  If  star  salaries  are  brought  into  line  with  today's  market, 
the  studios  and  the  theatres  will  both  be  in  better  position  to  weather  this  depres- 
sion in  our  business. 

If  you  feel  that  these  views  merit  the  attention  of  the  trade,  let  me  thank  you 
again  for  the  privilege  of  having  my  say  in  your  worthy  Film  Bulletin. 


All  the  best. 


Sincerely, 


JOE  EXHIBITOR 


Short  Subjects 


IF  THERE  were  any  doubt  about  the 
movies  being  not  only  America's  cheapest 
entertainment,  but  also  the  best  value  for 
the  inflated  buck,  it  should  be  dispelled  by 
the  chart  pictured  here.  Compiled  and  printed 
up  by  the  Council  of  Motion  Picture  Organiza- 
tions for  exhibitors'  use.  the  graph  is  black- 
and-white  proof  that  movie  admissions  have 
continued  to  hold  the  price  line  despite  soar- 
ing operating  costs  while  other  major  cost-of- 
living  items  have  remained  on  the  elevator. 
The  graph  shows  price  increases  from  Sep- 
tember. 1045,  to  December.  1050.  as  reported 
by  the  U.  S.  Bureau  of  Labor  Statistics.  The 
figures  show  the  average  rise  in  movie  ad- 
mission prices  in  five  years  is  considerably  less 
than  one-third  of  the  38.7  per  cent  rise  in 
the  general  cost  of  living  in  the  same  period. 
Even  rent,  despite  Federal  controls  has  gone 
up  twice  as  much  as  movie  admissions.  Any 
exhibitor  who  fails  to  order  a  copy  of  the 
graph  from  COMPO  for  prominent  display 
in  his  lobby  is  passing  up  a  powerful  argu- 
ment to  dispel  the  impression  in  their  patrons' 
minds  that  movie  prices  are  too  high.  The 
public  should  be  told  that  movies,  far  from 
adding  to  the  inflation  spiral,  has  remained 
one  of  the  few  commodities  that  carry  a 
reasonable  price  tag.  It's  yours  for  the  asking 
just  by  writing  to  COMPO  at  1501  Broad- 
way, NYC. 

WHEN  A  BRIGHT  flame  is  snuffed  out, 
it  leaves  the  room  a  little  darker.  The 
passing  of  Pete  Wood  was  like  that.  And  the 
word  "flame"  was  particularly  appropriate  to 
the  Ohio  firebrand  whose  acrid  bulletins  often 
burned  the  pants  off  many  a  film  company 
when  the  offending  distributor  did  or  said 
something  that  might  harm  the  independent 
exhibitor.  Nor  did  Pete  fail  to  praise  a  de- 
serving film  company  in  glowing  terms,  when 
the  occasion  arose.  His  mythical  "Jim  Mason 
of  Cherry-  Valley"  became  a  national  figure 
as  he  periodically  expounded  on  the  industry's 
problems  in  a  pointedly  exaggerated  and 
hoydenish  manner.  From  Allied,  mother  or- 
ganization of  Wood's  Independent  Theatre 
Owners  of  Ohio,  the  battling  exhibitor  leader 
received  eulogies  that  have  not  been  heard 
since  the  death  of  Al  Steffes.  A.  F.  Myers 
extolled  Pete  as  "one  of  the  ablest  exhibitor 
leaders  whose  contributions  to  the  general 
welfare  will  become  more  and  more  evident 
as  time  wears  on."  ITOO's  president.  Martin 
G.  Smith,  felt  that  he  had  lost  his  "truest 
friend"  and  National  Allied  president  True- 
man  T.  Rembusch  dubbed  the  Allied  stalwart 
one  of  the  foremost  leaders  "who  gave  so 
much  to  make  Allied  great."  Pete  Wood  has 
left  his  mark  on  the  industry'  for  as  long  as 
it  will  exist. 

QUESTIONS  WHICH  are  often  posed  to 
members  of  the  film  industry  were 
tackled  and  very  nicely  handled  by  Alfred 
F.  Corwin,  the  MPAA's  director  of  informa- 
tion on  a  recent  "Voice  of  America"  interview 
beamed  to  the  rest  of  the  world.  The  topic 
was:  "Is  it  possible  to  form  an  accurate  idea 
of  the  way  of  life  and  customs  of  the  people 
of  the  United  States  from  American  motion 
pictures?''  A  transcript  of  the  interview,  now 
available  from  the  MPAA  on  request,  reveals 
some  good,  common-sense  replies  to  posers 


PERCENTAGE  PRICE  INCREASE  OF  SELECTED 
"COST  OF  LIVING"  ITEMS    SEPT.,  1945  —  DEC,  19SO 


1DQD 

PRICE  RISE  CHART 

Movies  Are  Your  Best  Buy 


that  might  stump  a  movieman  confronted 
with  the  question  without  preliminary  thought. 

Example :  ( In  reply  to  question.  Are  crime 
stories  and  westerns  a  reflection  of  lawlessness 
in  America?)  "Stories  dealing  with  crime  have 
been  favorite  dramatic  subjects  down  through 
the  years — long  before  movies  were  invented. 
Crime  and  tragedy  run  all  through  the  Greek 
plays.  Terrible  things  happen  to  people  in 
the  Old  Testament,  and  even  in  Mother 
Goose.  Crime  certainly  was  a  major  preoc- 
cupation of  Mr.  Shakespeare.  A  good  number 
of  the  motion  pictures  from  England,  Italy 
and  France  in  recent  years  also  deal  with 
crime — yet  none  of  us  in  America  is  deluded 
into  thinking  that  crime  has  become  a  par- 
ticularly serious  social  problem  in  those 
countries.  Neither  is  it  here." 


McCormick  To  FB 
To  Turner 

The  feature  article.  "Old  Fashioned 
Ballyhop,"  in  the  May  21  issue  of 
FILM  BULLETIN  reported  the  geisha 
girl  promotion  on  "Tokyo  File  212"  as 
being  planned  by  RKO  advertising  head 
Barret  McCormick.  A  letter  from  Mr. 
McCormick  hastens  to  correct : 

".  .  .  This  exploitation  idea  of  the 
geisha  girls  for  TOKYO  FILE  212  was 
originated  by  Terry  Turner,  head  of 
our  exploitation  department  and  ex- 
ecuted by  himself  and  his  staff  of  field 
publicity  men.  Unfortunately,  your 
story  attributes  this  to  me.  The  par- 
tii  ip:ition  of  the  advertising  department 
was  only  in  the  preparation  of  adver- 
tising for  the  picture  which  is.  of  course, 
a  job  executed  by  many  members  of 
the  staff.  I  will  appreciate  it  if  you  will 
make  a  correction  in  your  next  issue, 
as  I  believe  that  credit  should  always 
go  where  it  is  deserved.  Terry  has  been 
with  RKO  for  a  great  many  years  and 
his  spectacular  ideas  of  exploitation 
have  contributed  much  to  making  RKO 
the  Showmanship  Company." 


U"C  ABIOLA."  UA's  epic  of  the  fall  c 
JP  Rome,  is  getting  a  typical  Max  Young 
stein  ballyhoo  sendoff  in  each  of  its  majc 
openings.  That  New  Orleans  premiere,  whic 
set  the  Mardi  Gras  town  on  its  tail  with  th 
array  of  animals,  Roman  maidens,  gladiator: 
martyrs  and  lots  more  that  turned  the  city 
Canal  Street  into  a  Midway,  has  paid  off  s 
beautifully  that  the  promotion  will  be  cor 
tinued  on  Broadway  and  other  spots.  Mont 
Montgomery,  head  of  the  Joy  Theatre  i 
New  Orleans,  wired  UA's  Bill  Heineman  tha 
the  film  "broke  all  house  records  opening  da 
and  hundreds  were  turned  away  from  ovei 
flowing  box  office."  Another  example,  if  you' 
excuse  the  paraphrase,"  that  "there's  no  bus 
ness  like  ballyhoo  business." 

THE  FIRST  special  exploitation  section 
of  press  books  we've  seen  for  drive-i 
theatres  arrived  in  the  mail  last  week.  The 
came  from  Monogram-Allied  Artists'  ac 
publicity  director,  John  C.  Flinn,  on  "I  Wa 
An  American  Spy"  and  "Ghost  Chasers",  an 
are  excellent  promotion  pieces  designed  t 
build  up  the  outdoor  theatres'  boxoftke.  I 
addition  to  special  showmanship  ideas  for  th' 
particular  picture,  the  special  sections  comj 
up  with  some  highly  effective  institution;! 
stunts  and  promotions  for  the  drive-ins  ths| 
can  be  applied  to  any  picture  playing  thl 
ozoner. 

BEGINNING  NEXT  Monday  (11th  | 
M-G-M's  New  York  and  New  Jersei 
branches  will  operate  as  a  single  unit  "in  th! 
interest  of  greater  efficiency  and  .  .  .  fcj 
better  serving  our  customers,"  sales  via] 
president  William  F.  Rodgers  revealed  la* 
week.  The  consolidation  has  resulted  in  sew 
eral  promotions:  Saul  Gottlieb,  manager  cj 
the  Pittsburgh  branch,  will  move  over  to  Net 
York  to  become  district  manager  for  the  coi 
solidated  local  branches.  Lou  AllerhanJ 
formerly  manager  for  New  Jersey,  assumJ 
management  of  the  merged  offices,  whin 
Ralph  Pielow.  until  now  New  York  manage! 
journeys  to  Pittsburgh  to  assume  Gottlieb! 
former  spot.  Jack  Bowen,  who  formerly  he i  I 
the  Metropolitan  district  manager's  title,  "rfl 
linquishes  that  post  because  of  illness  aril 
will  handle  special  important  assignments  I 
the  Metropolitan  area."  according  to  RodgerB 

OF  MEN  AND  THINGS:  Joseph  NJ 
Sugar  has  been  named  manager  of  UA II 
contract  and  playdate  department  by  distrib 
tion  chief  William  J.  Heineman.  He  w  I 
formerly  ELC  assistant  distribution  head  .  I 
Robert  Conn  is  now  managing  the  20th  Fiji 
Des  Moines  branch,  moving  over  from  tfl 
Kansas  City  sales  managership  to  replafl 
Ralph  Pielow.  Jr..  who  moves  up  to  he;! 
the  Minneapolis  exchange  .  .  .  Jack  H.  Levi II 
founder  of  Confidential  Reports.  Inc.,  the  di 
tributors'  checking  outfit,  has  resigned  as  e  l 
ecutive  vice-president  and  general  manager  I 
CRI  and  will  announce  his  future  plans  aftj] 
he  returns  from  Canada  next  week  .  .  .  Harll 
Feinstein.  new  WB  Theatres  zone  head  ffl 
New  England,  will  be  feted  June  12  by  tl II 
Pittsburgh  Variety  Tent,  his  old  stampia| 
grounds  before  the  promotion. 


6 


FILM    BULLET  I 


When  the  Warner  brothers  zi'erc  four,  before  the  death  of  Sain  (left).  The  others,  Harry  M., 
Jack  L.,  and  Major  Albert,  shortly  before  their  Vitaphone  revolutionized  the  movie  business. 

ARE  THE  WARNER  BROS. 

IRE  TO  STAY? 

&ea$im  Jaitk  ih  SuA'mAA  tilth  PlahA 
Juture  &  £trcH$  £utnwr  GeteaAeA 


A  quarter  of  a  century  ago,  four  brothers 
>ok  a  chance.  Against  the  "better"  judgment 
f  old,  established  movie  industry  conserva- 
ves  and  chronic  worriers  who  wailed  about 
ie  new-fangled  radio  competition  "wiping  out" 
lovie  business,  Harry,  Jack,  Albert  and  Sam 
Varner  staked  their  future  on  a  gadget — 
Iking  motion  pictures  —  and  changed  the 
istory  of  the  industry. 

riu  That  pioneering  spirit  and  faith  in  the  in- 
ustry's  future  which  characterized  the  Warners 
lluring  the  first  days  of  sound  was  pointed  up 
111  subsequent  years  as  their  company  made 
| taring  forays  into  new  themes  and  helped  the 
movies  grow  to  maturity.  Warner  Bros,  status 
w,  a  pillar  of  the  industry  was  unquestioned, 
Jllthough  the  quality  of  the  studio's  product 
(tit  something  to  be  desired  in  the  past  season 
l|r  two.  Then,  in  recent  months,  rumors  went 
'he  rounds  that  the  brothers  were  tired,  that 
mey  were  going  to  unload  their  stock  and  get 
ut  of  the  industry. 

I  A  few  weeks  ago,  president  Harry  revealed 

pat  the  family's  controlling  interest,  repre- 
uted  by  some  24  per  cent  of  stock,  was  up 
||>r  sale  and  that  a  syndicate  of  outside  interests, 

leaded  by  San   Francisco  financier  Louis  R. 

lurie,  would  sit  across  the  bargaining  table 
ith  a  view  of  buying  them  out.   When  the 

jiitial  shock  wore  off,  many  viewed  the  Warner 
jUcision  as  a  big  nail  in  the  coffin  that  was 

[?ing  hastily  constructed  for  the  movie  busi- 

jess  by  the  prophets  of  doom.  "If  the  Warners 
.  Ire  pulling  out,"  they  wailed,  "you  can  be  damn 
Hire  the  end  is  in  sight." 

I  But  with  the  same  startling  suddenness  that 
Tatured  the  announcement  of  the  sale  proposals. 

1  U  N  E    4  ,    19  5  1 


the  brothers  did  a  complete  turnabout,  halted 
the  negotiations  and  announced  they  were  stay- 
ing in  the  business. 

"While  Mr.  Lurie  was  prepared  and  willing 
to  meet  most  of  our  preliminary  stipulations, 
and  others  were  still  under  consideration," 
Harry  Warner  declared,  "we  that  we  could 
not  withdraw  from  the  great  undertaking  which 
has  been  so  vital  a  part  of  our  lives." 

The  quick  switch  was  viewed  by  many  exhi- 
bitors with  skeptical  eye.  The  "hush-hush" 
boys  whispered  knowingly  that  this  was  just  a 
breather,  that  there  were  technical  difficulties  in- 
volved and  once  these  were  setlled,  sale  negoti- 
ations would  be  resumed.  Even  if  the  Lurie 
deal  was  definitely  off,  it  was  felt,  other  buyers 
might  be  sought,  or  would  come  shopping  with 
the  lure  of  the  controlling  stock  as  bait  on  the 
block. 

By  BARNEY  STEIN 


Uclum  ^BULLETIN  futon 


Before  new  sale  reports  had  a  chance  to  get 
into  the  rumor  mill,  however,  two  announce- 
ments by  WB  toppers  gave  powerful  evidence 
that  the  Warners  not  only  intended  to  remain 
in  business,  but  were  going  ahead  with  more 
of  that  pioneering  fervor  that  zoomed  them  to 
their  prominent  position  in  the  industry. 

The  first  was  the  disclosure  by  Ben  Kalmen- 
son,  vice-president  and  general  sales  manager, 
that  the  company's  four  top  pictures  of  the  year 
were  going  into  release  this  summer.  Invitations 
were  issued  to  the  nation's  exhibitors  to  attend 
special  theatre  screenings  of  the  four  films  in 
each  of  the  key  cities.  The  quartet  were  to  be 
shown  on  June  12-13  and  would  be  accompanied 
by  displays  of  enlarged  reproductions  of  sample 
ads  so  that  the  theatremen  would  get  an  idea  of 
their  presentation  to  the  public. 

Plunging  forward  with  strong  product  in  an 
effort  to  bolster  the  boxoffice  during  the 
summer  "dog  days"  was  a  convincing  demon- 
stration of  faith.  And  in  giving  concrete  proof 
of  its  own  belief  in  the  industry,  Darners  had 
{Continued  on  Page  S) 
7 


ME  WARNER  HRDS.  HERE  TD  STAY? 


(Continued  from  Page  7) 

made  an  important  contribution  to  the  movies 
as  a  whole  by  bolstering  the  faith  of  exhibitors. 
In  an  urgent  appeal,  Kalmenson  bid  the  theatre- 
men  to  "come  see  this  product,  and  you  will 
see  for  yourself  why  every  exhibitor  owes  it  to 
himself,  to  his  treatre,  to  his  industry  to  look 
forward  and  go  forward  with  optimism  and 
faith." 


Good  Bet  To  Recapture 
Lost  TV  Audiences 

Tt  was  also  a  shrewd  move  on  another  count. 
Efy  making  this  top  product  available  to  theatres 
during  the  hot  weather  months,  it  was  hitting 
television  at  this  competing  medium's  lowest 
ebb.  The  major  TV  shows  were  off  the  air  for 
the  summer.  The  huge  segment  of  moviegoers 
that  video  had  stolen  from  theatres  and  kept 
cooped  up  in  their  homes  would  be  emerging 
from  hibernation  and  would  be  ripe  for  a  return 
to  the  air-conditioned  movie  houses.  Giving 
these  returning  prodigals  the  best  product 
available  would  be  a  powerful  factor  in  re- 
storing the  movie-going  habit. 

The  second  clincher  in  the  company's  decla- 
ration of  faith,  following  hard  upon  the  heels 
of  Kalmenson's  statement,  was  studio  chief 
Jack  L.  Warner's  inauguration  of  intensified 
production  and  preparation  for  the  future.  The 
studio  head  revealed  that  a  total  of  52  pro- 
ductions are  currently  in  work  at  the  Burbank 
lot.  At  the  same  time,  production  boss  Jack 
expounded  on  a  preparation  program,  based  on 
the  "hard  facts  of  a  hard  market,"  which  would 
concentrate  on  the  public's  entertainment  de- 
mands rather  than  the  dollar  sign  on  a  picture. 

There  will  he  no  dollar  limit,  he  said,  on  any 
idea  which  gives  reasonable  assurance  of  return- 
ing more  than  it  costs.  "You  can  spend  every 
dollar  necessary  to  put  entertainment  on  the 
screen,"  Warner  told  his  staff,  "but  every 
nickel  has  to  count.  Waste  of  time  and  money 
can  no  longer  be  tolerated  in  any  department 
of  motion  picture  production  so  long  as  we,  as 
other  industries,  face  a  tighter  public  pur- 
chasing program." 

The  public,  he  added,  has  never  been  im- 
pressed by  the  price  tag  on  a  picture.  "Subject 
matter,  properly  cast  and  properly  filmed, 
always  has  been  the  deciding  factor.  The  things 
that  interest  the  public  are  not  a  flock  of 
numerals  .  .  .  They  want  new  experiences, 
new  ideas,  new  angles,  but  always  within  the 
framework  of  entertainment. 

"In  brief,  let's  make  pictures  for  the  people 
instead  of  for  ourselves.  There  is  no  need  to 
impress  each  other,  but  we  must  impress  the 
public  with  the  idea  that  what  we  have  is 
something  they  cannot  get  anywhere  else.  To 
bring  them  in — and  back — to  the  theatres,  let's 
make  things  to  arrest  and  hold  their  interest. 
.  .  .  Intelligent  moviemaking,  calculated  from 
every  angle,  can  do  more  for  us  than  all  the 
worrying  in  the  world.  That's  whey  we  must 
get  onto  an  intensified  showmanship  concept." 

8 


OLD  WARNER  GREATS 

WB  innovations  in  movie  theme  and  presenta- 
tion   were   represented  hv    (from    top)  "Publie 

Enemy  {1931),  "Gold  Dippers  of  Broadway" 
(1929).  "Story  of  Louis  Pasteur  "  (1935),  "42nd 

Street"  (1933)  and  7  Am  A  Fupitire  From  A 
Chain  Canp"  (1932). 


Warner's  talk  to  the  studio  executives,  ii 
which  he  also  traced  the  history  of  the  com 
pany,  brought  back  into  sharp  focus  the  Wl 
golden  era  that  followed  the  daring  plung. 
into  the  "talkies." 

Those  years,  from  1928  when  the  first  motioii 
picture  with  spoken  dialogue,  "The  laz 
Singer",  revolutionized  the  movie  industry  am 
within  two  years  found  10,000  theatres  wired  fo 
sound;  then  through  the  early  thirties,  wheii 
such  big-time  musicals  like  "Gold-Diggers"  am 
"42nd  Street"  found  unprecedented  popularit 
with  the  public;  the  gangster-film  era  whic 
included  "Public  Enemy"  and  "Little  Caesar! 
among  biggest  money-makers  in  movie  history 
the  biographical  films  like  "Pasteur"  anj 
"Zola" ;  the  "significant"  theme  pictures,  lik 
"I  Am  a  Fugutive  from  a  Chain  Gang,"  whic 
punched  across  powerful  entertainment  as  wel 
as  a  message — all  of  these  were  Warner 
pioneered,  often  against  the  opposition  of  ex 
hibitors,  who  were  forced  to  revise  their  esti] 
mate  of  what  spelled  "boxoffice"  when  tiii 
grosses  started  to  pile  up. 

That  same  pioneering  spirit  carried  into  tlij 
pre-World  War  II  years,  and  the  early  waj 
period  when  the  New  York  Times  lauded  tl  ! 
company  for  its  "enviable  record  for  combinin! 
good  citizenship   with   good  picture  making. 

Not  so  distinguished,  however,  was  the  motj 
recent  years'  product.  While  Warners  coij 
tinned  to  turn  out  a  reasonable  quota  of  bo?j 
office  films  to  maintain  its  standing  among  tn 
top  film  companies,  it  seemed  to  have  falk; 
into  a  more  routine  pattern. 

The  fresh  and  vibrant  innovations  whic, 
Warners  had  transfused  into  the  industi.' 
blood-stream  to  give  it  new  life  seemed  I 
have  run  dry. 


New  Activity  Bodes 
Old-Time  Enthusiasm 

Now,  however,  the  company  shows  a  prospel 
of  return  tn  the  pioneering  policy  which  brougi: 
it  lame  and  helped  so  vitally  the  growth  of  tj 
industry.  The  decision  to  release  its  top  filrd 
during  the  summer,  the  unorthodox  two-d; 
nationwide  screenings,  and  the  promise  coj 
tained  in  the  forthcoming  line-up  are  signpos 
in  that  direction. 

The  big  four  for  the  hot-weather  season  arj 
"Jim  Thorpe — All  American",  story  of  tj 
great  Carlisle  athlete,  starring  Burt  LancasK 
Phyllis  Thaxter,  Charles  Bickford  and  Stej 
Cochran ;  "  A  Streetcar  Named  Desire",  starriil 
Vivien  Leigh  and  Marlon  Brando  in  the  fil 
version  of  'Tennessee  Williams'  Pulitzer  Pri 
and  New  York  Drama  Critics  Award  play,  wi 
ace  director  Elia  Kazan  handling  the  pn  I' 
tion;  "Stranger-:  On  A  Train",  Alfred  Hitc 
cock's  suspenser  starring  Farley  Granger,  R»J 
Roman  and  Robert  Walker,  and  "Captsj 
Horatio  Hornblower",  the  Technicolor  A 
epic  starring  Gregory  Peck  and  Virginia  Ma> 

F  I  L  M    B  U  1-  1.  K  T  I 


WAMER  BHDS. 


[Among  the  completed  product  soon  to  be 
cased  arc  a  pair  of  Technicolor  adventure 
tunas,  "Fort  Worth"  (Randolph  Scott  -  David 
H&  -  Phyllis  Thaxter  -  Helena  Carter)  and 
|)istanl  Drums"  (Gary  Cooper)  ;  two  Techni- 
lor  musicals,  "On  Moonlight  Bay"  (Doris 
ly-  Gordon  MacRae)  and  "Painting  the 
iouds  with  Sunshine"  (Dennis  Morgan  - 
,  rginia  Mayo  -  Gene  Nelson);  "As  Time 
Les  By"  (Ray  Milland  -  Gene  Tierney)  ;  "To- 
brrow  Is  Another  Day"  (Ruth  Roman  - 
|eve  Cochran)  ;  "The  Dawn  Is  Ours"  (former- 
| "Force  of  Arms")  (William  Holden  -  Nancy 
Json  -  Frank  Lovejoy). 

jWorth  keeping  an  eye  no  for  imminent  pro- 
ction  are  such  films  as  "Here  Comes  the 
Iris",  "The  Helen  Morgan  Story",  "Four 
laplains",  "The  Flame",  "The  Lady  of 
tima",  "The  Girl  from  Paris",  "Sam 
buston",  "City  of  Angels",  "Sons  O'  Guns", 
lis  Majesty  O'Keefe",  "Retreat,  Hell!"  and 
Jiers  which  are  still  unknown  quantities  but 
pw  promise  in  their  themes  and  derivations. 


ear-Sale  May  Be 
lessing  In  Disguise 

|The  events  following  the  near-dissoultion  of 
I  Warner  dynasty  sshould  provide  their  own 
Iswer  to  any  doubts  that  the  company  intends 
|  remain  in  business.  But  more  than  that,  the 
ibrtive  sale  negotiations  may  well  turn  out 
I  have  been  a  blessing  in  disguise.  They  may 
pve  to  be  the  spur  that  will  galvanize  the 
arner  outfit  into  the  pulsing,  plugging,  pione- 
ng  mechanism  that  made  the  company  one  of 
p  mightiest  powers  in  the  industry. 

Whether  it  was  hard  dollars  or  soft  sentiment 
it  motivated  the  Warner  brothers  to  stay  on 
I  not  nearly  as  pertinent  as  the  aftermath  of 
jit  decision,  and  the  bright  vistas  it  has 
•|ened. 

Exhibitors  everywhere  will  be  pulling  for 
jit  promise  to  be  fulfilled.  And,  we  suspect, 
jmy  distributors,  too.  The  far-sighted  film 
in  will  know  that  strong  product  from  any 
i  tributor,  even  a  potent  competitor,  will  benefit 
t  entire  industry  by  restoring  the  public's 
ufidence  in  the  movies  and  reinstating  the 
nie-going  habit.  True,  it  will  mean  that  he 
I!  have  to  plug  harder  and  raise  the  standard 
his  own  product  to  meet  the  competition. 

Who  could  object  to  that? 


Warners'  Big  Four  to  be  released  this 
\inmcr.  will  be  trade  screened  nationally 
\ne  12-13.  From  top,  "A  Streetcar 
\imed  Desire"  (Marlon  Brando  -  Vivian 
igh);  "Captain  Horatio  Homblower" 
rregory  Peck  -  Virginia  Mayo); 
'trangers  On  A  Train"  (Robert 
alker-  Ruth  Roman  -  Farley  Granger)  ; 
im  Thorpe  —  All  American"  (Burt 
•ncaster). 


'EXCUSE  MY  DUST'  HIGHLY  AMUSING  SKELTON 

Rates  •  •  +  generally;  much  more  in  small  towns 

Metro-Goldwyn-Mayer 
84  minutes 

Red  Skelton,  Sally  Forrest,  MaeDonald 
Carey,  William  Demarest,  Monica  Lewis, 
Raymond  Walburn,  Jane  Darwell,  Lillian 
Bronson,  Guy  Anderson,  Paul  Harvey, 
Directed  by  Rov  Rowland. 


"Excuse  My  Dust"  continues  the  Red 
Skelton  metamorphasis  (initiated  in  "Three 
Little  Words")  from  zany,  burlesque  comic 
to  light  hearted  funnyman  capable  of  carry- 
ing a  real  story  and  a  believable  romance. 
The  production  of  Jack  Cummings  is  a  hand- 
somely turned  out  period  Technicolor  affair 
— peppered  with  amusing  songs,  enemble 
dances,  and  a  dream  routine  involving  lovely 
Sally  Forrest  that  ranks  among  the  best 
musical  interpolations  ever  put  on  the  screen. 
And  Miss  Forrest  is  very  much  the  reason. 
Potentially,  she's  a  big  time  star — possessed 
of  acting  talent,  dancing  ability,  personality 
plus,  and  wide  versatility.  The  story  of 
"Excuse  My  Dust"  is  on  the  slowish  side  at 
the  beginning,  but  once  the  plot  is  laid  away 


and  the  complications  begin  to  develop  it 
sails  along  with  considerable  speed  and 
humor.  The  finale  is  a  rollicking  chase 
sequence  involving  vintage  cars  over  a  "high- 
way" such  as  might  have  been  conjured  in 
the  good  old  days  of  Mack  Sennett.  Roy 
Rowland's  direction  writes  plenty  of  charm 
and  atmospheric  humor  into  the  narrative 
which  could  have  been  just  another  frag- 
mentary comedy  escapade.  The  Red  Skelton 
fans,  small  town  family  audiences  will  find 
the  Metro  show  much  to  their  liking. 

Skelton's  more  subdued  personality  is  highly 
effective  in  the  romantic  jousts,  but  he  still 
knows  how  to  clown  through  the  slapstick 
episodes  in  his  well  suited  part  of  a  supposed 
screwball  who  dreams  of  the  days  of  horse- 


COMEDY  IN  TECHNICOLOR 


less  carriages.  Macdonald  Carey  romps  through 
the  spot  of  a  small  town  heavy  with  the  zesti 
of  an  actor  having  a  good  time.  His  broac 
characterization  never  misses  a  laugh  cue' 
William  Demarest  is  William  Demarest — rec-< 
ommendation  enough.  Monica  Lewis,  pert  and 
cute,  scores  a  decided  personal  hit  as  a  bustlec 
vamp.  Raymond  Walburn,  Jane  Darwell,  ana 
Lillian  Bronson  do  ok  in  their  lesser  parts: 
STORY:  Skelton,  a  barnyard  tinkerer,  js 
one  of  a  number  of  young  Americans  giver 
to  experimentations  with  gasoline  engines  at 
the  turn  of  the  century.  No  one  takes  hisi 
invention  seriously,  least  of  all  William  Dem- 
arest, the  local  stable  owner  whose  daughter 
Sally  Forrest,  is  in  love  with  Red.  He  sees 
the  whole  scheme  as  an  affront  to  his  bus:- 1 
ness.  He  even  tries  to  pass  local  legislation  i 
against  the  contraption.  Skelton  enters  a  con-j 
test  for  $5,000,  wins  it  of  course,  proves  the  I 
practicability  of  the  horseless  carriage,  anci 
gets  the  hand  of  Miss  Forrest  against  most 
unsportsmanlike  competition  from  MacDona!c| 
Carey.    HANNA  (Hollywood) 


HARD,  FAST  AND  BEAUTIFUL'  EXPLOITABLE  STORY  OF  SPORTS  RACKET 


Rates  •  •  +  as  dualler 


RKO-Radio  (Filmakers) 
76  minutes 

Claire  Trevor,  Sally  Forrest,  Carleton  G. 
Young,  Robert  Clarke,  Kenneth  Patterson, 
Marcella  Cisney,  Joseph  Kearns,  William 
Hudson,  George  Fisher,  Arthur  Little,  Jr., 
Bert  Whitley,  Edwin  Reimers,  Don  Kent, 
Directed  by  Ida  Lupino. 

"Hard,  Fast  and  Beautiful"  is  a  modest, 
unpretentious  endeavor  from  Filmakers,  the 
ambitious  independent  company  of  Collier 
Young  and  Ida  Lupino.  Like  the  previous 
attractions  in  this  outfit's  short  history  ("Not 
Wanted"  and  "Outrage"),  this  one  is  designed 
to  get  over  the  hump  by  means  of  special 
exploitation.  The  names  are  not  strong,  but 
the  performances,  to  a  man,  are  degrees  above 
above  the  average  found  in  a  production  cost- 
ing less  than  $300,000.  The  gimmick  lies  in 
the  story,  a  clever  combination  of  misguided 
mother  love  and  an  expose  of  the  amateur 
tennis  business.  It's  an  attraction  that's  grist 
for  the  exploitation  mill  of  the  enterprising 


exhibitor.  The  tennis  scenes  pack  more  excite- 
ment than  one  might  expect,  and  the  details 
of  the  seamy  side  of  tennis  tournaments  are 
put  forward  in  interesting  fashion.  The  finish 
is  rather  lame,  the  girl  champion's  belated 
awakening  to  the  unscrupulous  deals  put  over 
by  her  mother  being  not  especially  convincing. 
But  despite  these  flaws  the  RKO  release  rates 
E.  for  Effort  and  attention  for  its  spirited 
bucking  of  formula  picture  making. 

Claire  Trevor's  portrayal  of  the  scheming, 
ambitious  mother  who  sacrifices  domestic 
happiness  and  her  daughter's  welfare  in  order 
to  move  in  smart  circles  is  just  what  one 
expects  of  this  steady  actress — well  modulated, 
restrained,  convincing.  Sally  Forrest  is  splen- 
did as  the  pawn  in  her  game  of  contacts. 
Carleton  G.  Young  brings  the  right  efete 
quality  to  his  characterization  of  the  tennis 
promoter.  Robert  Clarke  is  tine  as  the  boy 
who  loves  Sally.  Kenneth  Patterson's  ap- 
proach to  a  father  who  long  since  has  lost 


THE  PROWLER'  SORDID  STORY  NEEDS  SELLING 

Rates  •  •  +  generally  if  exploited 


I  aited  Artists  (Eagle-Horizon) 
91  minutes 

Van  Heflin,  Evelyn  Keyes,  John  Maxwell, 
Emerson  Treacy,  Katharine  Warren,  Madge 
Blake,  Wheaton  Chambers,  Robert  Osterloh, 
Directed  bj  Joseph  Losey. 

In  some  respects,  "The  Prowler"  is  an 
interesting,  adult,  but  decidedly  sordid,  story 
of  illicit  love.  In  others,  it  is  rather  heavy- 
handed  melodrama,  salvaged  only  by  the  con- 
siderable effectiveness  of  its  concluding  se- 
quences. The  first  half  is  largely  dialogue — 
dialogue  that  consists  largely  of  repetitious 
love  making  between  Van  Hellin  and  Evelyn 
Keyes.  However,  once  "The  Prowler"  shifts 
into  dramatic  high  and  takes  on  the  dimen- 
sions of  a  chase  and  a  race  against  time,  the 
interest  mounts  as  the  good  actors  and  di- 
rector Joseph  Losey  are  afforded  opportunities 
to  display  their  virtuosity.  Losey  is  a  minor 
master  at  suspense,  and  both  Van  Heflin  and 


Evelyn  Keyes  have  a  way  with  high  tension 
emotions  that  grips  the  onlooker.  In  most  sit- 
uations, the  UA  release  of  S.  P.  Eagle  will 
need  special  exploitation  if  it  is  to  hold  top 
or  even  equal  position  on  a  double  bill.  It 
would  be  wise  for  exhibitors  to  advertise  it 
"for  Adults  Only"  because  of  its  dubious 
subject  matter. 

Van  Heflin  gives  a  vigorous  performance 
as  the  ruthless  murderer  of  his  sweetheart's 
husband.  Evelyn  Keyes,  sacrificing  glamorous 
appurtenances  to  play  the  role  of  an  every- 
day housewife,  is  always  convincing.  The 
action  centers  largely  on  these  two,  and  with 
the  exception  of  John  Maxwell,  in  the  part 
of  Heflin's  older  policeman  friend,  the  other 
players  have  comparatively  little  to  do.  They 
are.  however,  excellent. 

STORY:  Playing  a  rookie  policeman  who 
resents  the  tricks  of  fate  that  have  made 
him  a  minor  figure  instead  of  a  big  shot,  Van 


assertiveness  in  the  face  of  his  domineerinf 
wife  makes  the  character  sympathetic  am 
understandable.  Supporting  players  generalh 
are  competent. 

STORY:  When  others  discover  the  singula 
talents  of  her  daughter  on  the  tennis  court1 
Claire  Trevor  quickly  goes  along  with  a  sug 
gestion  that  the  girl,  Sally  Forrest,  accept  a 
complimentary  membership  in  the  town": 
country  club.  Soon  she  is  being  "financed'! 
to  play  around  the  country  and  eventually 
with  Carleton  Young  as  the  mentor,  is  on  thj 
way  to  the  championship.  Mama  revels  ii 
the  fine  clothes  paid  for  by  hotels  at  whicl 
Sally  appears  in  exhibition  games.  Othel 
players  are  quick  to  see  what  is  going  on 
and  Sally,  sensing  their  resentment,  turns  on 
her  mother.  To  save  face  she  plays  out  ;| 
season,  wins  the  championship  and  retiresj 
Meanwhile  her  father  has  died.  Young  is  of 
to  greener  pastures — a  new  champion.  An<| 
Trevor  is  left  quite  alone.  ANGEL 


Heflin,  in  the  course  of  his  wanderings,  meet 
Evelyn  Keyes,  comely  wife  of  an  eccentrii 
market  owner  who  insists  upon  operating  j 
late  evening  disc  show.  Heflin,  realizing 
Keyes'  dissatisfaction  with  her  life.  mak< 
violent  love  to  her  even  as  he  plots  a  cunnin 
way  of  murdering  her  husband.  The  even 
takes  place  on  schedule,  and  shortly  there 
after  Heflin  and  Keyes  are  married.  On  thei 
honeymoon  she  discloses  she  is  pregnant,  an 
the  child  is  Heflin's — her  late  husband's  im 
potence  is  known  to  his  family.  So,  to  escap! 
disclosure  of  their  association  before  th 
murder  (which  has  been  called  "accidental". 
Keyes  and  Heflin  decide  the  child  shall  bj 
born  out  on  the  desert — with  only  Hefli, 
attending.  During  her  hours  of  agony.  Keye 
comes  to  recognize  him  as  a  maniacal  kille 
and  accomplishes  his  downfall  by  telling  th 
truth  to  the  doctor  who  is  summoned  at  th 
last  minute.  ANGEL 


Id 


FILM  BUI.I-ETI 


MR.  IMPERIUM'  POOR  STORY  WASTES  PINZA'S  CHARMS 


Rates  • 


4-  generally  on  names. 


Ifotro-Goldwyn-Mayer 
{8  minutes 

,ana  Turner,  Ezio  Pinza,   Marjorie  Main, 
Harry  Sullivan,  Sir  Cedric  Hardwicke,  Deb- 
lie  Reynolds,  Ann  Codee. 
Directed  hy  Don  Hartman. 

9  For  months  the  rumor  mill  has  been  grind- 
ng  out  unhappy  reports  about  "Mr.  Imper- 
um."  and  the  preview  of  the  first  MGM 
Kzio  Pinza  starrer,  unhappily,  largely  confirms 
khem.  The  collaboration  of  producer  Edwin 
Knopf  and  director  Don  Hartman  is  an 
idiotic  screenplay  woven  around  the  romantic 
travails  of  an  older  man  of  royal  birth  and 
!in  American  entertainer  working  in  Europe. 
I\n  old-fashioned  escapade  even  when  kings 
l.vere  in  business,  it  is  no  more  today  than 
|in  antiquated  fantasy.  While  Pinza  is  hardly 
!.o  blame  for  the  blatant  shortcomings  of  the 
ilm.  the  mature  charm  which  characterized 
Iris  tremendous  stage  success  is  pitilessly  at- 
lacked  by  the  inept  script  and  the  inexorable 
Iramera  closeups.  In  the  right  screen  role, 
fiowever,  he  might  yet  live  up  to  the  magical 
reputation  he  created  in  "South  Pacific."  Ob- 


viously his  English  diction  is  poor,  for  to 
achieve  clarity  he  speaks  slowly  and  deliber- 
ately. This  is  all  the  more  reason  he  ought 
not  be  saddled  with  this  role  of  an  amorous 
king — a  fellow  who  should  be  glib  and  an- 
imated. The  songs  aren't  much  to  listen  to; 
even  Pinza's  voice  can  make  them  no  more 
than  little  melodies  tossed  in  to  break  the 
monotony.  The  camera  keeps  Pinza  and  Lana 
Turner  in  focus  to  the  point  of  distraction. 
The  other  players  in  the  small  cast  have 
literally  no  opportunities  to  give  "Mr.  Im- 
perium"  the  jolt  it  sorely  needs.  Boxofficewise 
this  might  not  fare  too  badly  on  the  strength 
of  public  interest  in  Mr.  Pinza's  debut,  plus, 
of  course,  the  established  value  of  the  Turner 
name.  Unfavorable  word-of-mouth  advertising 
and  the  disapproval  of  critics,  however,  will 
take  their  toll. 

Lana  Turner  won't  win  any  awards  for 
acting  in  the  vapid  part  assigned  her,  but 
here's  one  reviewer's  low  salaam  for  effort. 
Pretty  Lana  works  like  a  Trojan  to  make 
her  character  interesting — and  in  the  disheart- 
ingly  dull  love  scenes  she  pulls  every  trick 


in  the  book  to  give  them  animation  and  ro- 
mantic punch.  Marjorie  Main.  Barry  Sullivan, 
and  Sir  Cedric  Hardwicke  are  totally  wasted 
as  featured  players. 

STORY  Pinza,  a  Prince,  meets  Lana 
Turner  while  she  is  a  member  of  an  American 
variety  act  travelling  in  Europe.  They  fall  in 
love,  but  the  death  of  Pinza's  father  elevates 
him  to  the  throne  and  he  must  return  to  his 
unnamed  country  to  rule.  Sir  Cedric  Hard- 
wicke. his  Prime  Minister,  deliberately  with- 
holds Pinza's  farewell  note  to  Lana.  Years 
later,  after  World  War  II.  Lana  is  a  big 
movie  star;  Pinza  is  in  exile.  He  flies  to  Palm 
Springs  where  they  have  a  rendezvous  and 
realize  the  old  flame  still  burns.  But  duty 
again  calls  Pinza — the  people  appear  to  want 
the  return  of  the  monarchy.  Unless  he  ac- 
cepts the  throne  it  will  fall  on  his  son  to 
occupy  it.  Unwilling  for  his  boy  to  lead  the 
frustrated  life  of  a  puppet  ruler,  Pinza  goes 
home,  leaving  Lana  to  fret  in  the  equally 
frustrating  life  of  a  movie  star.  HANXA 
(  Hollvwood ) 


PASSAGE  WEST'  GOOD  OUTDOOR  DRAMA  IN  TECHNICOLOR 


Rates  • 


as  dualler  generally;  more  in  action  houses 


Paramount  (Pine-Thomas) 
{0  minutes 

llohn  Payne,  Dennis  O'Keefe,  Arlene 
Whelan,  Frank  Faylen,  Mary  Anderson, 
Peter  Hanson,  Richard  Roher,  Griff  Barnett. 
Directed  by  Lewis  R.  Foster. 

This  Pine-Thomas  production  for  Para- 
"nount  release  has  the  elements  of  action  and 
suspense,  plus  the  asset  of  Technicolor,  to 
:arry  it  through  to  reasonable  success  in 
post  situations.  Its  best  boxoffice  possibilities, 
pf  course,  will  be  in  action  houses.  The  screen- 
>lay  by  Lewis  R.  Foster,  who  also  directed. 
Unfolds  during  a  gruelling  wagon-train  journey 
pf  settlers  bound  for  California  in  the  1860's. 
rhe  basic  conflict  is  between  a  half  dozen 
l.'scaped  convicts,  led  by  a  cruel  leader,  and 
he  religious-minded  pioneers,   who  become 


their  virtual  prisoners.  Foster  developes  in- 
terest by  incidents  such  as  the  loss  of  a 
prized  calf  during  a  sandstorm,  the  death  of 
a  baby  deprived  of  milk,  and  the  love  affair 
between  a  parson's  daughter  and  the  convict 
leader.  These  sequences  will  give  "Passage 
West"  added  value  for  family  houses. 

The  performances  are,  for  the  most  part, 
good.  John  Payne  dominates  the  cast  as  the 
boss  of  the  escaped  convicts.  Dennis 
O'Keefe  does  an  effective  and  sympathetic 
job  as  the  mild-mannered,  but  two-fister, 
preacher  who  heads  the  pioneers.  While  there 
are  some  slow  spots  through  the  long  journey, 
director  Foster  manages  to  keep  things  mov- 
ing at  a  satisfactory  pace. 

STORY:  John  Payne  and  five  companions, 
escaping  from  prison,  compel  a  small  group 


of  religious-minded  pioneers,  led  by  preacher 
Dennis  O'Keefe,  to  take  them  along  on  their 
wagon  train  bound  for  California.  Payne,  a 
swaggering  toughie,  forces  the  train  to  keep 
moving.  Plagued  by  Payne's  domineering 
tactics  and  his  advances  to  Arlene  Whelan. 
O'Keefe  finally  rolls  up  his  sleeves  and  gives 
him  a  thorough  beating  and  a  private  sermon. 
When  the  wagon  train  reaches  California,  the 
convicts  decide  to  remain  in  the  frontier 
town.  Payne,  now  reformed,  turns  down 
Arlene's  advances,  sending  her  back  to 
O'Keefe,  who  loves  her.  Their  identity  be- 
coming known  in  the  town,  the  gang  rejoins 
the  settlers  and  agree  to  stay  on  as  laborers. 
They  strike  gold  and  when  they  refuse  to 
heed  O'Keefe's  pleas  not  to  mine  it.  Payne 
blows  up  the  mine,  sacrificing  his  life. 
YORK. 


FRANCIS  GOES  TO  THE  RACES'  BETTER  THAN  THE  FIRST 

Rates  •  •  •  for  family  houses;  less  in  action  and  class  situations 


Universal-International 
i8  minutes 

Donald  O'Connor,  Piper  Laurie,  Cecil 
jiCellaway,  Jesse  White,  Barry  Kelley,  Hayden 
Rorke,  Vaughn  Taylor,  Larry  Keating,  Peter 
Jroceo,  Ed  Max,  Don  Beddoe,  Jack  Wilson, 
Walker,  George  Webster.  "Francis." 
directed   by  Arthur  Lubin. 

The  follow-up  production  job  turned  in  by 
j-eonard  Goldstein  in  this  second  chapter  of 
he  adventures  of  the  talking  mule,  "Francis", 
las  more  laugh  content  than  the  original 
'ersion,  more  inventiveness  in  the  handling 
)f  comic  story  situations,  and  more  per- 
inent  values  to  satisfy  the  general  public 
hat  enters  a  theatre  for  diversion.  Arthur 
^ubin  in  his  direction  of  the  variation  of  the 
heme  created  by  David  Stern  made  capital  of 
he  opportunity.  Yarn  this  time  is  by  Robert 


Arthur,  fashioned  into  a  screenplay  by  Oscar 
Brodny  and  David  Stern. 

Cut  to  fit  the  comedy  talents  of  Donald 
O'Connor  and  with  notable  support  given  by 
the  youthful  and  talented  Piper  Laurie,  plus 
the  veteran  ability  of  Cecil  Kellaway  to 
bolster  the  youngsters,  the  story  settles  for 
laughs  on  the  various  comic  plight  that 
Donald  finds  himself  in  when  he  takes  the 
mule's  advice  and  plays  the  horses.  Psycho- 
analysis also  comes  in  for  an  equine  twitting. 
It's  all  for  laughs  and  entertainment.  Family 
houses  will  find  this  a  good  grosser;  it  will  be 
a  strong  dualler  elsewhere. 

STORYr:  Taking  up  from  where  the  orig- 
inal number  ended,  the  script  has  O'Connor 
and  "Francis"  taking  to  the  open  road.  They 
meet  Piper  Laurie,  a  young  miss  whose 
grandfather,    Cecil    Kellaway.    breeds  race- 


horses. They  are  indebted  to  a  competitor 
who  forecloses.  Promptly  to  their  rescue 
comes  O'Connor  and  "Francis,"  but  in  de- 
vious ways  which  are  beset  by  police  com- 
plications and  rough  stuff  by  a  gambling 
syndicate.  Miss  Laurie  gives  Donald  her 
money  to  buy  back  a  promising  steed.  In- 
stead, he  is  talked  into  purchasing  a  filly  of 
no  promise.  "Francis"  tells  him  of  a  seven 
horse  parlay  which  wins  back  $25,000.  Im- 
mediately track  officials  and  the  police,  plus 
the  gangsters,  are  after  him.  O'Connor  has 
a  hard  time  of  it  from  there  on  out  until 
"Francis"  comes  to  his  aid,  psycho-analyzes 
the  nag  in  question,  convinces  her  she  will 
win  a  big  race.  She  does  by  a  neat  trick  and 
last  seen  Donald  is  off  to  new  scenes  which, 
if  they  have  the  boxoffice  promise  of  this 
item,  will  be  most  welcome.  Y'ORK. 


UNE    4  ,    19  5  1 


11 


NIGHT  INTO  MORNING'  SOMBER  TALE  OF  TRAGEDY 

Rates  •  •  +  as  dualler  generally 


Metro-Goldwyn-Mayer 
87  minute* 

Bay   Milland.  John  Hodiak, 
Lewis  Stone,  Jean  Hagen. 
Directed  by  Fletcher  Markle. 


"Night  Into  Morning"  is  an  example  of  a 
carefully  produced  and  well  acted  drama 
which  can  experience,  at  best,  only  moderate 
boxoffice  success  because  of  its  heavy,  somber 
story.  The  original  screenplay  is  a  depressing 
account  of  a  college  teacher's  difficulty  in 
readjusting  himself  after  the  loss  of  his  wife 
and  son  in  an  accident.  Nearly  everyone  has 
experienced  the  tragedy  of  death,  and  such 
misfortune  so  intimately  portrayed  on  the 
screen  is  not  the  type  of  entertainment  to- 

'IN  OLD  AMARILLO'  GOOD 

Rates  •  •  •  where  Roy  Rogers  clicks 

67  minute* 

Roy  Rogers,  "Trigger,"  Estelita  Rodriguez, 
Pennj  Edwards,  Pinky  Lee,  Roy  Rarcroft, 
Pierre  Watkin,  Ken  Howell,  Elisabeth 
Risdon,  William  Holmes,  Roy  Rogers  Riders. 
Directed  by  William  Witney. 
Republic 

"In  Old  Amarillo"  contains  enough  action 
for  the  Roy  Rogers  fans,  even  if  its  story  is 
inclined  to  ramble.  Shooting  forays,  fisticuffs, 
encounters  aboard  trains,  and  an  aerial  con- 
flict pepper  the  production  of  Edward  J. 
White,  and  director  William  Witney  makes 
them  pay  off  in  exciting  fashion.  But  the 


day's  moviegoers  seem  to  prefer.  The  script 
is  narrowly  written,  somewhat  monotonous  as 
much  of  the  narrative  is  related  in  long 
and  tortured  dialogue  passages.  In  most  situa- 
tions this  will  have  to  be  relegated  to  the 
lower  spot  on  dual  bills.  It  should  be  used 
with  a  comedy  or  musical  top  feature. 

Ray  Milland.  playing  the  professor,  is  the 
kind  of  capable  actor  who  can  not  give  a 
bad  performance,  and  his  characterization  in 
"Night  Into  Morning"  is  thoughtful  and 
sincere.  John  Hodiak  inevitably  has  trouble 
with  the  spot  of  Milland's  friend,  a  teacher 
who  fails  to  recognize  the  problem.  Nancy 
Davis  brings  warmth  and  animation  to  the 
part  of  Hodiak's  fiancee.  Jean  Hagen  registers 


provocatively  in  a  brief  sequence  as  a  beauty 
who  interests  Milland  fleetingly — an  angle 
that  inexplicably  is  dumped  within  a  few 
seconds  of  its  introduction.  Fletcher  Markle's 
direction  is  slow  and  labored. 

STORY:  Milland  is  lecturing  his  class 
when  a  boiler  explodes  in  his  home;  the  ac- 
cident kills  his  wife  and  son.  He  insists  on 
continuing  his  work  and  in  showing  none  of 
the  usual  emotions.  He  moves  to  a  shabby 
hotel,  takes  to  drink,  and  makes  several 
suicide  attempts.  Nancy  Davis  arrives  during 
one  of  these,  dissaudes  him.  and  helps  him 
understand  that  his  actions  are  instances  of 
cowardice,  not  love  for  his  lost  ones.  ANGEL 


ACTION,  BUT  TOO  MUCH  STORY 


script  is  more  involved  than  a  western  has  a 
right  to  be.  An  account  of  a  drought  on  the 
plains,  it  never  fully  explains  the  heavies' 
motives  in  wanting  to  grab  ranch  lands,  nor 
is  the  angle  of  son  against  father  developed 
as  dramatically  as  it  might.  However,  the 
Rogers  fans  should  find  enough  of  what  they 
want  to  satisfy  them. 

Rogers  handles  the  heroics  capably,  "Trig- 
ger" struts  his  tricks  in  showmanly  style,  and 
Estelita  Rodriguez  handles  a  peppery  Mexican 
singer  with  plenty  of  vigor.  Penny  Edwards 
is  satisfactory  in  a  conventional  feminine 
lead.  Pinky  Lee's  comedy  capers  are  aimed 


THE  LION  HUNTERS'  AVERAGE  FOR  "BOMBA"  SERIES 

Rates  •   #  as  dualler  in  action  houses  and  sub-runs 


Monogram 
75  minutes 

Johnny  Sheffield,  Morris  Ankrum,  Ann 
Todd,  Douglas  Kennedy,  Smoki  Whitfield 
Directed  by  Ford  Reebe. 

"The  Lion  Hunters"  is  an  average  release 
in  Monogram's  Bomba  series.  Jungle  stock 
shots  are  used  liberally  and  obviously  in  an 
attempt  to  endow  the  low-budget  action  ad- 
venture with  production  qualities — and  their 
abundance  counts  for  the  overlong  running 
time.  The  story  is  rather  slight,  but  Ford 


Beebe's  direction  plays  it  briskly  enough — 
thus  emphasising  the  strong  points  of  the 
film — Johnny  Sheffield's  athletic  displays  and 
the  good  action  elements.  Bomba  is  a  proved 
draw  in  action  spots  and  "Lion  Hunters" 
should  serve  well  as  a  dualler  in  such  situa- 
tions. 

Young  Sheffield  does  his  usual  good  job 
as  the  jungle  lad  with  the  intelligence  to  back 
up  his  physical  prowess.  Morris  Ankrum 
hasn't  much  opportunity  to  get  inside  a  char- 
acter who  is  less  of  a  heel  than  he  should  be. 


largely  at  the  juveniles.  Roy  Barcroft,  Pierre 
Watkin.  and  Elisabeth  Risdon  stand  out  in 
the  company  of  capable  supporting  character 
players. 

STORY:  To  end  the  long,  dry  spell.  Rogers 
suggest  the  ranchers  hire  a  rain  maker  to 
fly  dry  ice  into  the  clouds.  Roy  Barcroft, 
heading  a  syndicate  of  thugs  who  want  to 
grab  off  the  cattle  at  low  prices,  interferes 
with  the  project  and  kills  the  rainmaker-pilot. 
Rogers  recognizes  that  a  murder  has  taken 
place,  investigates,  and  eventually,  nabs 
croft  and  his  henchmen.  JAMES 


Ann  Todd  handles  the  feminine  lead 
adequately. 

STORY:  Trouble  arises  when  Johnny 
Sheffield,  resenting  the  efforts  of  hunters  to 
capture  animals  for  zoos,  interferes  with  the 
trapping.  Complications  with  the  natives 
ensue,  and  they  retaliate  by  herding  a  number 
of  fierce  lions  right  into  the  hunters'  camp. 
Sheffield's  timely  arrival  saves  the  day  for 
Morris  Ankrum,  head  of  the  expedition,  and 
his  daughter.  Ann  Todd.  HANNA  (Holly- 
wood ) 


'MAN  FROM  PLANET  X' 

Rates  •  •  -j-  where  sold 


EXPLOITABLE  PSEUDO-SCIENCE  DRAMA 


United  Artist*  (Mid  Century  Films) 
70  minutes 

Kobert    Clarke,    Margaret    Field,  R 
Bond,      William      Schallert,      Roy  Engel, 
Directed  bj  Edgar  I  Imer. 

Although,  from  the  viewpoints  of  produc- 
tion quality,  story,  and  acting.  "The  Man 
From  Planet  X"  is  inferior  to  most  of  the 
pseudo-scientific  yarns  that  have  come  to  the 
screen  in  the  past  season,  the  subject  is, 
nevertheless,  well  worthy  of  the  exhibitor's 
attention  as  a  valuable  exploitation  film.  The 
title  is  good,  and  the  basic  gimmick  of  a 
visitor  from  space  is  a  provocative  sales 
angle.  The  United  Artists  release,  presented 
by  exhibitor  Sherrill  Corwin.  already  has 
proved  its  mettle  in  several  test  engagements. 
It's  simply  a  matter  of  ballyhoo,  and  the 
theatre  owner  not  up  to  it  had  better  count 
this  only  as  i  minor  supporting  feature. 


The  quickie  production  uses  the  bleak 
coast  of  Northern  Scotland  to  tell  its  fable 
of  a  group  of  scientists  who,  noting  strange 
atmospheric  disturbances,  gather  to  observe 
an  unpredictable  phenomenon.  A  bit  too 
much  time  is  spent  in  establishing  the  plot, 
and  when  the  visitor  from  Planet  X  does  ar- 
rive, he's  not  nearly  as  terrible  as  he  might 
be.  As  in  "The  Thing,'"  the  tendency  of  the 
new  horror  shows  is  an  understatement,  and 
the  veteran  suspense  fan  rather  misses  the 
chilly  gore  of  the  first  "Frankenstein"  flickers. 
The  performances  are  good  generally,  and 
when  the  script  permits,  director  Edgar  Ulmer 
breathes  needed  action  into  the  opus. 

Robert  Clarke  delivers  a  properly  curious 
performance  of  the  newspaper  man  covering 
the  adventure  to  whom  all  the  details  are  ex- 
plained. Margaret  Field  is  less  than  adequate 
in  the  feminine  lead,  but  Raymond  Bond, 


Roy  Engel,  and  David  Ormont  give  convinc- 
ing performances. 

STORY:  Unlike  the  moronic  devil  bats, 
spider-men,  etc.,  of  a  decade  or  so  ago,  to- 
day's crop  of  monsters  are  super-intellectuals 
capable  of  battling  man  on  better  than  his 
own  terms.  "The  Man  From  Planet  X" 
one  such — a  fellow  who  travels  in  a  super- 
duper  air  contraption  and  proceeds  to  create 
considerable  disturbance  in  the  isolated  area 
in  which  he  arrives.  One  of  the  scientists 
William  Schallert.  believes  that  by  commot 
courtesy  he  can  communicate  with  him  ant 
thus  establish  a  world  power.  The  others  soor 
recognize  him  as  a  force  of  evil  and  plot  his 
death.  The  narrative  concerns  itself  largely 
with  reaching  a  decision  about  the  visitor's 
destruction.  And,  of  course,  the  proponent 
of  good  win  out.  JAMES 


12 


F  I  I.  M    B  U  I.  L  E  T  I  N 


VERY  EXHIBITOR  IS  INVITtl 


>^S||gg  mm  forwardI 

THESE  ARE  THE  ATTRACTIONS  THEY'LL  SEE-COM* 
EXAMPLES  OF  THE  IMPORTANCE  OF  THE  Wl 


TO  BE  SHOWN  JUNE  12TH  10:30  A.M. 


STARRING 

BURT  LANCASTER 


CHARLES 


STEVE  COCHRAN 
DlUKrUKU  PHYLLIS  THAXTER 
MICHAEL  CURTIZ  •  everettTreeman 

Screen  Play  by  Douglas  Morrow  and  Everett  Freeman  .Jim  Thorpe,  Technical  Advisor 


TO  BE  SHOWN  JUNE  12TH  1:00  P. 


CI 


THE  PULITZER  PRIZE  AND  CRITICS  AWARD  PLAY 

A  Streetcar  Namefi 


an  ELIA  KAZAN  PRODUCTION 

—VIVIEN  MARLON 

LEIGH  BRANDC 


orjDUCED  Bi 


CHARLES  K.  FELDMAN-  ELIA  KAZAN -WARNER  BF 

Screen  Play  by  TENNESSEE  WILLIAMS 


no  J  C-    'e.'rv  UNNfSStC  V.ILL'-WS  ■ 


cut  tfveA&_ 

ALBANY  MADISON  CHARLOTTE  DILWORTH  DALLAS  ....  ^mIlBA  LOS  AN*# 

ATLANTA  RHODES  CHICAGO.  CARNEGIE  DENVER  ....  ESQUIRE      INDIANAPOLIS  ..  FOUNTAIN  SQ.  MEMPHlj.* 

BOSTON  ESQUIRE  CINCINNATI   .  .PARAMOUNT  DES  MOINES .  VARSITY     JACKSONVILLE  ST.  JOHNS  MILWAlM 

BUFFALO  CENTER  CLEVELAND  VOGUE  DETROIT  ARC     KANSAS  CITY  VOGUE  MINNEAWt 


AND  THEY'LL  SOON  BE  ON  THE  WAY  TO 


■.••■«•••■*■ 

If.!  READY  FOR  RELEASE  FOUR  SEE-FORjYOTRSELF 
E?  PRODUCT  TO  EVERY  SHOWMAN'S  FUTURE' 


D  BE  SHOWN  JUNE  13TH  10:30  A.M. 


TO  BE  SHOWN  JUNE  13TH  1:00  P.M. 


D     ALFRED  HITCHCOCK'S 

FARLEY      RUTH  ROBER 


R 


LKER 


LEO  G.  CARROLL  •Screen  Play  by  Raymond  Chandler  and  Czenzi  Ormond 


GREGORY^  VIRGINIA 

PECK  MAYO 


COLOR  BY 

RAO U  L  WALSH  Sc,een  Pl3*  ^  '"V Go"  *  ^  Rob"is  ,nd  **w,  MacKen™ 


UMARD  NEW  HAVEN.  .ROGER  SHERMAN  PHILADELPHIA  .  . ALDINE  SALT  LAKE  CITY  .  .  .VILLA  *£xcept  New  York 

Wj  NER  NEW  ORLEANS  FOX  PITTSBURGH  ..  WARNER  SAN  FRANCISCO.  .UNITED  NATIONS  MAY  31 -JUNE  1 

•4BRA  OKLA.  CITY  WARNER  PORTLAND  ..  EGYPTIAN     SEATTLE  VENETIAN  „_AM_ 

'M  ADA  OMAHA                         ADMIRAL  ST.  LOUIS ....  MISSOURI     WASHINGTON,  D.  C  UPTOWN  i,KAND  iHtAiRt 


ok  potmm 


ur  'Look  Forward'  Showings  about  to  take  place  are 
an  actual  demonstration,  on  the  screen,  of  a  portion  of 
the  program  now  in  progress  at  Warner  Bros.  Studio. 

We  have  arranged  these  showings  for  the  good 
of  the  exhibitor,  his  audience  and  his  future.  Every 
theatreman  who  attends  will  see  for  himself  the  quality 
of  the  motion  pictures  he  is  going  to  offer  his  commu- 
nity; and  will  be  ready  to  present  them  to  the  public 
with  the  enthusiasm  for  which  the  American  showman 
is  famous. 

Besides,  I  feel  it  is  to  the  benefit  of  all  in  the  industry 
to  have  four  pictures  of  this  quality  on  the  market  at 
the  same  time. 

I  know  that  every  exhibitor  at  our  'Look  Forward' 
Showings  will  go  forward  with  complete  new  confi- 
dence in  the  strength  of  his  product,  his  theatre  and 
his  industry. 


A  Statement  by 


HOLLYWOOD 
EDITORIAL 

I  It  is  lamentable.  hut  nonetheless  true, 
■hat  20th  Century-Fox's  recent  action  in 
Itskin<r  130  of  its  top-ranking  executives  l<> 
Cccept  voluntary  pay  cuts  ranging  from  25 
|o  50  percent,  has  unleashed  a  fresh  wave 
l)f  panic  among  the  rank  and  file  workers 
h(  the  motion  picture  industry.  Exactly  the 
Hhrerse  should  he  the  case. 
I  By  giving  the  axe  to  top-heavy  salaries 
h(  the  industry's  bigwigs  and  thereby 
Diverting  sorely  needed  finances  to  holding 
lip  productions  levels  on  the  company's 
troduct.  Fox  has  taken  the  most  forward 
ftep  vet  devised  for  assuring  the  future  of 
Ihe  medium.  And.  by  agreeing  to  set  aside 
E0  per  cent  of  its  net  profits  as  an  "em- 
ployee participation"  fund  from  which 
[hose  salary  slashes  may  be  recouped,  the 
company  has  given  a  fresh  incentive  to 
Its  creative  talent  to  strive  for  higher  qual- 
ity in  their  work. 

|  In  its  final  analysis,  all  this  constitutes 
lob  insurance  for  the  vast  majority  of 
kvorkers  whose  salaries  are  unaffected — and 
jcertainly  should  give  no  cause  for  unrest. 
I  No  one  who  has  made  more  than  a  cur- 
lory  observation  of  the  industry  during 
these  past  few  years,  can  deny  that  it  has 
peen  foundering  on  the  shoal  of  excessive 
production  costs.  Efforts  to  economize  by 
rutting  down  on  the  costs  of  sets,  curtailing 
ktorv  preparation,  using  stock  film  and  re- 
storing to  the  hundred  and  one  other  de- 
vices that  have  been  tried — have  all  re- 
sulted in  compromising  the  quality  of  the 
(product,  and  thereby  alienating  the  custom- 

I  Once  the  haze  of  hysteria  has  cleared 
pwav  and  a  commonsense  viewpoint  is  re- 
stored. Hollvwood  will  probably  realize 
Ithat  at  last  an  effective  step  has  been  taken 
toward  restoring  financial  good  health  to 
Ithe  business.  When  that  time  comes,  we  can 
lexpect  other  major  companies  to  follow 
Fox  s  example.  JAY  ALLEN 


COLUMBIA 

JUNE  WILL  SEE  HEAVY 
{SHOOTING  SCHEDULE  AT  COL. 

Six  Columbia  films  will  roll  during  June — the 
aviest  schedule  for  a  single  mouth  thus  far 


Gene  Autry  leads  off  the  June  schedule  with 
"Valley  of  Fire,"  on  the  4th,  with  Armand 
Schaeffer,  as  usual,  handling  the  production 
chore  and  John  English  directing.  On  the  same 
date,  producer  Wallace  MacDonald  and  director 
Will  Jason  will  tee  off  "Chain  of  Circum- 
stances," a  mystery  melodrama,  which  was  still 
being  cast  at  this  writing.  Both  productions  will 
be  filmed  on  shooting  schedules  running  two 
weeks  or  less. 

The  following  day,  on  June  5,  MacDonald.  will 
start  dividing  his  time,  when  the  latest  entry  in 
the  Gasoline  Alley  series  goes  before  the  cam- 
eras. Edward  Bernds  directs  the  "Alley"  series, 
with  a  cast  headed  by  Scotty  Beckett,  Jimmy 
Lydon,  Don  Beddoe  and  Susan  Morrow. 


[ 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 

CxclutiDe  ^BULLETIN  feature 


Sam  Katzman  also  guns  a  pair  during  June, 
namely:  "Purple  Heart,"  (Frances  Langford) , 
to  be  directed  by  Richard  Quine,  and  "California 
Conquest"  (Cornel  Wilde)  a  Technicolor  period 
Western,  with  I  .on  Lander*  directing.  On  June 
12,  Producer  Colbert  Clark  spurs  the  Charles 
Starrett  starrer,  "Pecos  River." 

Carrying  over  into  June  from  earlier  starts 
are:  "The  Sure  Thing"  (William  Holden),  Sid- 
ney Buchman  Enterprizes,  directed  by  William 
Dicterle;  Halburt  Productions'  "Small  Wonder" 

(Robert  Cummings  -  Barbara  Hale).  Frank 
Taschlin  megging  for  producer  Harold  Hecht, 
and  "The  Kid  From  Amarillo"  ( Charles  Star- 
rett -  Smiley  Burnette),  with  Ray  Xazarro  di- 
recting, and  Charles  Clark  producing. 

Bert  Granet,  who  recently  joined  Columbia  as 
a  producer,  has  been  handed  the  production  reins 
on  Garson  Katun's  "The  Marrying  Kind,"  which 
will  star  Judy  Holliday.  S.  Sylvan  Simon,  who 
died  suddenly  of  a  heart  attack  late  last  month, 
was  originally  scheduled  to  produce  the  picture. 
George  Cukor  will  serve  as  director,  as  he  did 
on  Miss  Holliday's  triumphant,,  "Born  Yester- 
day." 

Harry  Colin  is  unloading  Robert  Rossen,  pro- 
ducer-director of  "All  the  King's  Men"  and 
"The  Brave  Bulls."  Rossen  has  been  tagged  as 
an  ex-communist.  Columbia  is  reported  buying 
out  Rossen's  interest  in  the  two  films.  This  is 
the  second  blow  to  hit  this  lot  by  the  Un-Ameri- 
can Activities  Committee  hearing,  actor  Larry 
Parks  having  previously  confessed  his  member- 
ship in  the  Communist  Party. 


LIPPERT  PRODUCTIONS 

LIPPERT  TO  DROP  PLANS 
FOR  RENTING  FILMS  FOR  TV 

Robert  L.  Lippert  has  abandoned  any  serious 
thought  of  supplying  television  with  old  films 
and,  as  a  result,  will  probably  make  an  announce- 
ment in  the  near  future  that  his  company  will 
henceforth  concentrate  on  exploitation  films. 

Lippert's  decision  is  the  result  of  a  recent 
cross-country  swing  to  survey  the  television 
market  first  hand.  He  reports  that  the  number 
of  stations  which  can  come  up  with  sponsors 
who  can  afford  to  show  films  at  a  rental  figure 
that  would  be  profitable  to  his  company  is  almost 
negligible. 

With  each  successive  picture  from  Lippert's 
company,  it  becomes  increasingly  evident  that  he 
can  hold  his  own  in  the  current  motion  picture 
field,  when  it  comes  to  producing  exploitation 
and  high-budget  action  features.  Both  "Rocket - 
ship  XM"  and  "Steel  Helmet"  have  been  tre- 
mendously popular,  and  his  soon-to-be  released 
"Little  Big  Horn,"  should  top  even  their  suc- 
cess. The  latter,  which  stars  Lloyd  Bridges. 
John  Ireland  and  Marie  Windsor,  was  pre- 
viewed to  an  enthusiastic  Hollywood  press  gath- 
ering on  June  9.  Based  on  an  incident  in  Ameri- 
can history,  the  picture  gives  a  thrilling  account 
of  the  efforts  of  a  small  unit  of  U.  S.  Cavalry- 


men in  their  efforts  to  warn  General  Custer 
of  an  impending  attack  by  Sioux  Indians. 

Next  to  roll  on  the  Lippert  agenda  is  "FBI 
Girl"  (Cesar  Romero),  which  William  Berke 
will  produce  and  direct.  He  is  iii  Washington  at 
the  present  time  conferring  with  J.  Edgar 

Hoover  on  script  approval,  and,  barring  last 
minute  hitches,  will  siart  the  picture  rolling  on 
June  11. 

The  first  of  Lippert's  participation  deals  for 
making  pictures  in  England,  in  conjunction  with 

Exclusive  Films,  Ltd.,  w  ill  get  underway  early  in 

July  with  the  tee-off  of  "iriack  Alibi."  Lippert 
will  provide  a  minimum  of  two  actors  and  act- 
resses under  terms  of  the  agreement,  and  in  re- 
turn will  receive  75  percent  of  the  gross  jn  all 
countries  outside  England, 

METRO-GOLDWYN-MAYER 

MGM  MAINTAINS  PACE, 
TO  HIKE  MUSICAL  OUTPUT 

There  is  a  general  re-shuffling  due  in  Metro's 
production  program  to  allow  for  an  even  greater 
output  of  musicals  than  has  already  been  an- 
nounced. In  anticipation  of  this  increased  pro- 
duction, executives  of  the  company  are  combing 
both  Hollywood  and  Broadway  for  new  musical 
talent  to  be  used  both  in  front  of  and  behind 
the  cameras.  Sources  close  to  Dore  Schary  tell 
FILM  BULLETIN  he's  contemplating  an  in- 
crease of  almost  100  percent  in  musical  output. 

The  renewed  interest  in  this  type  of  produc- 
tion springs  from  the  unexpected  success  of 
"The  Great  Caruso,"  which  is  mopping  up  in  all 
situations.  Moreover,  it  offers  conclusive  proof 
that  top-flight  musicals  can  be  produced  on  bud- 
gets which  are  no  higher  than  for  other  types 
of  pictures.  "Caruso,"  for  example  was  shot  in 
only  31  days  and  has  already  recouped  its  rut. 
with  the  total  market  scarcely  scratched. 

Undoubtedly  another  reason  for  the  spurt  of 
interest  in  this  direction  is  the  raves  being 
garnered  at  sneak  previews  of  "An  American  in 
Paris."  Without  a  doubt,  seeing  this  magnificent 
production  is  one  of  the  greatest  motion  picture 
experiences  this  department  has  ever  known. 

Rumors  still  run  as  to  L.  B.  Mayer's  future 
intentions.  And  although  Mayer  still  refrains 
from  any  comment,  there  is  considerable  doubt 
that  he  will  continue  at  MGM  beyond  this  sum- 
mer. He  is  known  to  have  been  huddling  with 
RKO  chief  Howard  Hughes,  among  others,  but 
the  general  concensus  of  opinion,  among  those 
who  know  Mayer  well,  is  that  he  will  probably 
form  his  own  independent  company. 

Production  continues  full  tilt  on  the  Culver 
City  lot,  with  as  many  as  six  or  seven  pictures 
shooting  simultaneously.  Budgets  remain  at  top 
level,  with  two  of  the  three  productions  just  go- 
ing before  the  cameras  hitting  well  over  the 
million  dollar  mark,  and  both  set  for  Technicolor 
tinting.  They  are:  "Belle  of  New  York"  (Fred 
Astaire-Yera  Ellen-Keenan  Wynn),  an  Arthur 

{Continued  on  Page  18 1 


JUNE    4  ,  1951 


17 


LICHTMAN  CALLS  FOX  SUMMER 
SLATE  STRONGEST  IN  HISTORY 

K  three-month  line-up  of  ten  pictures,  the 
strongest  in  20th  Century-Fox's  history,  has 
heeu  scheduled  for  release  in  July,  August  and 
September,  as  a  hypo  for  summer  business,  ac- 
cording to  Al  Lichtinan,  director  of  distri- 
bution. 

Topping  the  list,  Lichtman  told  members  of 
the  trade  press  at  a  luncheon  held  at  the  home 
office,  will  be  Darryl  F.  Zanuck's  "David  and 
Bathsheba,"  a  Technicolor  extravaganza  which 
will  premiere  in  New  York  in  August,  followed 
by  a  series  of  special  key  dates  in  September. 

Promising  that  20th-Fox  will  do  its  "utmost 
to  keep  theatres  open",  Lichtman  declared  that 
his  company's  policy  will  he  to  "meet  every 
situation  as  we  find  it,  based  on  merit."  He 
warned,  however,  that  it  will  be  impossible  to 
keep  some  theatres  open. 

The  distribution  executive  stated  flatly  that 
the  field  representatives  have  autonomy  and 
that  they  are  expected  to  "help  the  exhibitor 
become  prosperous."  The  company's  aim,  Licht- 
man said,  is  "to  give  a  square  deal,  and  we 
ask  ,i  square  deal  in  return." 

Introducing  his  new  Eastern  and  Western 
sales  managers,  Arthur  Silverstone  and  Edwin 
\V.  Aaron,  to  the  press,  Lichtman  also  an- 
nounced that  Fox  will  hold  its  first  national 
sales  convention  since  1948  in  Los  Angeles 
June  12-15.  Folicies  "centering  around  the 
strongest  line-up  of  films  ever  offered  in  the 
company's  history"  will  be  discussed  at  the 
national  round  table  conference,  said  Lichtman, 
and  the  meetings  will  be  attended  by  executives 
of  the  company's  advertising,  publicity  and  ex- 
ploitation department.  Particular,  publicity  and 
exploitation  plans  designed  to  give  intensive 
local  level  backing  to  the  company's  array  of 
product. 

For  July,  Fox  will  release  "Take  Care  of 
My  Little  Girl"  (Jeanne  Crain  -  Dale  Robert- 
son), color  by  Technicolor;  "The  Frogmen" 
(Richard  Widmark  -  Dana  Andrews  -  Gary 
Merrill),  and  "The  Guy  Who  Came  Back" 
(Paul  Douglas- Joan  Bennett -Linda  Darnell). 

In  August,  the  releases  are:  "The  Secret  of 
Convict  Lake  "  (Glenn  Ford -Gene  Tierney - 
Ethel  Barrymore - Zachary  Scott);  "No  High- 
way in  the  Sky"  (Jimmy  Stewart  -  Marlene 
Dietrich);  "Mr.  Belvedere  Rings  the  Hell" 
(Clifton  Webb),  and  a  special  release  produced 
in   Germany    by  Anatolc   Litvak  and  Frank 

McCarthy,  "Decision  Before  Dawn"  (Richard 
Baseball  -  Gary  Merrill). 

In  September,  in  addition  to  the  afore- 
mentioned "David  and  Bcthsheba,"  the  compam 
will  release  "People  Will  Talk"  (Gary  Grant  - 
Jeanne  Crain),  a  Darryl  F.  Zanuck  production 
flirected  by  Joseph  L.  Mankiewicz,  and  "The 
Desert  Fox"  (James  Mason). 

20 


BULLETIN 


\  olume  19,  Number  1- 
June  4.  1951 

News 

ami 
Opinion 


20TH'S  AL  LICHTMAN 

A  Lineup  and  A  Promise 


CONTINUED  UPSWING  IN 
M0N0-AA  39-WEEK  PROFIT 

A  net  profit  of  $258,118  was  earned  by  Mono- 
gram and  its  subsidiaries,  including  Allied  Ar- 
tists, for  the  39- week  period  ended  March  31, 
1951. 

The  company's  gross,  after  eliminating  inter- 
company transactions,  amounted  to  $6,351,882, 
president  Steve  Broidy  reported,  with  no  reserve 
for  federal  income  taxes  included  in  the  profit 
figures  because  of  the  prior  year's  losses. 

Commenting  on  the  future  of  the  industry, 
Broidy  said : 

"  The  motion  picture  screen  offers  the  public 
the  biggest  and  best  in  entertainment. 

"There  is  only  one  way  to  meet  competition 
in  our  business,  and  that  is  by  delivering  a  more 
attractive  entertainment  package  to  the  public. 
Our  current  upward  swing  in  financial  returns 
is  a  strong  indication  that  our  companies  are 
doing  just  that. 

"In  recent  months,  we  have  worked  even  more 
loselj    than   before  with   the  distribution  men 
in  the  field  because  it  is  they  who  constantly 
Contact  the  public  and  learn  first-hand  what  it 
wants  in  screen  entertainment/1 


GOLDENSEN  TO  HEAD  NEW 
COMPANY  IN  UPT-ABC  MERGER 

.  The  merger  of  United  Paramount  Theatres 
and  the  American  Broadcasting  Company  was 
announced  by  Leonard  H.  Goldenson,  president 
of  United  Paramount,  and  Edward  J.  Noble, 
chairman  of  the  board  of  ABC.  The  resulting 
company,  they  said,  will  be  known  as  American 
Broadcasting-Paramount  Theatres,  Inc. 

Goldenson  will  be  president  of  the  new  cor- 
poration, heading  a  board  of  directors  consist- 
ing of  18  members,  13  of  whom  are  now  directors 
of  United  Paramount.  They  are :  John  Balaban, 
A.  H.  Blank,  John  A.  Coleman,  Charles  T.  Fish- 
er. Jr.,  E.  Chester  Gersten,  Goldenson,  Walter 
W.  Gross,  Robert  L.  Huffines,  Jr.,  William  T. 
Kilborn,  Walter  P.  Marshall,  Robert  H.  O'Brien, 
Herbert  Schwartz  and  Robert  B.  Wilby. 

The  remaining  five,  at  present  directors  of 
ABC,  will  be  Earl  A.  Anderson,  Robert  H. 
Hinckley,  Robert  E.  Kintner,  Owen  D.  Young 
and  Noble,  who  will  be  elected  chairman  of  the 
finance  committee  of  the  resulting  company. 

In  their  joint  statement  announcing  the  merg- 
er, Noble  and  Goldenson  said : 

"The  showmanship  and  talents  of  the  man- 
agement of  United  Paramount  Theatres  in 
the  entertainment  business,  when  combined  with 
ABC's  excellent  station  and  advertiser  affili- 
ations and  physical  facilities,  will  insure  to  the 
listening  and  viewing  public  the  finest  radio 
and  television  programs.  This  combination  will 
be  beneficial  to  both  the  theatre  and  broad- 
casting business  in  developing  new  talent  and 
new  programming  conceptions." 

In  his  letter  to  stockholders  of  United  Para- 
mount Theatres,  Goldenson  listed  the  following 
steps  which  are  still  to  be  taken  : 

At  a  meeting  of  the  board  of  directors  <>f 
both  companies,  the  final  form  of  the  merger 
agreement  will  be  voted  on.  Then  a  special 
meeting  of  stockholders  will  be  held  to  vote  on 
the  proposal.  When  the  stockholders  of  both 
corporations  have  approved  the  merger,  the 
proposal  will  be  presented  for  approval  of  the 
Federal  Communications  Commission,  which 
has  jurisdiction  over  all  broadcast  licensees. 


MGM  MERGES  N.Y.,  AND  N.J. 

Combining  the  operations  of  the  New 
York  and  New  Jersey  branches,  MGM 
distribution  vice-president  William  F. 
Rodgers  named  the  company's  Pittsburgh 
branch  manager,  Saal  Gottlieb,  to  the 
post  of  district  manager,  effective  June 
11. 

Fastern  sales  manager  John  P.  Byrne 
and  his  assistant,  Herman  Ripps,  will 
retain  their  status,  while  Jack  Bowen, 
formerly  district  manager,  relingquishcs 
his  post  because  of  illness,  and  will 
handle  special  assignments.  Louis  Aller- 
hand,  manager  of  the  New  Jersey  branch, 
will  head  the  new  offices,  and  New  York 
manager  Ralph  Pielow  will  replace 
Gottlieb  in  Pittsburgh. 


FILM  BULLETIN 


Xftrx  uinl  Op 


RCA  KICKS  AT  HIGH  COURT 
APPROVAL  OF  CBS  COLOR  TV 

A  wave  of  discontent  emanated  from  spokes- 
men for  the  Radio  Corporation  of  America  and 
sther  manufacturers  of  television  sets,  as  a  re- 
sult of  the  Supreme  Court  decision  upholding  the 
Federal  Communications  Commission's  contro- 
versial approval  of  the  CBS  system  of  color  TV 
transmission  as  the  one  to  be  used  by  the  entire 
industry. 

The  Court's  decision  favored  CBS  despite  re- 
ports of  the  highly  successful  trial  runs  of  the 
RCA  method,  following  which  RCA  claimed  not 
only  better  reception,  but  reception  at  a  lower 
cost  to  TViewers. 

Speaking  for  the  Court,  Justice  Hugo  Black 
said  that  the  FCC  "determined  after  hearing 
evidence  on  all  sides  that  the  C.B.S.  system  will 
provide  the  public  with  color  of  good  quality  and 
that  television  viewers  should  be  given  an  op- 
portunity to  receive  it  if  they  so  desire.  This  de- 
termination certainly  cannot  be  held  capricious." 

The  concensus  of  opinion  among  the  manu- 
facturers, who  favor  the  RCA  method,  was  that 
as  far  as  they  are  concerned,  the  public  will  have 
a  long  wait  before  it  will  be  able  to  purchase  the 
mechanical  gadget  necessary  to  convert  their 
present  black-and-white  sets  to  receive  CBS 
transmission.  Air  King  Products  Co..  a  firm 
which  is  being  acquired  by  CBS,  will  be  the 
only  manufacturer  producing  the  color  receivers. 
AH  other  important  makers  will  continue  pro- 
duction of  regulation  sets. 

PEOPLE  ARE  JUST  CRAZY 
TO  PAY  FOR  HOME  TELEVISION 

Leaving  no  stone  unturned  in  his  efforts  to 
convince  the  world— and,  particularly,  the  Fed- 
eral Communications  Commission — that  people 
arc  willing  to  pay  for  television  entertainment 
in  the  home.  Zenith  president  E.  F.  McDonald, 
Jr.  triumphantly  announced  that  99.2  percent 
of  the  people  who  participated  in  the  90-day 
Phonevision  test  in  Chicago  promptly  paid  for 
the  service. 

Of  the  $6,750  total  subscription,  only  $56  re- 
|  mains  unpaid,  and  that  sum  is  owed  by  people 
I  who  are  out  of  the  city  at  present,  he  declared, 
I  making  the  added  point  that  Zenith  had  no 
I  way  of  enforcing  payment  other  than  by  shutting 
off  Phonevision  service. 

I  In  an  earlier  announcement.  McDonald  re- 
I  leased  a  complete  summary  of  the  test  results, 
[  pointing  up  an  attendance  rate  that  is  "2>y2  times 
j  greater  than  the  .47  times  per  week  which  is 
considered  as  the  average  for  American  movie 
I  attendance  in  the  theatres." 

The  average  boxoffice  for  the  test  period,  he 
said,  was  $22.50  per  family  for  three  months, 
or  $1.73  per  week.  Projecting  that  average 
against  an  audience  of  10.000.000  (which  he 
considers  highly  conservative).  McDonald 
figures  the  producers'  average  net  return  per 
picture  would  be  $1,250,000. 


UPTON  CITES  U-l  STAR  TOURS 

players  and  special  personalities  travelled 
to  117  cities  and  towns  during  the  period 
between  October.  1949  and  April.  1951  to 
promote  29  pictures  released  during  that 
time,  it  was  revealed  by  David  A.  Lipton, 
vice-president  in  charge  of  advertising 
and  publicity. 

Lipton  cited  the  statistics  to  point  up 
U-I's  effort  to  build  boxoffice  receipts. 
The  occasion  was  the  launching  of  a 
16-key-city  tour  of  new  stars  Piper 
Laurie  and  Tony  Curtis  in  Chi  ago  on 
behalf  of  the  Technicolor  film.  "The 
Prince  Who  Was  A  Thief". 


WB  STRAND  CLOSED  BY  TV 
■  LARGE  SCREEN  TV,  THAT  IS 

One  of  Broadway's  big  movie  houses.  Warner 
Bros.'  Strand,  closed  down  on  Memorial  Day 
because  of  television.  But  wait,  more  speci- 
fically, the  reason  was  large  screen  TV. 

W  ithin  several  weeks  the  Strand  will  reopen 
as  the  first  Broadway  house  offering  the  new 
RCA  system  of  instantaneous  large  screen 
television.  The  shut-down  was  required  to 
allow  for  extensive  wiring  of  the  theatre. 

The  TV  projection  unit,  consisting  of  a 
theatre-type  kinescope  and  reflective  optical 
system,  will  be  mounted  at  the  front  of  the 
loge  section  of  the  Strand,  while  control  and 
monitoring  equipment  will  be  installed  in  the 
regular  projection  booth.  The  new  system,  by 
means  of  which  TV  images  are  projected 
directly  to  the  theatre's  giant  motion  picture 
screen  the  instant  they  are  telecast,  is  described 
by  the  Radio  Corporation  of  America  and 
W  arner  Bros,  as  the  culmination  of  the  two 
companies'  early  cooperation. 


RKO  ANNOUNCES  RELEASE  OF 
33  FILMS  IN  8-MONTH  PERIOD 

Apparently   heeding  the   vices  of  exhibitors 

who  complained  that  they  were  bearding  their 
product,  KKO  Radio  Pictures  announced  a 
total  of  33  productions  will  be  released  in  the 
period  from  May  to  December.  The  company 
disclosed  il  will  spend  (27,000,000  on  25  pictures 
in  1951,  at  the  same  time  making  available 
from  its  backlog  finished  films  representing  Ml 
investment  of  $21,000,000. 

Of  the  33  releases  scheduled,  21  will  be  so- 
called  "top-budget"  productions,  about  half  of 
which  will  he  in  color.  The  remainder  will 
he  made  up  of  six  specials  and  six  Tim  Holt 
westerns 

Among  the  features  scheduled  for  release 
through  the  summer  months  are :  "Sealed 
Cargo,"  "Hard,  Fast  and  Beautiful,"  "Best 
of  the  Badmen."  "Flying  Leathernecks,"  "Happy 
Go  Lovely,"  "Alice  In  Wonderland,"  "Behave 
Vourself  1",  and  "The  Blue  Veil". 

In  addition  to  the  features.  RKO  will  dis- 
tribute 24  Disney  cartoons  and  a  Disney  special 
short.  "Nature's  Half  Acre,"  and  31  2-reel 
comedies. 

EXCLUSIVE  THEATRE  TV 
FOOTBALL  OKED  BY  NCAA 

A  step  forward  in  the  advancement  of  theatre 
large  screen  television  was  taken  at  the  meet- 
ing in  Philadelphia  recently  of  the  television 
committee  of  the  National  Collegiate  Athletic 
Association,  when  a  plan  for  exclusive  tele- 
casts of  important  collegiate  football  games 
to  theatres  was  approved  by  the  N'CAA. 

According  to  Tom  Hamilton,  chairman  of 
the  college  organization,  theatres  will  be  given 
the  opportunity  to  bid  for  TV  showings  of  the 
games.  The  deals  will  have  to  be  made  directly 
with  the  colleges  or  the  conferences  in  which 
they  participate. 

The  XCAA  meeting  was  attended  by  Xathan 
Halpern.  TV  consultant  for  Fabian  Theatres 
and  the  TOA.  and  Robert  H.  O'Brien,  official 
of  United  Paramount  Theatres.  These  groups 
arc  interested  in  promoting  exclusive  TV 
programs  for  their  theatre  screens. 


BEZNOR  OPPOSES  FREEZE 

The  question  of  the  government's  right 
to  subject  the  motion  picture  industry  to 
wage  and  price  control  will  be  put  to 
the  Wage  Stabilization  Board  in  hear- 
ings held  in  Washington,  D  C.  June  5-6, 
it  was  announced  by  David  Beznor, 
general  counsel  for  the  Colosseum  of 
Motion  Picture  Salesmen  of  America. 

Beznor  claims  the  government  should 
not  attempt  to  freeze  wages  since  the 
film  industry  is  not  subject  to  price 
control.  He  will  represent  the  film  sales- 
men at  the  hearings. 


JUNE    4  ,  1951 


21 


EXPLOITATION  PICTURE 


SEALED  CARGO  IS  SEA  THHILLEH 

Action,  Suspense,  New  Star  Are  Angles 


Sea  stories  have  held  surprising  sway  at 
the  hoxoffice.  Add  suspense,  and  b.o.  returns 
move  a  notch  higher.  Romance,  another 
notch.  "Sealed  Cargo"  has  all  three,  with 
the  popular  Dana  Andrews  matching  wits 
in  a  deadly  duel  with  Claude  Rains,  and 
kisses  with  a  lovely  newcomer.  Carla  Bai- 
enda.  Thus,  the  principal  ballyhoo  angle  is 
the  sea  adventure-mystery-romance  theme, 
and  the  catchline.  "Savage  Passions  Aflame 
in  the  North  Atlantic."  featured  in  the  ads 
is  the  line  to  plug. 

An  additional  selling  point  is  the  famous 
Saturday  Evening  Post  novel  by  Edmund 
Gilligan.  "The  Gaunt  \^  oman".  which  is  the 
basis  for  the  film.  The  title  suggests  several 
stunt  naturals,  such  as  guessing  contests, 
mysterious  boxes,  etc. 

And  don"t  forget  the  inherent  value  in 
"discovering"  a  new  star.  Miss  Balenda 
offers  that  opportunity  to  the  showman  and 
his  audience. 


NEWSPAPER  ADS 

Above,  some  of  the  larger  newspaper  ads.  N 
the  emphasis  on  sea  action,  the  co-stars,  and 
ticularly.  Carla  Balenda.  who  receives  top  hill 
along  with  Dana  Andrews  and  Claude  Rains, 
art.  too.  is  centered  on  the  new  star  and  adj 
to  the  ad  copy  would  do  well  to  capitalize  on 
R]eanda"<  introduction  to  moviegoers  as  a 
covery." 

FILM     H  I   I.  L  E  T  I 


Skipper  Dana  Andrews  and  seaman  Philip  Dorn  await  the  blast  that  will  blow  up  the  l  -hnat  supply  ship. 


SEALED  CAflGO 


Edmund  Gilligan's  "The  Gaunt  Woman"  created  quite  a 
r  when  it  appeared  in  The  Saturday  Evening  Post.  It  was 
Joked  upon  as  a  classic  of  suspense,  and  in  adapting  the  novel 
the  screen,  executive  producer  Sam  Bischoff.  producer 
arren  Duff  and  director  Alfred  Werker  have  concentrated  on 
is  facet.  The  tale  has  Dana  Andrews  as  skipper  of  a  fishing 
•at  in  the  perilous  waters  of  the  North  Atlantic  in  World 
ar  II;  Carla  Balenda  is  an  emergency  passenger  and  Philip 
irn.  a  Danish  seaman,  signed  on  in  time  of  need,  w  ith  a  back- 
ound  which  leaves  him  open  to  suspicion.  The  plot  thickens 

ONE    4  ,  1951 


with  the  discovery  of  an  apparently  disabled  Danish  square- 
rigger,  bearing  only  one  living  person.  Claude  Rains,  its  cap- 
tain. When  Andrews  tows  the  schooner  into  a  Canadian  harbor, 
he  discovers  a  tremendous  cache  of  torpedoes  in  a  secret  hold. 
Concluding  that  Rains  is  captaining  a  supply  ship  for  German 
L -boats.  Andrews  and  Dorn  engage  in  a  battle  of  wits  to  thwart 
the  deliverv  of  the  torpedoes  to  the  submarines,  eventual!) 
blowing  up  the  supply  ship  with  its  deadly  cargo.  In  supporting 
roles  are  Onslow  Stevens.  Skip  Homeier.  Eris  Feldary.  J.  M. 
Kerrigan  and  Arthur  Shields. 

23 


STUDIO  SIZ6-UPS 


{Continual  from  page  19) 

£200,000  per  picture,  and 
equally  unwarranted  mark 
movie  business  as  a  whole  i 


oducers  aiming  at 
it  a  time  when  the 
engaged  in  a  strug- 


Still  another  major  move  that  is  reportedly 
shaping  up  in  the  organization,  is  a  fight  to  kill 
the  double  billing  system.  It  is  understood  that 
Al  Lichtman,  the  company's  new  sales  manager 
considers  the  double  features  the  greatest  curse 
of  the  industry,  and  is  urging  all  other  company 
toppers  tf)  get  behind  a  big  campaign  to  elim- 
inate them. 

Production  on  this  lot  meantime,  has  slackened 
off  somewhat  with  only  three  pictures  shooting 
during  most  of  the  last  fortnight,  as  compared 
with  five  and  six  earlier  this  year.  The  three  are  : 
"Desert  Fox"  (James  Mason  -  Jessica  Tandy), 
which  has  been  filming  since  April  9;  "Golden 
Girl"  (Dennis  Day  -  Mitzi  Gaynor),  which 
started  April  30,  and  "Let's  Make  It  Legal" 
(Claudette  Colbert  -  Macdonald  Carey),  which 
rolled  on  May  7. 

Two  new  features — both  top-budgeters — will 
be  added  this  week,  however,  with  the  first  day's 
shooting  on  "Viva-Zapata"  (Marlon  Brande) 
and  "Mabel  and  Me"  (Dan  Dailey).  "Zapata", 
which  is  being  filmed  almost  entirely  on  loca- 
tion in  Mexico,  and  is  a  Daryl  F.  Zanuck  per- 
sonal production,  directed  by  Eli  Kazan.  "Mabel" 
is  a  Fred  Kohlmar  production  chore,  directed  by 
Henry  Levin. 

Joseph  L.  Mankiewicz,  whose  term  contract  as 
writer-producer-director  for  the  company  ex- 
pires late  in  August,  is  negotiating  a  new  pact, 
calling  for  his  services  on  a  one-picture-per-year 
non-exclusive  basis. 

"Mr.  Belvedere  Rings  the  Bell"  will  be  the 
title  of  Clifton  Webb's  new  one,  an  adaptation 
of  the  stage  hit,  "The  Silver  Whistle." 

UNITED  ARTISTS 

PRODUCT  PILING  UP  AS 
HARMONY  RETURNS  TO  UA 

There  is  a  general  feeling  among  the  inde- 
pendent producers  in  Hollywood  that  United 
Artists,  under  its  new  management,  is  going  to 
prove  the  greatest  boon  to  independent  produc- 
tion in  many  a  year.  Almost  without  exception, 
the  indies  have  placed  their  stamp  of  approval 
on  the  company's  plans  for  sales  and  exploita- 
tion of  their  product,  and  harmony  appears  to 
slowly  be  taking  over,  where  once  their  was  only 
dissension. 

This  confidence  is  being  reflected  in  the  num- 
ber of  independently  produced  pictures  which 
Arthur  Krim  has  been  lining  up  for  release. 
Within  recent  weeks,  contracts  have  been  signed 
lor  the  release  of  such  quality  product  as  Dave 
Rose's  "Saturday  Island"  (Linda  Darnell), 
directed  by  Stuart  Heiskr,  which  will  be  filmed 
in  Technicolor  on  the  Island  of  Jamaica,  starting 
around  July  1  ;  Benedict  Bogeaus'  "Learn  To 
Love"  (Unmix  O'Kecfc  -  Kvelyn  Keyes),  to  be 
filmed  in  Acapuleo,  Mexico,  late  this  month,  and 
the  already  completed  "Four  in  a  Jeep"  (Viveca 
Lindfons  -  Ralph  Meeker)  produced  in  Austria 
by  Lazar  Wechsler. 

HHEnduriioii  also  getting  underway  on  three 
other  tea  out  under  the  UA  aegis. 

The  first  •  ,  Philip  Waxman's  pro- 


duction of  "The  Big  Night"  John  Barrymore, 
Jr.  (Preston  Foster)  started  on  May  21  and 
will  be  filmed  on  a  24-day  schedule,  under  Jo- 
seph Losey's  direction.  Next  to  roll  will  likely 
be  "Chicago  Calling"  (Dan  Duryea),  which 
PeterBerneis  will  produce  for  Toe  Justman.  This 
is  one  of  the  pictures  originally  set  for  ELC  re- 
lease, which  has  been  routed  to  UA  under  terms 
of  the  recent  purchase.  The  final  ujne  starter, 
will  be  "Fort  Defiance"  (Dane  Clark  -  Ben 
Johnson),  to  be  produced  by  Frank  Melford  and 
directed  by  John  Fawlins.  It  is  to  be  filmed  in 
color,  on  location  in  Arizona. 

Krim  is  also  known  to  have  made  a  fabulous 
offer,  including  high  percentage  returns,  to  Alan 
Ladd,  in  the  event  that  he  decides  to  set  up  his 
own  production  company,  rather  than  to  Warner 
Brothers,  as  has  been  reported. 

UNIVERSAL-INTERNATIONAL 

U-l  SHOWING  INTEREST 
IN  TV  FROM  SEVERAL  ANGLES 

A  new  policy  has  just  been  announced  by  the 
company,  whereby  all  of  its  contract  talent  will 
henceforth  be  permitted  to  appear  as  guests  on 
television  shows,  provided  they  get  picture  plugs. 

This  new  policy,  however,  is  not  the  only  in- 
dication that  U-I  is  showing  an  increased  in- 
terest in  the  TV  medium.  With  its  new  tele- 
vision subsidiary,  United  World  Films,  now 
starting  to  operate  on  a  greatly  expanded  basis, 
there  are  indications  that  something  really  big 
may  break  in  that  direction  almost  any  week 
now. 

Universal  is  capitalizing  on  Technicolor  as  a 
boxoffice  asset.  At  the  present  time,  with  six  pic- 
tures shooting,  half  that  number  are  getting  the 
tint  process. 

Two  new  features  are  rolling  during  the  first 
week  of  June,  "The  Treasure  of  Franchard" 
(William  Powell  -  Julia  Adams),  and  "Week- 
end With  Father"  (Van  Heflin  -  Patricia  Neal). 
The  former,  which  is  one  of  the  trio  of  Techni- 
color biggies,  is  a  Leonard  Goldstein  production 
chore,  directed  by  Ted  Tetzlaff.  "Week-end"  is 
being  directed  by  Douglas  Sirk  for  Ted  Rich- 
mond. 

The  remaining  Technicolor  features  before 
the  cameras  are:  "Flame  of  Araby"  (Maureen 
O'Hara  -  Jeff  Chandler),  which  producer  Gold- 
stein and  director  Charles  Lamont  have  been  at 
work  on  since  April  30,  and  "The  Cimarron 
Kid"  (Audie  Murphy  -  Beverly  Tyler),  started 
May  16,  under  the  guiding  hands  of  Ted  Rich- 
mond and  director  Bud  Koetticher.  Others  still 
shooting — in  black  and  white — are:  "Finders 
Keelers"  (Tom  Ewell),  "Reunion  In  Reno" 
(  Mark  Stevens  -  Peggy  Dow),  and  "The  Door" 
(Charles  Laughton  -  Boris  Karloff). 
Frank  Sinatra  and  Shelley  Winters  are  set  to 
co-star  in  "Meet  Danny  Wilson",  which  will 
roll  early  in  July.  He's  a  yarn  about  the  rise  of 
a  young  singer. 


WARNER  BROTHERS 

REPORT  WARNER  HAS  PUT 
MILLION  CEILING  ON  FILMS 

Although  the  company  refuses  to  confirm  it, 
well -placed  persons  within  the  Warner  Brothers 
organization  say  that  Jack  L.  Warner  has  set 


$1,000,000  ceiling  on  all  future  productions  ' 
barring,  of  course,  some  unusually  importaj 
property.  As  a  matter  of  fact,  Warner  is  kno\j 
to  have  given  all  department  heads  a  big  p| 
talk,  urging  that  the  budgets  be  held  generali 
to  the  $750,000  to  $800,000  level.  A  million  dd 
lars  is  plenty  to  spend  on  a  picture,  if  the  prop) 
effort  is  put  into  it ! 

One  means  by  which  he  hopes  to  get  ti 
greatest  production  values  out  of  these  budgej 
is  to  go  more  and  more  into  the  use  of  exterioi 
However,  FILM  BULLETIN  hears,  even  til 
can  backfire — as  in  the  case  of  "Distant  Drum: 
which  has  returned  to  the  lot  after  sever) 
weeks  of  filming  in  Florida.  According  to  we 
informed  sources,  the  Florida  trek  proved  to  ' 
an  exceptionally  costly  one,  running  the  cost  f 
over  the  original  budget. 

But  whatever  the  budget  limitations,  it  a 
pears  that  there  will  be  no  curtailment  in  t1 
number  of  pictures  planned.  Within  the  ne 
two  months,  no  less  than  10  features  are  slat* 
to  start.  "Come  Fill  the  Cup"  (James  Cagne} 
started  on  May  24,  Henry  Blank  producing,  Go 
don  Douglas  directing.  The  June  starters  ar< 
William  Cagney's  "Bugles  in  the  Afternooi 
(Ray  Milland  -  Helena  Carter),  in  Technicolc 
with  Lou  Seiler  megging  for  producer  Bry; 
Foy,  to  roll  June  8;  Henry  Klanke's  "Room  F 
One  More"  (Cary  Grant  -  Betsy  Drake)  ;  "TI 
Tanks  Are  Coming"  (Steve  Cochran  -  Eve  Mi] 
er),  a  Bryan  Foy  production  stint;  "The  W 
Rogers  Story,"  a  Robert  Arthur  productio 
tentatively  set  to  star  Jimmy  Stewart  or  W 
Rogers,  Jr. ;  and  "Room  For  One  More,"  f> 
which  no  assignments  have  been  announced. 

"Starlift,"  the  all-star  feature  based  on  Holl; 
wood's  morale-boosting  activities  for  the  men 
uniform,  is  already  in  early  production  stage 
with  several  members  of  the  cast  rehearsing  th 
acts  before  the  Air  Force  personnel  at  Trav 
Air  Base  in  California.  Included  in  this  grot 
are :  Patricia  Wymore,  Doris  Day,  Gord 
MasRae,  Gene  Nelson  and  Dick  Wesson.  Rc 
Del  Ruth  is  directing  for  Robert  Arthur. 

"Jack  and  the  Beanstalk",  Abbott  and  Cost 
lo's  first  venture  in  color,  is  slated  to  go  in 
production  in  July,  Jean  Yarbrough  directin 
Alex  Gotlieb  producing.  This  famous  fant: 
will  be  a  musical  and  plans  call  for  its  relea 
next  Easter.  It's  a  scoop  for  Jack  Warner 


INDEPENDENTS 

JACK  BRODER  PRODUCTIONS 

Jack  Broder  Productions,  recently  or- 
ganized, have  announced  a  program  of  8 
exploitation  features  to  be  produced  this 
year.  The  first  feature,  already  completed, 
is  "Two  Dollar  Bettor"  (Steve  Brodie  - 
Marie  Windsor  -  John  Litel),  produced 
and  directed  by  Edward  L.  Cahn.  Now 
shooting  is  "The  Basketball  Fix"  (John 
Ireland  -  Marshall  Thompson),  produced 
by  Edward  Leven  and  directed  by  Felix 
Feist. 

Officers  of  the  new  company  are  Jack 
Broder,  executive  producer;  Hank  Spitz, 
associate  producer,  and  Herman  Cohen, 
assistant  to  Broder  and  publicity  director. 

Facilities  of  the  Hal  Roach  Studio  are 
being  used  for  production  and  the  com- 
nanv  has  not  vet  set  a  distribution  deal. 


24 


F  I  L  M     B  U  L  LET! 


PRODUCTIOn 
&  R€L€nS€ 


R6CORD 


COLUMBIA 


1950-51   Features        Completed   (37)       In  Production  (0) 
Serials  Completed    (3)       In  Production  (0) 

Westerns       Completed    (12)       In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 

COMPLETED 

TITLE — Running  Time  Cast 
Big  Gusher.  The  Morris-Foster 
Born  Yesterday  Crawford-Holiday 
Brave  Bulls.  The  1 1071  Ferrer-Quin 

v.n.na  corsair    Hail-i-arraday 

Congo  Bill  McGuire-Moore 


Criminal  Lawyer 
Dark  Page 
Dick  Turpin's  Ride 
Firefighters.  The 
Flying  Missle.  The 
Fort  Savage  Raiders 
Fury  of  the  Congo 
Harlem  Globetrotters.  The 
Her  First  Romance  1731 
Her  Wonderful  Lie 
Hurricane  Island  (CI 
Jungle  Jim  in  the  Forbidden  Land 

Jungle  Safari  

Lorn  a  Doone  IT) 


9C 


Magic  Carpet 
Man  In  the  Saddle 

My  True  Story  (68)   

Operation  X  178) 

Praire  Roundup 

Revenue  Agent 

Ridin'  the  Outlaw  Trail 

Riders  of  the  Whistling  Pines 

Sante  Fe  IT)  1871   

Saturday's  Here 
Secret.  The 


Sirocco 


Canyon 


Sunny  Side  of  the  Street 

Ten  Tall  Men  IT)  

Texas  Rangers 
Valentino    IT)  103) 
Valley  of  Fire 
War  Cry 

When  the  Redskins  Rode  IC) 


Yank 


ind       _  -. 

n  Korea.  A  173) 


O'Brien-Wyatt 
Crawford-Derek 
Hayward-Medina 
Williams-Reynolds 

Starrett-Burnette 
Weismuller-Talbot 
Gomei-Dandridge 
O'Brien-Martin 
Kiepura-Eggerth 
Hall-Windsor 
Weissmuller-Ryan 
Weissmuller-Greene 
Hale-Greene 
Wayne-DaSiiva 
Ball-Agar 
Scott-Leslie 
Parker-Walker 
Robinson-Cummins 
Starrett-Burnette 
Kennedy-Willes 
Starrett-Burnette 
Autry-White 
Scott-Carter 
Derek-DaRe 
Derek-Cobb 
Autry-Davis 
Bogart-Lortn 
Cummings-Hale 
Hayward-Knox 
Lane-Daniels 
Lane  aster- Lawrence 
Geo.  Montgomery 
Parker-Dexter 
Autry-Burnette 
Montqomery-Long 
Hall-Castle 
Autry-Burnette 
McAllister-Phillips 


6-51 

4-  51 
6-51 

5-  51 
4-51 
2-51 


LIPPERT 

1950-51 

Completed  (14) 

In  Production  (0) 

RELEASE  CHART 

—  1949-50-51  — 


COMPLETED 

TITLE — Running  Time 
Bandit  Oueen 
Danger  Zone 
Fingerprints  Don't  Lie 

G.I.  Jane  _  _  _  _ 

Kentucky  Jubilee 
Little  Big  Horn 
Lost  Continent 
Mask  of  the  Dragon 
Pier  23 
Roaring  City 
Savage  Drums 
Steel  Helmet.  The 
Stop  That  Cab 
3  Desperate  Men 
That's  Show  Business 
Yes  Sir.  Mr.  Bones 


Cast 

Rel. 

No. 

Rev. 

Britton-Parker  _  _ 

 12-15 

5010 

Beaumont-Travis 

4-20 

5017 

Travis-Ryan 
Porter-Neal 

3-3 

5015 
5012 

Colonna-Porter 
Ireland-Bridges 

5-  1 8 

6-  18 

5007 
5003 

Romero-Brooke 
Travis-Ryan 
Beaumont-Savage 
Beaumont-Travis 

3-17 
5-11 

2-2 

5013 
5018 
5016 

Sabu-Baron 

Edwards-Brodie 

2-2 

5006 

1-29 

Melton-Adrian 

Foster-Davis 

Rose-Carroll 

3-31 
1-5 

501 
5020 

F.  Miller 

5019 

METRO-COLDWYN-MAYER 


1950-51  Features        Completed   (52)       In  Production  (51 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev 

Westward  the  Women 
Callaway  Went  Thataway 


\?Jh?,  Release  Chart,  "Rel."  is  the  National  Release  Date. 

No.  is  the  release  Number.  "Rev."  is  the  issue  in  which  the 
Kev.ew  appeared.  There  may  be  variations  in  the  running  time 
m  lolV^  tHere  !S  censorshiP-  All  nw  productions  are 
on  1*50-51  programs  unless  otherwise  noted.  (T)  immedi- 
ate y  following  title  and  running  time  denotes  Technicolor 

C       Cmecolor,      (SO      Supercinecolor,  (TR) 
IA)  Anscolor. 


Trucolor, 


Ligh;  Touch.  The 
Too  Young  To  Kiss 
Man  With  A  Cloak 

COMPLETED 


Across  the  Wide  Missouri  IT|  195) 
American  in   Paris  IT) 
Angels  and  the  Pirates 
Bannerline 

Calling   Bulldog  Drummond 
Cause  for  Alarm  (75) 
Excuse   My  Dust  IT)  (82) 
Father's  Little  Dividend  182) 
Go   For  Broke  192) 
Greav  Caruso.  The  1109) 
Grounds  For  Marriage  191) 
Home  Town  Story  161 ) 
Inside  Straight  190) 
It's  A  Big  Country 
Kim  (T)  1112) 
Kind  Lady 


Grainger. Angeli 
Ailyson-Johnson 
Cotten-Stanwyck 


Law  and  the  Lady,  The 
Love  Is  Better  Than  Ever 
Magnificient  Yankee  189) 
Night  Into  Morning 
Mr.  Imperium  (T)  187) 
Nc  Questions  Asked  181) 
North   Country  IA) 
Painted  Hills.  The  (Tl  168) 
Pandora  and  the   Flying  Dutchman 
IT)  (123) 
c  ?.        People  Against  O'Hara 
2  ,!        Our.  Vadis  IT) 

Rain.   Rain.  Go  Away 
Red  Badge  of  Courage  181) 
Rich.  Young  and   Pretty  IT) 
Royal   Wedding  ITI  192) 
tji       Show  Boat  IT) 

Soloier's  Three  1921 
Strictly  Dishonorable 
Strip.  The 
Tall  Tarqet.  The 
Teresa  1101) 
Texas  Carnival  IT) 
Thin  Knife.  The 

Details  under  title:  The  Bradley 
Three  Guys  Named  Mike  190) 
3-26       Two  weeks  with  Love    IT)  (92) 
Vengenance  Valley  IT)  (83) 
Watch  the  Birdie  (70) 

3-26 


Sante-Hodiak 
Kelly-Caron 
Douglas-Leigh 
Forrest-Braselle 
Pidgeon-Leighton 
Young-Sullivan 
Skelton-Forrest 
Tracy-Taylor 
Johnson-Anderson 
Lanza-Blyth 
Johnson-Grayson 
Crisp-Reynolds 
Brian-Dahl 
All  Star 
Flynn-S'ockwell 
Barrymore-Evans 
Garson-Wliding 
Taylor-Parks 
Calhern-Harding 
Milland-Hodiak 
Turner-Pima 
Sullivan-Dahl 
Granger-Corey 
Williams-Keel 

Mason-Gardner 
Tracy-O'Brien 
Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
AstairePowell 
Gardner-Keel 
Granger-Pilgeon 
Pima-Legih 
Rooney-Forrest 
Powell-Ra/mond 
Angeli-Erickson 
Williams-Skelton 
dgeon-Harding 
Story 
Wyman-Johnson 
Powell-Montaiban 
Lancaster-Walker 
Skelton-Britton 


July 
Aug 

Aug 
Feb 

1  18 

1  I? 

June 

Apr 

1  May 

124 

2  26 
4  9 

Apr 

127 

4  23 

Jan 

1  14 

12-18 

May 
Mar 

5  7 

Jan 
June 

115 
134 

12-18 

 July 

July 

136 

Feb 
June 
June 

116 

 1-15 

 June 

Mav 

117 

Aug 

Aug 
Mar 
July 
Apr 


Ma 


 July 

Mar 

119 

2-12 

Nov 

10-23 

Feb 

1  17 

2-12 

 Jan.._ 

113 

12-4 

MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (23) 
Completed   (  6) 


In  Production  (0) 
In  Production   (  I  ) 


RELEASE  CHART 

—  1950-51  — 


COMPLETED 

TITLE — Running 
According  to  Mrs.  Hoyle 
Blazing  Bullets 
Bowery  Batalion 
Casa  Manana 
Cavalry  Scout  (CI  1781 
Counterfeit 
Father  Takes  The  Air 
Father's  Wild  Game  161) 
Ghost  Chasers  1691 
Gvpsv  Fury 
Highwayman.  The  IC) 

Joe    Palooka    in   the   Squared  CircleKirkwood-Gleason 
(63) 

Lion  Hunters.  The 
Man  From  Sonoma  154) 
Mexican  Silver 
Modern  Marriaqe.  A  1661 
Navv  Bound 
Nevada  Badman 
Rhythm  Inn 
Sierra  Passaoe 
Staaecoach  Driver 
Trail  Dust 

Vicious  Years.  The  179) 
Wild  Horse  Prairie 
Witness.  The 
Disc  Jockey 


Cast 

Byington-Chandler 
Brown-Hall 
Gorcey-Hall 
Forbes-O'Herlihy 
Cameron-Long 
DeFoe-Kinq 
Walburn-Gray 
Walburn-Gray 
Gorcey-Hall 
Viveca-Lindfors 
Hendrix-Coburn 


Sheffield-Whitfield 
Brown-Hall 
Wilson-Clyde 
"larke-Field 
Neal-Toomey 
Wilson-Knight 
Fraiee-Grant 
Morris-Hale 
WNson-Knioht 
Albrioht-Winters 
C^ok-Moore 
Wilson-Knioht 
Kirkwood-Gleason 
Simms-O'Shea 


I.  No. 

5  20  5122 
5-*  .   

1-21  5111 

6  10 

5-  13      5101  5  21 


12-3 


10  15 

2  25 
5  27 
2-11 


12  31 
2  18 
4-8 


5125 
5112 
5192 


5199 
5120 
5152 
5115 
5107 

5107 

5151 


ALLIFD  ARTISTS 


The 


Bsbe  Ruth  Storv. 
Yukon  Manhunt 
I  Was  An  American  Spy  185' 
It  Haooened  On  Fifth  Avenue 
S-^uthside  I- 1 000  1731 
Short  Grass 


Bendix-Trevor 

Grant-Da».s 

Dvorak-Evans 

DeFore-Storm 

DeFore-King 

Rod  Cameron 


4-15  19 
May 

11-  12  17 

12-  24  18 


J  I    N  E 


19  5  1 


25 


PARAMOUNT 


RKO  RADIO 


1950-51  Features        Completed   (40)       In  Production  (6) 
RELEASE  CHART 

1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Aaron  Slick  from  Punkin  Creek 
Greatest  Show  on  Earth  IT) 
Hong  Kong 
My  Son  John 
Rage  of  the  Vulture  The 
Silver  City  IC) 

COMPLETED 

Ace  in  The  Hole  1112)  Douglas- Sterli 

Appointment  With  Danger  (89)  Ladd-Calvert 

Details  under  title:  Postal  Inspector 
At  War  with  the  Army   (931  Martin-Lewis 


Cast 
Shore-Young 
Hutton-Stewart 
Reagan-Fleming 
Hayes-Heflin 
Ladd-Kerr 
DeCarlo-OBrien 


Branded  IT)  (103) 


Detai 
Carrie 

Crosswinds  (T) 
Darling,  How  Could  You' 
Dear  Brav  182) 
Detective  Story,  The 
For;  Savage  (T) 
Great  Missouri  Raid,  The 
Here  Comes  the  Groom 
Last  Outpost,  The  (T) 
Lemon  Drop  Kid,  The  (91 
Mating  Season,  The 

Details  under  title:  A 
Molly  (83) 


Ladd-Freedmar 


(T)  (85) 


jnder  title:  Montana  R 

Olivier-Jones 
Payne-Fleming 
Fontaine-Lund 
Freeman-Arnold 
Douglas-Parkes 
Hayden-Rush 
3orey-Carey 
Crosby-Wyman 
Reagan-Fleming 
Hope-Maxwell 
Tierney-Lund 
Stranger 

Rev.  under  title:  The  Goldbergs  Berg-L°eh 
My  Favorite   Spy  u._  i 

Passage  West  IT)    (80)  Hope-Lama 
Peking  Express 
Place  in  The   Sun,  A 
Ouebec   (T)  (85) 


nder  title:  Ouantrell' 


Payne-O'Keefe 
Cotten-Calvet 
Clitt-Winters 
Barrymore,  Jr.-Ca 
Ford-Fleming 
Liidd-Kennedy 
Raiders 
M.  Hand-Sterling 
Lamarr-Mature 
Fontaine-Cotton 
Fontaine-Milland 


Details 
Rhubarb 

Samson  and  Delilah  (T)  (128) 
September  Affair  (104) 
Something  To  Live  For 

Stooge^The1""16'  ''"^  Ml"'  a"d  MrS'  AnonVmou? 
Submarine  Command  Holdon-Olson 
^.♦?e,ka.ilSBunder  ti,le:  Submarine  Stody.  The 
Trio  (9My    °V  Martin-Lewis 
Warpath  IT)  oSSuenni' 
When  Worlds  Collide  (T)  Derr  Ru'sh 


10  SI 
8-51 


5020 
5018 
5016 


8-51 
951 
4-5 1 
3-51 


9-51   

.    3-51  5010 

2-5!  5012.. 

10-51 


5026 
5020 


1950-51  Features 

Completed  (50) 

In  Prod 

uction 

(2) 

RELEASE  CHART 

—  1950-51  — 

COMPLETED 

TITLE — Running  Time  Cast 
Blue  Veil.  The  Wyman-Carlson 

Rel. 

No. 

Rev. 

Las  Vegas  Story.  The 
Racket.  The 

 Russell-Mature 

Mitchum-Scott 

Alice  In  Wonderland  IT) 

Behave  Yourself 

Best  of  the  Badmen  1841 

Disney  Cartoon 
Winters-Granger 

 Ryan-Trevor   

Greer-O'Keefe 

6  51 
1-51 

176 
109 

5-7 
1-15 

Company  She  Keeps  1831 

Details  under  title:  The  Wall  Outside 

Crack  Down  Williams-Armstrong 

Cry  Danger   1791  Powell-Fleming  

2-51 

115 

2-26 

Flying   Leathernecks  (Tl 
Footlight  Varieties  (61) 
Gambling  House  1801 

Wayne-Ryan   

 Pear-Buttons 

 Bendix-Mature 

Z   1-51  I" 

I'i"u"ZI 

1 10 

4-9 
2-12 

Details  under  title:  Alias  M 
Gun  Notches   

ke  Fury 

Holt-Martin 

Gun  Thunder   

Holt-Martin 

Details  under  title:  Mother 
Half  Freed.  The 

of  a  Champion 
 Young-Carter 

Hard,  Fast  and  Beautiful 
It's  Only  Monev 

 Trevor-Forrest 

 Sinatra-Russell  

May 

M?  . 

Jet  Pilot  IT) 

Wayne-Leigh 

Jungle  Headhunters  IT) 

5-26 

5-7 

Kon-Tiki  (73) 

Travel 

 4  5 1  

173 

4-» 

Mad  With  Mush  Heart 

 Russell-Mitchum   

 Ryan-Lupino 

6-51 

Man  He  Found,  The   

 Reid-Tuttle   

My  Forbidden  Past  (70)   

On  The  Loose 

Gardner-Mitchum 
Evans-Earl   

i  ii'ZZ." 

4-9 

Payment  on  Demand  |90l 

 Davis-Sullivan   

2-51 

171 

3-12 

Details  under  title:  Story  of 
Pistol  Harvest  (601   

a  Divorcee 
 Holt-Martin 

Roadblock   

Hustler's  Range 

 McGraw-Dixon 

 Holt-Martin 

Saddle  Legion  (611   

Sealed  Cargo  189)   

Sons  of  the  Musketeers  IT) 

Holt-Martin 

 Andrews-Rains 

 Wilde-O'Hara   

 McGraw-White 

 Barker-Huston   

117 

4-23 

Target  

Tarzan's  Peril  (791   

172 

Texas  Triggerman   

 Holt-Martin   

Thing,  The  (81 1 

Tokyo  File  212  (84) 

Two  Tickets  to  Broadway  IT) 

Tobey-Sheridan 

 Marly-Peyton   

Leigh-Martin 

ZZ  4-51 

"  1 74  III 

4-9 

5  51 

.175  

5-7 

20th  CENTURY-FOX 


1951  Features 


Completed   (36)       In  Production  (5) 


REPUBLIC 


1950-51  Features        Completed  (18) 
Serials  Completed   (    I  ) 

Westerns       Completed   (  9) 


RELEASE  CHART 
—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Sea  Hornet.  The 
Wings  Across  the  Pacific 

COMPLETED 

Belle  Le  Grand 

"«llfiorM-,S-»Hff*fcf  Cha'pin-Janssen 
"ullfighter  and  the  Ladv  Stack-Page 

Esfelita-Vincent 

Curtis-Towne 

Donlevy-Tucker 

Paige-Barnes 

Rogers-Rodriguez 


Cast 
Cameron-Booth 
Corey-Ralston 


Ralston-Carroll 


Cuban  Fireball 
Don  Daredevil  .... 
Fighting  Coast  Guard 
Fugitive  Ladv 
Havana  Rose 
Heart  of  the  Rockies 


Million  Dollar  Pursuit 


Night  Raiders  of  Montana  (601 

Oh.   Susannal  (Trl  (901 

Pals  of  the  Golden  West 

Pride  of  Maryland 

Rangers  of  the  Golden  Sage 

Rodeo  King  and  the  Senorita 

Rough  Riders  of  Durango 

Secrets  of  Mont*  Carlo 

Silver   City  Bonanza 

South  of  Caliente 

Spoilers  of  the  Plains  1661 

Thunder  in  God's  Country 

Wells  Fargo  Gunmaster 


Rogers-Edwards 
Canova-Foy,  Jr. 
Rogers-Rodriguez 
Denning-Long 
Mason-Havoc 


Lan» 

Cameron-Tucker 

Rogers-Evans 

Clemens-Stewart 

Chapin-Janssen 

Allen-Kay 

Lane-Toweri  ... 

Douglas-Hall 

Allen-Ebsen 

Rogers-Evans 

Rogers-Edwards 

Rex-Allen 

Lane-Chapin 


In  Production  (2) 
In  Production  (0) 
In  Production   (  I  ) 


3-30 
May 

5-15 
5-23 

5-30 
2-23 

2-  28 

3-  10 


5028 
5025 
5059 
5008 


5041 
5052 
5061 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
A  WAC  in  His  Life 
Day  The  Earth  Stood  Still.  The 
Desert  Fox,  The 
Don't  Call  Me  Mother 
Golden  Girl.  The  IT) 

COMPLETED 


Cast 
Haver-Lundigan 
Rennie-Neal 

Mason-Young   

Colbert-Carey 
Day-Gaynor 


Details  under  title:  Will  You  Love  Me  In  December? 


Jordan-Paget 
Grable-Dailey 
Peck-Hayward 
Merrill-Basehart 
of  the  Damned 

Grant-Crain 
Ford-Baxter 
Douglas-Basehart 

 Lundigan-Greer 

Widmark-Andrews 
MacMurray-Parker 


Bird  of  Paradise  IT)  (100) 
Call  Me  Mister  ITI  195) 
David  and  Bethsheba  !T) 
Decision  Before  Dawn 

Details  under  title:  Legit 
Dr.  Praetorious  Story.  The 

Follow  the  Sun  1901   

Fourteen  Hours  (91)   

Friendly  Island  (T)   

Frog  Men,  The 
Golden  Goose,  The 

Guy  Who  Came  Back.  The  191)  Douglas-Darnell 
Details  under  title:  Guy  Who  Sank  the  Navy 

Half  Anael   (Tl   (80)    Young-Cotten 

Halls  of  Montezuma.  The  ITI  (113)  Widmark-Gardnei 
House  on  Telegraph  Hill   (93)  Cortesa-Lundigan 
House  On  the  Sguare  Power-Smith 
I  Can  Get  It  For  you  Wholesale  191)  Dailey-Hayward 
I'd  Climb  the   Highest  Mountain 

(T)  188)  

Kangaroo  (T) 

Kefauver  Crime  Investigation   

Lucky  Nick  Cain  (871 


Hayward-Lundigan 
O'Hara-Lawford 
News  Feature 
Ratt-Gray 


Man  Who  Cheated  Himself,  The  181)  Cobb-Dall 


Meet  Me  After  The  Show  (Tl   

Mr.  Belvedere  Rings  The  Bell 
Mudlark  199) 
No  Highway  In  The  Sky 

Of  Men  and  Music  185)  

On  the  Riviera  IT)  (901 
Rawhide  1861 
Secret  of  Convict  Lake 
Sword  of  Monte  Cristo,  The  180) 
Take  Care  of  My  Little  Girl  IT)  (93)  Crain-Peters 
Thirteenth  Letter,  The  1851  Darnell-Boyer 
You're  in  the  Navy  Nok  193)  Cooper-Albert 
Rev.  under  title:  U.S.S.  Teakettle 


Grable-Carey 
Webb-Dru 

Dunne-Guiness   -  

Stewart-Dietrich 
Concert  Feature 

Kaye-Tierney   

Power-Hayward 
Ford-Tierney 
Montgomery-Corday 


3-51 
2-51 
9-51 
8-51 


7-51 
7-51 

6-51 

1-  51 
6-51 

4-51 

2-  51 


8-51 
1-51 
8-51 
3-51 
5-51 
5-51 
8-51 
3-51 


4-9 

1-2? 


26 


FILM  BULLETIN 


UNI 

1950-51  Features 

Completed   (39)       In  Production  (0) 

COMPLETED 

TITLE — Running 

■ad  Man' i  Gold   

Hue  Lamp  (841 

Qriro  Road  

Circle  of  Danger  (041  

Cloudburst  

Cyrano  De  Beraerae  1112) 


legion 

In  A  Jeep 


He  Ran  All  the  Way  |77l 

Hoodlum  The  

■area  Patrol  1571   

Long  Dark  Hall.  The  66 
Man  From  Planet  X 
Man  With  My  Fac 
Mr.  Drake 


I7S) 


Duck   

Universe  (901  

Outlaw  Brother  182' 
ighty  Arietta  I8i) 
»  Meiico  lAns)   


RELEASE  CHART 

—  1950-51  — 


Cast 
Carpenter-Loc 
Wamer-Hanley 
.Eric  Portman 
Milland-Roc 
Preston. Sellars 
Ferrar-Power, 
Miche+e  Morgan 
Boyer"-6>ttger 
LindfVs-Meeker 
Garfield-Winters 
Tierney-Roberts 
c—z-.-z-z 
Harrison-Palmer 
Clark-Field  '• 
Nelson-Matthews 
Fairbanks-Donlan 


OtVar  Twist  ( 1051  .  

■jlriua  My  French   

tkMrler.  The  (92)   

Queen  For  A  Day  (1071   

Scarf.  The  H3)   

Details  under  title:  Dungeon. 

Second    Woman.  The  191)  

Skipalong  Rosenbloom 

So  Long  at  the  Fair  1901  

St.  Henry,  the  Dip  (801  

San  Sets  at  Dawn    The  71 

Thev  Were  Not  Divided   

Tame  Steps  North   


Carson-Paige 
Rooney-Hendrii 
Tettering-V 
Roses-Maiwell 
Farrar-Fitrgerald 
Neage-Howard 
Mewton-Guinness 
Oberon-Henreid 
Heflin-Keye 
Avery-McGavin 
Ireland-McCambridge 


and  Get  Me  [Ml 
Gals  and  a  Guy 
srworld  Story  


ked  City  (74! 


Grow  Up  [ft| 


Young-Drake  .  _ 
Baer-Coogan 
Simmons-Bog  a  roe 
Foch-Haymes 
Parr-Shawn 
Underdown-Cl 
Bridges-Pacavor! 
Loveioy-Ryan 
Paige-Alda 
Duryea-Storm 
=  •  -:'  =  :: 
M-..e,.A 


UNIVERSAL- INTERNATIONAL 


1950-51  Features       Completed   (39)       In  Producti 


(5) 


IN  PRODUCTION 

TITLE — Running  Tin 
The   


RELEASE  CHART 

—  1950-51  — 


Lady  Pays  Off.  The 
Finders  Keepers 
Flame  of  Araby  IT) 

COMPLETED 


Abbott  a  Costello  Meet  the 
Invisible  Man  _____ 

Air  Cadet  .  

Apache  Drums  IT)  (751  

Bedtime  for  Bonxo  183)   

Bright  Victory  .  

Cattle  Dm 
Cave.  The  Tl 
Comi, 


Laughtor 
Ca-e  ■ 


Chandler-O'Hara 
Stevens-Dow 


T 


Round  the  Mountain 
Double  Crossbones  (Tl  1751 

Fat  Man   The  (771   

rtiilu's  Green  

H»e  Day  (Tl  

lt%naiii  IT1  

Francii 


BO 


Goes  to  the  Races 
Golden  Horde.  The  (T)  _ 
Groom  Wore  Spurs 

Harvey  1 101)   

Hollywood  Story  (74) 

I  Iron  Man,  The   

|  Katie  Did  It  (811   

LirHe  Egypt  (Tl   


Abbott  &  Costello 
.  McNally-Russell 
_  Grey-McNally 

Reagan-Lynn 

Dow-Kennedy 

McCrea-Stockwell 
 Smith  Carey   

Abbott  t  Costello-Shay 

O'Connor-Carter 

Smart-Meadows 

Winters-Conte   

Hull-Duff  

McCrea-Winters 

— O'Connor-Whitn   

_  Blythe-Farrer  

— Rogers-Carson   

 Stewart-Hall "  

Conte-Adams 

Keyes-Chandler   


Mar  lie  

-Mar__ll5  3-12 

Jane  123  5-21 

-Feb  112  1-29 


5-21 
5-21 


2-24 
10-23 
5-21 


Ma  and  Pa  Kettle  at  the  Fair 


Fleming-Stevens 
Main-Kilbride 


T 


_!  toel  °"  *•  ftrm  ""*~  "TlRalii 

Murray-Walsh 
Montelben-Cher 
>ow(ll-Dow 
"ills-Cherry 
Colleano-Shaw 
Curtis- Laurie 
Keyes-Chandler 
Stevens-Nicol 
Colbert-Blyth 
Heflin-DeCarlo 
ToMer-Cont. 


Magnet    The  178) 
Mark  of  the  Renegade 
One   Never  Knows 
Operation  Disaster  1100) 
Pool  of  London 

Prince  Who  Wa,  A  Thi.f.  The  IT) 
Smuggler's  Island   IT)  1751 

Target  Unknown  (Ml   

Thunder  On  the  Hill 
Tomahawk  (T)  (821 
Under  the  Gun  184) 
Up  Front  (92) 


4-9 
3-24 


WARNER  BROTHERS 


1950-51  Features 


Completed  (37, 


In  Production  (4) 


IN  PRODUCTION 

TITLE-Running  Time 
Distant  Drums 
COMPLETED 

Along  the  Great  Divide  188) 

Details  under  title:  The  Traveler 

As  Time  Goes  By 
Details  undei 

Captain  Heratio  Horn 

Dawn  Is  Ours.  The 

Dodge  City  (104) 

Enforcer.  The  187) 

Fort  Worth  (T) 


RELEASE  CHART 

—  1950-51  — 


Cast 
Cooper. Aldon 


Oougles-Mayo 
Milland-Tierney 


Rel.  No.  R«y. 


Baby  For  Midge 

ITI  Pack-Mayo 

Holden-Olscn 


Fiynn-deHavilard 
Bcga-t-Roberts 
Scctt-Brian 
Craw  rord-Young 
Cochran-Andre 
Loveioy-Hart 
Br  an-Cochran 


3-17  017 
2  24  015 


Goodbye.  My  Fancy  1107) 

Highway  301  1831   

I  Was  A  Communist  183) 
Inside  Walls  of  Folsom  Prison  187) 

Details  under  title:  The  Folsom  Story 

Jim  Thorpe.  All-Ameriean  Lancaster-Bick'ord 

Lightning  Strikes  Twice  1911  Roman-Todd 
Lullaby  of  Broadway  (T)  (921  .  Day-Nelson 

Moonlight  Bay  !T)  MacKae-Day 

North  of  the  Rio  Grande  McCree-Mayo   

Details  under  title:  Colorado  Territory 

Only  The  Valiant  1105)  Peck-Payton 

Operation  Pacific  1 109)  Wayne-Neal  _ 

Painting  the  Clouds  with  Sunshine  Mayo-Morgan 

Details  under  title:  Golddiggers  of  Las  Vegas 

Raton  Pass  IS4)   Morgan-Heal  _ 

Storm  Warning  (911  Rogers-Reagan 

Details  under  title:  Storm  Center 

Strangers  On  A  Train  Walker-Roman 

Streetcar  Named  Desire   A  Brando-Leigh 

Sugarfoot  IT)     1180)  .  Scott-Jergens  _ 

Tomorrow  Is  Another  Day  Roman-Cochran 
Virginia  City  1121)  Hyan-Rogart 


5-19  024 

—  1-13  812. 

5-5  023 
44-14  024 


3-10  019 
3  24  820 


4-9 


4-21  R22__3-I2 

-1-27  813  1-2* 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St..  Phila.  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  pat  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES.  INC. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


JUNE    4  ,  1951 


27 


Chtertaihtneht  icAiHf  (jnun4? 

FREE  TV 
VS.  YOUR  THEATRE 


Editorial,  Page  3 


SO  YOU  THINK 
ONLY  YOUR  BUSIN  ESS 
IS  BAD! 

Page  Five 


THE  INSPIRATION 
BEHIND  THE  UP-BEAT 
AT  BOX-OFFICES 
IS  M-G-M! 


PREVIEW 

SENSATION! 

M-G-M's  hilarious 
comedy  from  the  stage 
hit.  Introducing  the 
former  star  of 
"South  Pacific" 


TRADE  SHOWS,  JUNE  28th.  The  fans  registered  a  rousing  recep- 
tion at  audience  Previews,  East  and  West.  The  enchanted  voice  and 
the  " Br/de-of-the-headlines"  Janet  Leigh!  It's  a  sure-fire  audience  hit! 


In  M-G-M's  recent  announcement  you  saw  such  great  hits  as: 
"GREAT  CARUSO"  (Tech.)  •  "GO  FOR  BROKE!''  •  "SHOW 
BOAT''  {Tech.)  '"EXCUSE  MY  DUST''  (Tech.)  -  "RICH,  YOUNG 
AND  PRETTY"  (Tech.)  .  "THE  LAW  AND  THE  LADY" 
"AN  AMERICAN  IN  PARIS"  (Tech.  — Fall  release)  and  others. 

AND  NOW  TWO  MORE  BIG  ONES! 


2 

MORE 

BIG 
ONES! 


RELEASE 
AUG.  Id 


ALL  THIS 
AND  TRACY 
TOO! 

Yes,  a  BIG  Spencer  Trac 
drama  has  been  added  t 
M-G-M's  Box-office  Surr 
mer  Parade.  It's  socko ! 

"THE  PEOPLE 
AGAINST  O'HAR) " 

Tracy  against  the  force 
that  prey  on  youth!  - 
thrilling  picture  from 
great  novel  with  a  fine  a 
starring  cast,  including  P; 
O'Brien,  Diana  Lynn  an 
John  Hodiak.  Filmed  in  a< 
tual  New  York  location 


BULLETIN 


THINK  IT  OVER 
HAPPINESS 

|The  secret  of  happiness  is  to  admire 
fithout  desiring.  And  that  is  not 
appiness." 


REVIEWS  in  This  Issue 


Thorpe — All-American   7 


(RANGERS  ON  A  TRAIN   _  _   7 

ew  Mexico  _  _  _  

 7 

ROCCO   8 

rince  Who  Was  A  Thief             _   8 

ARPATH  _     8 

he  Hoodlum  

  9 

hina  Corsair  

  9 

[hen  the  Redskins  Rode  

 9 

illio.n  Dollar  Pursuit  

  9 

0  Questions  Asked   

 10 

*les  of  Hoffman  

 10 

FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 3.1  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader. 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Tavlor.  Pub- 
lication Manager:  Rohert  Heath,  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave.,  Paci- 
fic Palisades,  Calif,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


FREE  TV  VS.  i  III  It  THEATRE 

With  movie  theatre  boxoffices  in  television-stricken  areas  depressed  as  they  are,  it  would  be 
foolhardy  to  pretend  that  free  home  video  is  not  the  big  bad  wolf.  Into  the  gaping  maw  of  the 
hvmgroom  TV  screen  go  most  of  the  spare  hours  of  the  average  citizen  today,  allowing  little 
time  or  thought  for  the  movies  in  town.  This  competitor  is  here  and  it's  hurting — and  badly, 
right  now. 

This  is  a  cold  fact,  and  we  must  face  it,  but  it  must  not  be  allowed  to  cast  a  pall  of  gloom 
over  the  entire  movie  industry.  Such  gloom  is  to  be  dreaded  almost  as  much  as  the  bogey  man 
that  has  created  it.  If  producers,  distributors  and  exhibitors  continue  to  remain  in  the  state 
of  partial  or  complete  paralysis  they  have  shown  in  recent  months,  the  effects  can  only  be 
accentuated  and  the  state  of  our  industry's  depression  will  become  more  acute. 

Therefore,  without  ignoring  or  minimizing  the  immediate  competitive  potency  of  free 
TV,  or  the  potential  of  paid  home  television,  we  think  there  are  a  number  of  encouraging 
factors  in  the  long-range  view,  and  it  is  upon  the  future  that  we  should  set  our  sights.  Let 
us,  at  least,  look  at  our  present  competitor  with  a  clear  eye  and  an  air  of  confidence  in  our 
own  strength. 

People  in  TV  will  readily  admit  that  sporting  events  sold  more  television  sets  than  any 
other  form  of  entertainment.  Boxing,  baseball,  football,  wrestling,  roller  derbies,  basketball, 
brought  the  vast  male  sporting  audiences  into  the  living  room,  and  made  fans  of  millions  of 
women  who  had  never  seen  a  fight  or  a  game  before.  The  promoters  of  all  these  events  were 
sure  that  TV  would  create  vast  new  audiences  for  them,  and  it  did — but  only  for  free.  With 
the  dwindling  of  ticket  sales,  the  sports  people  figured  that  the  beer,  cigarette,  or  cereal  adver- 
tisers could  pay  enough  to  take  up  the  slack.  But  the  drop  in  gate  receipts  at  all  televised 
sporting  events  has  been  so  precipitous  as  to  bring  near  panic  to  that  field.  It  begins  to  appear 
that  advertisers  are  not  able  or  willing  to  pay  enough  to  compensate  for  the  loss  of  paid 
admissions  and  it  is  now  likely  that  sporting  attractions  will  soon  be  few  and  far  between  on 
the  living  room  set. 

The  dominant  International  Boxing  Club  passed  up  an  advertiser's  offer  of  over  $60,000 
for  last  week's  Louis-Savold  fight  to  gamble  on  an  experiment  with  exclusive  theatre  television, 
which  brought  them  a  far  smaller  return.  The  National  Collegiate  Athletic  Association  is 
planning  to  limit  drastically  free  telecasting  of  college  football  games  in  an  effort  to  stop 
the  decline  in  attendance  and  to  increase,  also  perhaps  through  theatre  TV,  the  all-important 
football  income  of  member  colleges.  In  some  cities,  the  night  games  of  the  major  league 
baseball  teams  are  no  longer  being  telecast,  only  the  sparsely  attended  day  games  being  offered  to 
home  viewers.  The  sharp  drop  in  baseball  attendance  this  season  may  presage  a  complete 
cessation  of  advertising-sponsored  baseball  in  another  season  or  two. 

What  of  the  other  features  offered  on  TV?  Experienced  comics  dread  the  medium  as  a 
regular  diet,  observing  that  it  makes  a  tremendous  demand  on  talent  and  devours  material 
at  a  far  faster  rate  than  it  can  be  created.  While  the  natural  exuberance  of  a  Milton  Berle 
might  keep  him  going  for  a  couple  years,  the  average  entertainer  finds  himself  scraping  the 
bottom  of  the  barrel  and  giving  poor  old  Joe  Miller  every  conceivable  twist  after  a  dozen 
shows.  The  usual  musical  "production"  consists  of  six  hastily  trained  cuties  giving  a  bush  league 
imitation  of  the  Rockettes.  Have  you  noticed  how  those  old  dog  and  tumble  acts  that  helped 
kill  vaudeville  are  returning  in  such  profusion  to  pad  out  the  so-called  "big  shows"  of  video? 
Little  of  the  dramatic  stuff  offered  in  the  living  room  has  as  much  substance  and  quality 
as  a  "Crime  Does  Not  Pay"  short  subject.  And  how  long  before  all  those  westerns  will  begin 
to  look  alike  even  to  the  most  avid  TV  viewers. 

We  predict  that  the  "death  rate"  in  TV  will  be  staggering  in  another  year  or  so.  It  must 
take  a  terrific  toll.  Consider  wrestling  and  the  roller  derby.  In  one  case,  an  old  sport,  long  in 
disrepute,  acquired  a  vast  TV  audience  and  again  became  a  drawing  card  in  arenas  through- 
out the  country.  In  the  other,  the  game  of  boys  and  girls  roller-skating  around  in  circles 
became  a  new  national  fad,  and  for  a  year  or  so,  was  a  boxoffice  wow.  But  both  of  these 
video-nurtured  sports  appear  to  have  hit  the  toboggan.  So  it  will  be  with  many  novelties  on 
this  new  medium. 

A  popular,  if  loosely  used,  phrase  in  connection  with  TV  is  that  "the  shows  will  get  better 
as  time  goes  on."  Considering  the  tremendous  losses  suffered  by  the  video  branch  of  the 
broadcasting  business  (it  has  been  supported  by  revenue  from  radio),  we  are  of  the  opinion 
that  the  aim  of  television  broadcasters  must  be  to  cut  production  costs,  not  increase  them.  The 
$30,000  show  (and  costs  are  going  up  at  a  rapid  rate),  which  is  just  mediocre  vaudeville  for 
the  most  part,  is  a  steep  figure  for  an  advertiser  to  support,  week  in  and  week  out.  And  many 
of  these  hastily-contrived,  briefly-rehearsed  shows  are  turning  out  to  be  pretty  bad  duds. 

From  a  technical  production  standpoint,  the  job  of  putting  together  weekly  shows  is  an 
overwhelming  one  and  no  degree  of  mechanical  advances  in  the  medium  will  lessen  that  task. 
Isn't  that  why  the  video  people  are  so  eagerly  looking  to  film  production  as  the  only  solution 
to  their  problems.  But  what  can  be  made  on  film  within  the  cost  limits  of  the  average  adver- 
tiser? A  third-rate  30-minute  subject?  They  won't  get  anything  much  better  than  that  for 
what  they  are  willing  to  spend.  That  is  why  it's  downright  foolishness  for  anyone  to  be  con- 
cerned with  the  possible  conversion  of  any  important  Hollywood  studios  to  the  production 
of  films  for  free  home  TV. 

This  touches  but  briefly  on  the  factors  that  make  it  appear  that  the  television  industry 
may  have  at  least  as  much  cause  to  worry  about  the  future  as  the  motion  picture  industry. 
Perhaps  more. 

We  ask  only  that  you  theatre  men  put  aside  your  attitude  of  despair.  The  guy  who's 
knocking  you  all  around  the  ring  right  now  may  be  pretty  punch-drunk  himself. 

MO  WAX 


Television  Sets 


Auto  fcealerA  ttlcan 
Cats  Aren't 


(Cont'd  from  Preceding  Page) 

The  story  these  items  tell  has  a  recurrent 
theme:  Warehouse  bulge,  sales  lag.  Furniture, 
autos,  clothing,  lumber,  books,  housing,  are  just 
a  few  of  the  industries  that  are  being  squeezed 
between  overproduction  and  consumer  reluctance 
to  buy.  Even  the  lowly  potato  is  beginning  to 
cry  its  eyes  out,  as  witness  the  Journal  headline: 
"Maine  Growers  Suffer  After  Price-Prop  Jag: 
A  Crop  Switch  Begins:  Bank's  Crop  Loans 
Halved ;  Land  Values  Dip ;  Retailers  Report  a 
Sales  Tumble."  And  in  the  text,  the  report 
has  it  that  the  spuds  that  brought  $4  a  barrel 
in  1948  have  now  tumbled  to  $1.50  and  "some 
worried  growers  are  talking  about  50-cent  pota- 
toes before  the  ear  is  out."  And  how  much  has 
your  business  declined  since  1948,  Mr.  Exhibi- 
tor? 

The  furniture  market  ?  Well,  a  spokesman 
for  one  of  Detroit's  biggest  department  stores 
reports  "retail  furniture  sales  have  slowed  down 
to  a  walk"  as  storks  continue  to  pile  up.  A  sales 
representative  of  one  of  the  country's  largest 
dining  room  furniture  manufacturers,  whose 
product  has  been  on  quota  to  stores  since  1940. 
told  this  writer  that  he's  "out  scratching  for 
business  today.  The  only  way  anyone  in  our 
field  can  make  a  sale  today,"  he  said,  "is  to 
plug,  plug,  plug." 

A  salesman  for  a  carpet  manufacturer  recently 
had  $40.0011  worth  of  orders  cancelled  in  a  single 
week.  That's  ONE  salesman. 

The  Crest  Pacific  Co.  in  Los  Angeles  reports, 
"We  worked  only  two  full  days  last  week," 
noting  lack  of  orders  despite  a  10  per  cent 
price  cut.  The  Morris  Furniture  Co.,  a  four 
store  chain  in  Chicago,  reported  March  sales 
year,  with  inventories  50% 
ryl  W.  Herron,  president  of 
irniturc  Co.,  saye:  "We'll  be- 
e  employes  in  10  days  in  our 
nbling  departments.  If  busi- 
we'Il  have  to 


off  20%  from  1; 
heavier.  And  I) 
Mansion  House 
gin  laying  off  s( 
finishing  and  as 
ness  doesn't  pick  up  in  M) 
start  laying  off  in  the  mill." 

The  automobile  industry  in  June  is  "still 
looking  for  spring,"  the  Journal  reports  in  a 
ten-city  checkup.  The  traditional  pick-up  in 
April  and  May  was  not  forthcoming.  The 
Kaiser-Frazer  plant  suspended  assemblies  in 
the  middle  of  May;  Hudson  took  similar  action 
until  the  June  11,  "in  order  to  adjust  inventories 
to  balance  with  demand." 

There  were  some  colorful  remarks  from 
auto  dealers  throughout  the  country  on  the 
state  of  their  industry.  "Business  stinks",  was 
the  way  Packard  dealer  M.  J.  Schmidt,  of 
Chicago,  put  it.  "We've  sold  three  new  cars 
so  far  this  month,"  he  said  near  the  end  of 
May,  "and  last  month  we  sold  five.  Last  year 
we  sold  23  in  April  and  May  and  didn't  have 
as  good  a  car  to  sell." 

A  Dallas  Ford  dealer  promised  "any  model 
you  want  in  an  hour  —  provided  I  can  get  the 
car  washed  that  fast."  A  salesman  at  Raymond 
Lake  Motors,  Cleveland  Kaiser-Erazer  agency, 
says,  "You  could  have  shot  a  cannon  through 


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,    JIM  THORPE  —  ALL  AMERICAN'  OUTSTANDING  SPORTS  DRAMA 

Rates  •  •  •  generally 


I    iWarner  Bros. 
107  minutes 

Eurt    Lancaster,    Charles    Bickford,  Steve 
.Cochran,  Phyllis  Thaxter,  Dick  Wesson,  Jack 
Bighead,  Suni  Warcloud,  Al   Mejia,  Hubie 
Kerns,  Nestor  Paiva.  Jimmy  Moss. 
Directed  by  Michael  Curtiz. 

J*'Jim  Thorpe — All  American."  woven  from 
Jjthe  fabulous  life  of  the  nation's  greatest  ath- 
-Blete,  is  surefire  boxoffice  material — a  drama 
•whose  elements  of  tragedy,  action,  and  ro- 
1  bnance  combine  to  form  a  picture  of  wide  ap- 
■peal.  For  his  first  time  at  bat  as  a  producer, 
■{Everett  Freeman  performs  an  exceptionally 
•{smooth  job.  The  story,  necessarily  episodic,  is 
(held  together  by  narration  which  has  the 
■good  sense  not  to  intrude  more  than  is  neces- 
■Isary.  Inevitably,  the  Thorpe  story  is  at  its 
Almost   interesting   in    the   earlier  sequences 

■  (which  comes  to  Carlyle  College  from  an  In- 
lldian  reservation  and  gradually  discovers  his 
•  jtremendous  athletic  prowess.  His  degenera- 
fjltion  in  later  years  tends  to  the  maudlin,  but 

director  Michael  Curtiz  keeps  the  hoke  under 

■  (control  and  even  if  these  sequences  contrast 
'■[poorly  with  the  dynamic,  action-filled  sports 


•  POOR  •  •  FAIR 

•  •  •  GOOD         •  •  •  •  TOPS 


sequences,  they  are  arresting  and  compelling. 
The  players  are  just  about  perfect  in  their 
roles,  the  Thorpe  life  makes  great  material, 
and  with  its  slick  production  and  top  direction 
the  show  about  adds  up  to  the  very  best 
package  from  the  Warner  freres  this  year. 

Without  Burt  Lancaster,  "Thorpe"  would 
be  only  half  the  show  it  is.  The  handsome 
actor,  with  his  marvelous  athletic  ability,  fits 
the  role  perfectly;  and  more,  plays  it  with 
sensitivity  and  understanding.  Charles  Bick- 
ford is  "Pap"  Warner,  grand  old  man  of 
American  sport.  Bickford  presents  him 
straight  from  the  shoulder,  likeable  and  sin- 
cere. Steve  Cochran  figures  excellently  in 
the  narrative  as  Thorpe's  friendly  foe  in  the 
sports  and  romantic  arenas.  Phyllis  Thaxter's 
moving  performance  of  the  wife  is  lovely, 
and  Dick  Wesson  supplies  much  humor  as  a 
Brooklyn-born  Indian  out  to  become  a 
lawyer. 


STORY:  The  very  first  sequence  in  which 
as  a  young  Indian,  Jim  runs  fifteen  miles  to 
beat  his  father's  wagon  home,  is  the  tip-ofT 
of  his  future  feats.  His  father  insists  that  he 
go  to  school.  The  boy  keeps  his  promise,  and 
although  he  finds  himself  something  a  mis- 
fit, he  persists  in  his  studies  at  Carlyle.  "Pop" 
Warner  soon  recognizes  him  as  an  amazing 
athlete,  refines  his  natural  ability,  and  pre- 
sents him  as  a  one-man  track  team.  Thorpe 
repeats  his  success  on  the  gridiron  hoping  it 
will  lead  to  a  coaching  job.  None  comes.  He 
enters  the  Olympics  and  establishes  records 
that  remain  to  this  day.  When  it  is  discov- 
ered that  early  in  his  college  days  he  played 
a  summer  of  baseball  for  expenses,  Thorpe 
is  obliged  to  return  all  medals  and  honors. 
This  is  the  next  step  in  the  disillusionment 
that  climaxes  with  the  death  of  his  only  son. 
Thorpe  slips  to  sandlot  professional  football, 
loses  his  wife,  ekes  out  a  living  as  a  dance 
hall  attraction,  until  he  comes  to  his  senses 
and  realizes,  in  his  maturity,  that  the  good 
breaks  outweigh  the  bad.  He  takes  a  job  as 
a  truck  driver  and  passes  his  spare  time 
sharing  his  knowledge  of  sports  with  kids. 
HA XX A  (Hollywood) 


STRANGERS  ON  A  TRAIN'  ENGROSSING  HITCHCOCK  SUSPENSE  DRAMA 

Rates  •  •  •  in  metropolitan  houses;  slightly  less  elsewhere 


Warner  Bros. 
100  minutes 

Farley  Granger,  Ruth  Roman,  Robert  Walk- 
er, Leo  G.  Carroll,  Patricia  Hitchcock,  Laura 
Elliott,  Marion  Lome,  Jonathan  Hale,  How- 
ard St.  John,  John  Brown,  Norma  Varden, 
Robert  Gist,  John  Doucette. 
Directed  by  Alfred  Hitchcock. 

"Strangers  On  a  Train"  is  a  typical  and  ex- 
cellent Alfred  Hitchcock  suspense  drama 
whose  boxoffice  fortunes  are  likely  to  be 
more  successful  in  metropolitan  first  runs,  de- 
luxe houses,  and  spots  catering  to  sophisticat- 
ed audience.  Elsewhere,  its  effete  tone,  psy- 
chopathic overtones  and  other  subtleties  will 
probably  be  lost.  The  finish,  however,  in 
which  the  murderer  is  chased  through  the 
amusement  park  is  superbly  staged  action 
stuff,  made  vivid  and  exciting  by  the  spec- 
tacle of  a  carousel  careening  crazily  after  its 
operator  has  been  shot.  The  story  itself  is 


even  more  leisurely  than  most  Hitchcock  nar- 
ratives, but  the  accomplished  hand  of  the 
director  in  charging  every  sequence  with  dra- 
matic current  more  than  compensates  for  this 
slight  flaw.  The  players  are  splendid  and 
Hitchcock's  production,  moving  restlessly 
against  widely  contrasted  locales,  supplies  a 
fascinating  pictorial  background  against 
which  the  curious  story  of  a  murder  ex- 
change unfolds. 

Farley  Granger  is  splendid  as  the  boy 
caught  up  in  a  grisly  murder  scheme,  and 
Ruth  Roman  registers  attractively  as  the 
Washington  deb  he  wants  to  marry.  Acting 
honors,  however,  go  to  Robert  Walker  whose 
superb  playing  of  a  maniacal  killer  is  brilliant. 
Leo  G.  Carroll  scores  as  an  understanding 
Senator,  Miss  Roman's  father.  Laura  Elliott, 
as  the  victim;  Marion  Lome,  as  Walker's 
fluttery  mother;  and  Jonathan  Hale,  Walk- 
er's father,  give  exceptionally  fine  perform- 
ances. 


STORY:  Granger,  a  tennis  champ,  meets 
Robert  Walker  on  a  train  from  Xew  York  to 
Washington.  Walker  knows  of  Granger's  un- 
happy marriage  to  Laura  Elliott  and  is  aware 
that  the  girl  is  not  anxious  to  divorce  her 
rather  prominent  young  mate.  Walker  un- 
folds a  plot;  that  he  will  kill  Miss  Elliott  if 
Granger  agrees  to  murder  his  (Walker's) 
father — thus  disposing  of  two  hated  inter- 
ferences in  their  lives.  Granger,  shocked  by 
the  suggestion,  makes  a  hasty  exit.  Walker, 
however,  goes  through  with  it  and  kills  the 
wife.  Granger  is  immediately  suspected  but 
no  evidence  exists.  Walker  badgers  him  to 
complete  the  other  part  of  the  arrangement. 
Eventually  Ruth  Roman  learns  he  whole 
story  and  appeals  to  Walker's  mother  to  do 
something  about  her  crazy  son.  The  story 
falls  on  deaf  ears.  Ultimately,  and  with  char- 
acteristic Hitchcock  recourse  to  the  arm  of 
coincidence  and  logical  every  day  happenings, 
the  whole  thing  is  cleared  away.  HANNA 
(Hollywood) 


NEW  MEXICO'  WHITES  vs.  INDIANS  IN  OFF-BEAT  WESTERN 


Rates  •  • 


in  action  houses;  OK  dualler  elsewhere 


United  Artists  (Irving  Allen) 
84  minutes 

Lew  Ayres,  Marilvn  Maxwell,  Andv  Devine. 
Robert  Hutton,  Donald  Buka,  Ted  De 
Corsia.  Lloyd  Corrigan,  John  Hoyt,  Jeff 
Corey,  Raymond  Burr,  Verna  Felton,  Robert 
Osterloh.  Ian  MaoDonald,  Bill  Tannen, 
Arthur  Loew,  Jr. 
Directed  by  Irving  Reis. 

"Xew  Mexico.'"  with  its  unhappy  ending 
and  absence  of  strong  romantic  interest,  is 
an  upper  division  western  a  few  steps  off 
the  beaten  path.  It  might  have  bordered  on 
the  "arty"  side  were  it  not  for  the  restraining 
influences  of  director  Irving  Reis  and  the 
adroit  performances  of  a  splendid  cast.  Reis' 


megaphone  highlights  all  opportunities  for 
solid  action  values,  and  even  if  the  romantics 
are  minimized,  he  makes  much  of  the  presence 
of  pretty  Marilyn  Maxwell  in  the  cast.  Pro- 
duction qualities  in  the  Irving  Allen  presen- 
tation are  well  handled,  and  the  photography 
is  admirable.  This  United  Artists  release 
should  get  a  fairly  good  reception  in  action 
houses  as  a  top  feature.  Elsewhere,  it  should 
be  coupled  with  a  strong  musical  or  comedy 
feature. 

Lew  Ayres  plays  the  role  of  a  cavalry-  of- 
ficer with  his  usual  reserve.  His  underplaying 
is  a  welcome  change  of  pace  from  the  brash 
heroics  of  the  usual  sagebrush  headliner.  As 
a  burlesque  queen,  Marilyn  Maxwell  is  splen- 


did, while  Andy  Devine  essays  a  character 
role  with  the  skill  of  the  veteran  he  is,  a 
part  played  without  comedy  stress.  Robert 
Hutton.  Ted  de  Corsia  and  Lloyd  Corrigan 
are  good  in  support. 

STORY:  Like  a  number  of  other  deluxe 
westerns  this  year,  this  story  deals  with  con- 
flict between  white  settlers  and  Indians — the 
latter  are  pictured  more  sympathetically  than 
in  the  past.  Ayres  faces  a  difficult  decision 
in  fighting  against  the  redskins  whom  he  has 
befriended.  The  choice  is  made  when  the 
Indians  persist  in  going  on  the  war  path. 
Avres  is  among  the  victims  of  a  massacre. 
ANGEL 


JUNE    18,  1951 


7 


SIROCCO'  FORMULA  BOGART;  SHOULD  PLEASE  HIS  FANS 


Rates  •  •  •  for  action  houses;  less  elsewhere 


Columbia  (Santana) 
98  minutes 

Humphrey  Bogart,  Marta  Toren,  Lee  J. 
Cobb,  Everett  Sloane,  Gerald  Mohr,  Zero 
Mostel,  Nick  Dennis,  Onslow  Stevens,  Lud- 
wig  Donath,  David  Bond,  Vincent  Renno, 
Martha  Wilkins,  Peter  Ortiz,  Edward  Col- 
mans,  Al  Eben,  Peter  Brocco,  Kay  Novello, 
Leonard  Penn. 
Directed  by  Curtis  Bernhardt 

Once  more  the  Humphrey  Bogart  pattern 
of  setting  a  hard-hitting  adventure  story 
against  a  bizarre  background  is  put  to  the 
test,  and  once  more  it  works.  "Sirocco,"  set 
in  Syria  during  the  French  administration  of 
1925,  produces  all  the  tried  and  true  elements. 
Bogart  is  the  usual  renegade  American;  the 
women  are  exotic  beauties;  the  men  are  all 
involved  in  sinister  skulduggery  such  as  es- 
pionage,  black    markets,  and  trading  with 


the  enemy.  Wrapped  up  in  an  atmospheric 
production  by  Robert  Lord  and  directed  by 
Curtis  Bernhardt  in  fast-moving,  exciting 
style,  the  story  packs  punch  and  drama  right 
down  the  line.  The  dialogue  is  pungent  with 
some  good  laughs  to  break  the  tension.  "Sir- 
occo" will  draw  strong  grosses  where  there 
are  sufficient  Bogart  fans;  elswehere  it 
should  do  well  enough. 

Humphrey  Bogart's  performance,  as  his 
story,  is  cut  form.  He  snarls,  grimaces,  and 
slugs  his  way  through  the  narrative  with 
aplomb  and  resourcefulness.  None  of  the 
characters  is  very  sympathetic,  a  factor  not 
altogether  in  the  picture's  favor,  and  the 
least  likeable  is  the  feminine  lead  of  Marta 
Toren,  a  selfish  unscrupulous  woman  who 
uses  men  with  the  casualness  that  she  uses 
her  compact.  Lee  J.  Cobb  is  the  most  pleas- 
ant of  the  motley  crew,  but  he's  such  a  weak 
fellow  that  the  impression  he  leaves  is  shal- 


low. Everett  Sloane,  as  a  martinent  French| 
General,  heads  a  sterling  supporting  cast. 

STORY:  Bogart  pursues  a  profitable  life | 
in  Damascus  with  his  black  market  opera-l 
tions  and  supplying  ammunition  to  Syrian 
tribes  that  persist  in  fighting  the  French.i 
The  authorities  inevitably  discover  his  act- 
ivities, but  the  position  of  Intelligence  Offi-; 
cer  Lee  Cobb  is  made  difficult  by  the  fact| 
that  Bogart  has  been  making  time  with| 
Cobb's  mistress,  Miss  Toren.  Cobb  agrees 
to  give  Bogart  his  freedom  on  condition  that 
he  be  lead  to  Syrian  headquarters  in  orderi 
to  negotiate  a  brief  armistice.  Bogart  ac- 
cepts the  reprieve,  but  he  knows  Cobb's  life' 
is  in  real  danger.  So  do  the  other  Frencra 
officers  when  they  learn  of  his  single-handed 
mission.  They  prevail  upon  Bogart  to  bring( 
them  to  the  hide-out  in  order  to  bargain  for 
Cobb's  life.  Bogart  sacrifices  his  own  tc] 
help   them.  HANA  (Hollywood)i 


PRINCE  WHO  WAS  A  THIEF'  COLORFUL  ADVENTURE  SATIRE 

Rates  •  •  +  as  dualler  generally 


Universal-International 
85  minutes 

Tony  Curtis,  Piper  Laurie,  Everett  Sloane, 
Jeff  Corey,  Betty  Garde,  Marvin  Miller,  Peg- 
gy Castle,  Donald  Randolph,  Nita  Bleiber, 
Milada  Miladova,  Hayden  Rorke,  Midge, 
Carol  Varga. 

Directed  by  Rudolph  Mate. 

"The  Prince  Who  Was  a  Thief"  is  a 
tongue-in-cheek  version  of  the  "bosom  and 
Sahara"  pictures  that  have  emanated  from 
U-I  for  the  past  several  years  with  conspic- 
uous success.  Freely  transcribed  from  the 
Theodore  Dreiser  novel,  the  lavish  and  spec- 
tacular Technicolor  adventure  is  wonderful- 
ly silly,  incredibly  heroic,  and  packed  with 
the  action  of  a  good  Western.  The  dialogue 
is  deliberately  florid;  Rudolph  Mate's  direc- 
tion, consciously  broad.   Mate  pokes  fun  at 


sultry  heroines  with  bare  midriffs,  wicked 
grand  viziars,  thieves,  philosophers  and  poets. 
And  it  adds  up  to  rousing  good  fun — a  mov- 
ie that  will  enchant  juveniles,  amuse  adolesc- 
ents and  give  oldsters  the  feeling  of  recalling 
their  "Arabian  Nights"  days. 

Tony  Curtis,  no  great  shakes  of  an  actor, 
doesn't  need  to  rely  on  histrionic  ability  in 
this  clowning  portrait  of  a  swashbuckling 
portrayal  of  a  prince  who  is  a  thief.  His 
looks  and  nautural  athletic  ability  do  the 
trick  of  making  him  convincing  and  likeable. 
Piper  Laurie,  as  agile  as  a  monkey  and  twice 
as  mischievious,  reveals  herself  a  charming 
light  comedienne  in  the  part  of  a  youngster 
who  knows  no  life  but  that  of  a  thief.  Everett 
Sloane  and  Betty  Garde  are  spendid  as  re- 
spected citizens  of  the  half-world.  Jeff  Cor- 
ey's viziar  is  amusing,  and  Marvin  Miller 
makes  much  of  his  moments  as  the  pretender. 


Peggy  Castle  contributes  a  devastating  car 
icature  of  a  story-book  princess. 

STORY:  Curtis  is  stolen  from  his  roya 
cradle  at  birth  and  reared  by  thieves  Sloan* 
and  Garde.  By  the  time  he  is  a  strappin; 
young  man  he  is  quite  the  best  in  his  pro 
fession.  He  and  his  foster-father  dream  o 
robbing  the  royal  treasury.  The  problem  i 
how  to  enter  it.  An  answer  appears  in  th 
person  of  Piper  Laurie,  a  lass  possessed  o 
acrobatic  powers  enabling  her  to  pass  thro 
ugh  the  narrowest  bars.  But  Piper  is  a  gir 
of  ambition;  she  wants  her  full  share  of  th 
take  and  not  the  petty  baubles  Curtis  offer 
her.  She  falls  in  love  with  him,  but  Ton; 
is  enamored  of  the  Princess.  Piper  saves  hir 
from  the  Princess'  plot  to  capture  him;  hi 
royal  identity  is  disclosed.  Curtis  assume 
the  throne  with  Piper  at  his  ride;  the  Prince 
banished  from  the  kingdom.  HANN. 
(Hollywood) 


WARPATH1  INDIANS.  THE  CAVALRY  AND  TECHNICOLOR 

Rates  •  •      generally;  more  in  action  houses 


Paramount  (Nat  Holt 
95  minutes 

Edmond  O'Brien,  Dean  Jagger,  Forrest  Tu- 
cker, Harry  Carey,  Jr.,  Polly  Bergen,  James 
Millican,  Wallace  Ford,  Paul  Fix,  Louis 
Heydt,  Paul  Lees,  Walter  Sande,  Charles 
Dayton,  Bob  Bray,  Douglas  Spencer,  James 
Burke,  Chief  Yowlachie, .  John.  Mansfield, 
Monte  Blue,  Frank  Ferguson,  Cliff  Clark, 
Paul  Burnss,  Charles  Stevens,  John  Hart. 
Directed  by  Byron  Haskin. 

"Warpath"  combines  many  elements  that 
insure  its  reception  as  a  strong  entry  in  the 
upper  division  of  the  Technicolor  westerns 
league.  The  story  is  an  engrossing  saga  of 
revenge  set  against  the  intriguing  back- 
ground of  life  in  the  Seventh  Cavalry  of 
pioneer  days,  in  the  days  when  Custer  made 


his  famous  last  stand.  The  screenplay  devel- 
opes  the  plot  intelligently  and  convincingly. 
Producer  Nat  Holt  turns  some  breathtaking 
scenery  loose  on  the  screen  to  give  pictorial 
values  to  a  production  conspicuously  excel- 
lent in  the  story  and  acting  departments. 
Byron  Haskin's  direction  brings  the  charac- 
ter's vn  idly  to  life  and  punctuates  the  affair 
with  an  incisive  sense  of  action  values. 

Edmond  O'Brien,  for  all  his  girth,  is  an 
agile,  impressive  hero,  Dean  Jagger's  heavy 
is  subtly  played,  and  Forrest  Tucker  provides 
effective  contrast  as  the  baddie  cut  to  the 
melodramatic  mold.  Harry  Carey,  Jr.  brings 
dignity  and  sensitivity  to  his  part  of  a  cap- 
tain in  the  tough,  hard-fighting  Cavalry.  Tol- 
ly Bergen  has  little  to  do  in  the  feminine 
lead  but  look  pleasing,  and  this  she  accomp- 


lishes admirably.  James  Millican  is  outstanc 
ing  as  a  garrulous  General  Custer,  and  Wall 
ace  Ford's  old-timer  is  amusing. 

STORY:  O'Brien  is  found  pursuing  a  Ion' 
quest  for  the  three  murderers  of  his  sweei 
heart  who  was  killed  during  a  bank  hold-ti, 
From  the  first  one  he  finds  he  learns  that  tlj 
others  have  changed  their  names — one  is 
the  Seventh  Cavalry;  the  other  operates 
store.  O'Brien  enlists  and  fate,  naturally,  pul 
him  in  tlu-  squad  of  tough  Sergeant  Forrel 
Tucker.  Some  time  elapses  before  O'BfH 
realizes  that  Tucker  and  Dean  Jagger  a 
the  men  for  whom  he  is  looking  and  meal 
while,  he   has  fallen  in   love  with  Jaggei| 
daughter.  In  a  melee  involving  Indians 
scores  are  settled;  O'Brien  sees  the  futili| 
of  revenge.  HANNA  (Hollywood 


8 


FILM  BULLETI 


THE  HOODLUM'  ABOVE-PAR  GANGSTER  MELODRAMA 

vates  •  •  +  for  action  houses;  OK  dualler  elsewhere 


Jnited  Artists  (Jack  Schwartz) 
>3  minutes 

jLawrence  Tierney,  Allene  Roberts,  Marjorie 
Riordan,  Lisa  Golm,  Edward  Tierney,  Stu- 
irt  Randall,  Ann  Zika,  John  De  Simone,  Tom 
riubbard,  Eddie  Foster,  O.  Z.  Whitehead, 
Richard  Barron,  Rudy  Rama. 
Directed  by  Maurice  Kosloff 

I  Thanks  to  a  more  intelligently  written 
kcript  than  the  usual  gangster  saga.  Jack 
Schwartz's  "The  Hoodlum"  conies  over  as 
.fcngrossing  crime  fare.  This  melodrama  about 
fa  social  misfit  has  action  qualities  and  per- 


sonal complications  which  are  presented  rea- 
listically and  logically.  The  narrative  unfolds 
at  a  fast  clip  under  the  direction  of  Maurice 
Kosloff,  the  physical  production  doesn't  show 
its  cheapness  at  the  seams,  and  the  players 
turn  in  topflight  performances. 

Lawrence  Tierney,  a  smart  hand  at  play- 
ing tough  guys,  has  no  trouble  with  the 
title  characterization.  Allene  Roberts,  plain 
but  attractive,  makes  the  most  of  a  sympa- 
thetic part  of  a  girl  who  foolishly  falls  for 
Tierney.  Marjorie  Riordan  is  first-rate  as 
the  other  woman,  and  the  story  smartly  keeps 


her  an  innocent  tool  in  Tierney's  schemes. 
Edward  Tierney  is  okeh  as  the  brother  who 
chouses  to  walk  the  straight  and  narrow. 

STORY:  The  yarn  is  an  account  of  an 
nnregenerate  criminal,  Tierney.  Paroled  from 
prison  at  the  earnest  intercession  of  his  moth- 
er, he  returns  home,  but  finds  it  quite  im- 
possible  to  turn  straight.  He  steals  his  broth- 
er'a  girl  friend,  and  then  conspires  to  pull  a 

Ki^antic   bank   robbery    using  another 

girl  as  the  instrument  for  working  out  the 
details.  Of  course,  the  cops  catch  up  with 
him  in  time.  JAMES 


CHINA  CORSAIR'  DULL  LADY  PIRATE  DUALLER 

Rates  •  -(-  on  lower  half  of  action  bills 


Columbia 
78  minutes 

Jon  Hall,  Lisa  Ferraday,  Ron  Randell,  Doug- 
las Kennedy,  Ernest  Borgnine,  John  Dehner, 
Marya  Marco,  Philip  Ahn,  Peter  Mamokos, 
Weaver  Levy. 
Directed  by  Ray  Nazarro. 

"China  Corsair"  is  low  grade  action  stuff — 
(made  so  by  the  familiar,  unimaginative  story, 
ithe  quickie  production  of  Rudolph  Flothow 
and  negligible  directorial  work  by  Ray  Xaz- 
prro.  Suspense  and  vigorous  action  are  totally 
(missing;  the  story  points  are  all  telegraphed 
Itar  in  advance  of  accomplishment.  The  prin- 


cipal characters  lack  sympathy,  and  when 
they  settle  down  to  the  business  of  making 
humans  of  themselves,  it  amounts  to  noth- 
ing more  than  hoke.  The  physical  production 
is  nothing — literally  all  the  action  occurs 
against  one  or  two  interiors  and  a  drab  back- 
drop supposed  to  convey  the  illusion  of  a 
misty  sea.  It  adds  up  to  a  shabby  B.  indeed. 

Jon  Hall  and  Lisa  Ferraday,  given  char- 
acters in  which  neither  could  possibly  be  in- 
terested, come  through  with  listless,  indif- 
ferent performances.  Ron  Randell,  seen 
briefly  in  the  opening,  does  the  best  possible 
with  a  heavy  who  makes  his  evil-doings  by 
pitching  woo  at  Miss  Ferraday.  Douglas  Ken- 


nedy holds  his  own  as  a  sea  captain  who  is 
disposed  of  early  in  the  proceedings. 

STORY:  Lisa  Ferraday,  a  gal  of  easy  vir- 
tue, decides  to  do  one  decent  thing — help  her 
uncle  dispose  of  a  fortune  in  antiques  to  help 
the  Chinese  people.  Randell  kills  the  uncle 
and  makes  off  with  the  valuables.  Ferraday 
follows  him  in  another  ship.  Hall,  an  adven- 
turer, helps  her  in  the  mission.  When  it  ap- 
pears that  Ferraday  will  lose  the  heirlooms 
to  a  band  of  brigands,  Hall  conveniently 
blows  up  the  vessel.  Ferraday  expires  in  his 
arms,  happy  in  the  knowledge  that  at  least 
the  treasures  have  not  fallen  into  crooked 
hands.  ANGEL 


'WHEN  THE  REDSKINS  RODE'  HOKEY  PERIOD  WESTERN  HAS  FAIR  ACTION 

totes  •  •  as  supporting  dualler  in  action  houses 


Columbia 
78  minutes 

Jon  Hall,  Mary  Castle,  James  Seay,  John 
Ridgley.  Sherry  Moreland,  Pedro  de 
Cordoba,  John  Dehner,  Lewis  L.  Russell, 
William  Bakewell,  Gregorv  Gav,  Rustv 
Westcoatt,  Milton  B.  Kibbee,  Rick  Vallin. 
Directed  by  Lew  Landers. 

I  With  fair  action  values  and  some  good 
scenery  to  compensate.  "When  the  Redskins 
Rode"  is  weighted  down  by  its  hokey,  con- 
trived story  and  dialogue  that  more  often 
than  not  is  stiffly  written.  This  imposes  some- 
thing of  a  handicap  on  the  actors — most  of 
whom  are  action  players  accustomed  to  say- 
ing simply  "yep"  and  "nope."  And  so  much 


time  need  not  have  been  spent  in  establishing 
the  premise  of  this  narrative  of  three-way 
fighting  among  the  Indians,  French,  and 
English.  The  finale  action  scene  and  one  or 
two  other  spots  involving  physical  encounters 
are  capably  realized  in  the  direction  of  Lew 
Landers,  and  they  give  the  seekers  of  celluloid 
adventure  the  films  few  thrills.  The  Columbia 
release  will  get  its  only  play  from  the  action 
houses — elsewhere  it  rates  merely  as  an  over- 
length  dualler. 

Hall,  a  competent  hand  at  heroic  exploits, 
makes  his  characterization  as  believable  as 
possible.  Mary  Castle  is  splendid  in  the 
feminine  lead,  and  pretty  Sherry  Moreland 


does  a  good  job  as  an  Indian  maiden.  Sup- 
porting players  are  just  average. 

STORY:  Jon  Hall,  an  educated  Indian, 
becomes  the  pawn  between  two  women — 
Mary  Castle,  who  wants  to  enlist  him  and 
his  people  on  the  side  of  the  French  against 
the  British  during  the  period  of  early  Ameri- 
can colonization.  Sherry  Moreland  is  the 
Indian  gal  he  is  supposed  to  marry.  Hall  dis- 
covers Miss  Castle's  scheme,  which  is  to  use 
the  redskins  as  trouble  makers,  thus  interfer- 
ing with  the  aims  of  the  colonials  under 
General  Washington.  In  a  free-for-all,  with 
all  sides  taking  part,  Hall  is  the  hero  who 
saves  the  day.  JAMES 


MILLION  DOLLAR  PURSUIT'  FAIR  CRIME  DUALLER 

Rates  •  •  as  dualler  for  action  houses;  less  elsewhere 


Republic 
60  minutes 

Penny  Edwards,  Grant  Withers,  Norman 
Budd,  Steve  Flagg,  Rhys  Williams,  Mikel 
Conrad,  Paul  Hurst,  Denver  Pyle,  Ted  Pav- 
elec,  John  de  Simone,  Don  Beddoe,  Ed- 
ward Cassidy,  Edward  Clark,  John  Hamilton, 
George  Brand,  Jack  Shea. 
Directed  by  R.  C.  Springsteen. 

"Million  Dollar  Pursuit"  is  fair  entertain- 
ment it  its  crime  classification.  The  plot  and 
treatment  borrow  generously  from  "The  As- 
phalt Jungle"  —  and  its  pretty  fair  borrow- 
ing. The  script  injects  quite  a  few  moments 


of  good  action  into  its  narrative  of  a  gigan- 
tic robbery.  The  physical  production  is  pre- 
sentable, performances  satisfactory,  and  R.C. 
Springsteen's  direction  manages  to  keep  the 
proceedings  lively.  This  Republic  release 
might  have  moved  a  few  notches  upward  from 
its  routine  classification  were  it  not  for  the 
mistake  of  making  one  of  the  central  protag- 
anists  an  hysterical  psychopath.  The  charact- 
er, too  complex  to  be  plumbed  in  a  60  minute 
action  show,  weakens  the  story  structure. 

Penny  Edwards  is  pleasing  in  the  part  of 
an  entertainer,  and  Grant  Withers,  lends  au- 
thority to  his  part  of  a  night  club  owner.  Nor- 
man Budd  plays  the  psycopath,  and  Rhys 


Williams  wraps  up  the  part  of  a  cunning  un- 
derworld stategist  for  a  personal  success,  giv- 
ing what  is  definitely  the  strongest  portrayal 
in  the  picture. 

STORY:  Xorman  Budd,  a  small  time 
chiseler,  finds  a  set  of  keys,  learns  they  open 
the  vault  of  a  huge  department  store.  He  has 
duplicates  made  before  returning  them.  Wil- 
liams, the  locksmith,  moves  in  on  Budd's 
scheme  to  pull  a  huge  job.  Plans  are  laid 
most  carefully,  but  there  are  hitches  in  the 
accomplishment.  These,  quick  action  by  the 
police,  and  Budd's  anxiety  lead  to  the  gang's 
capture.  JAMES 


JUNE    18,  1951 


9 


fNO  QUESTIONS  ASKED'  ROUTINE  MYSTERY  DRAMA 


Rates  •  •  as  dualler  generally 

82  minutes 

Barry  Sullivan.  Ariene  Dahl.  George  Murphy. 
Petrie,  William  Phipps.  William  Regnolds, 
Jean  Hagen.  Richard  Anderson.  Moroni  Ol- 
sen,  Dan  Dayton.  Dick  Simmons.  Howard 
Mauritz  Hugo.  Mari  Blanchard.  Robert  Shep- 
pard,  Michael  Dugan.  Howland  Chamberlin. 
Richard  Bartlett.  Robert  Osterloh. 
Directed  by  Harold  F.  Kress 

"No  Questions  Asked."  lacking  both  top 
names  and  a  well  drawn  story,  is  a  mystery 
melodrama  that  most  exhibitors  will  use 
on  the  lower  half  of  double  bills.  The  prem- 
ise of  a  go-between  for  crooks  and  insurance 
companies  has  some  originality,  but  the  gim- 


mick is  not  sufficiently  developed  in  the 
script  or  production.  Once  the  groundwork  is 
laid,  the  narrative  veers  to  the  familiar  cops- 
and-robbers  -  betrayal  angle,  consequently 
loses  effectiveness.  Nicholas  Xayfack's  mod- 
est production  is  atmospheric,  and  the  direc- 
tion of  Harold  F.  Kress,  more  often  than 
not.  is  responsible  for  putting  some  zing  into 
the  verbose  screenplay. 

Barry  Sullivan's  playing  of  the  heel  is  cut 
to  the  pattern  of  such  characterizations,  snar- 
ling, tough,  and  worried.  Ariene  Dahl  is  pre- 
tty as  the  ambitious  girl  who  rejects  him. 
George  Murphy's  police  inspector  is  a  routine 
portrayal.  Jean  Hagen  comes  off  quite  the 
best  of  the  company  in  her  part  of  the  gal 


who  picks  up  Sullivan  on  the  rebound. 

STORY:  Sullivan,  a  worker  in  an  insur- 
ance company,  discovers  the  road  of  easy 
money  when  he  finds  out  how  to  arrange 
for  the  return  of  stolen  goods  to  insurance 
.companies.  Within  a  few  months  he's  be- 
come a  rich  young  fellow.  Officer  George 
Murphy  implores  the  insurance  companies 
to  stop  doing  business  with  him:  since  oper- 
ating within  the  law,  they  refuse.  On  the 
heels  of  an  especially  big  job.  Sullivan  tries 
to  bow  out  of  the  racket,  but  the  "boys" 
won't  let  him.  Miss  Dahl.  with  whom  he  has 
his  romance,  betrays  him.  putting  him  in  a 
spot  where  he  is  forced  to  shoot  it  out. 

AXGEL 


'TALES  OF  HOFFMAN"  TOP 

Rates  •  •  •  —  in  art  houses 


Lopert  (London  Films) 
120  minutes 

Moira  Shearer.  Leonide  Massine.  Robert 
Helpmann,  Pamela  Brown.  Ann  Ayers,  Ro- 
bert Rouensvelle. 

Directed  by  Michael  Powell  and  Emeric 
Pressburger 

The  critic,  both  here  and  in  England,  have 
taken  pot  shots  at  "Tales  Of  Hoffman"  on 
grounds  that  it  is  a  hybrid,  neither  opera 
nor  ballet.  Their  disapproval,  however,  has 
had  little  effect  on  boxoffice  grosses  in  the 
situations  in  which  it  has  played  in  the  U.S. 
its  Los  Angeles  engagement  bids  fair  to 
duplicate  the  remarkable  success  of  "Red 
Shoes,"  The  Michael  Powell  and  Emeric 
Pressburger  hit  of  two  years  ago.  And  the 
exhibitor  interested  in  booking  the  import 


SHOW  FOR  ART  CIRCUIT 

can  best  judge  its  possibilities  on  the  basis 
of  his  audience's  reaction  to  "Red  Shoes." 

'  Tales  Of  Hoffman"  is  enchantingly  im- 
aginative —  a  glowing  tapestry  of  color  aga- 
inst which  the  Offenbach  opera  is  played, 
sung,  and  danced.  Actually,  there  is  so  much 
movement  that  it  frequently  distracts  from 
the  musical  portions.  But  this  is  minor  car- 
ping at  a  brave  and  beautiful  movie  trans- 
cription of  an  opera.  The  loose  story  threads 
have  been  tightened  in  an  off-hand  manner 
that  ought  to  bring  blushes  to  opera  im- 
pressarios  who've  wondered  for  years  what 
to  do  with  the  unnecessary  epilogue.  The 
sound  track  contains  some  beautiful  singing, 
and  as  always  the  "Dr.  Miracle"  episode  is 
the  most  compelling  of  the  trio  of  episodes 
recounting  the  romantic  misadventures  of 
Hoffman. 


Moira  Shearer,  we'll  publicized  ballet  dan- 
cer, is  something  of  a  name  among  art  and 
music  patrons,  and  her  performance  will 
leave  none  disappointed.  Leonide  Massine, 
Robert  Helpmann.  Pamela  Brown,  and  Ro- 
bert Rounseville  stand  out  in  the  large  and 
elegent  cast. 

STORY:  As  in  the  opera.  "Tales  Of  Hoff- 
man" is  devided  into  three  episodes  —  each 
recounting  Hoffman's  loves.  The  first  with 
a  doll:  the  second  with  a  beautiful  courtesan; 
and  the  third,  with  a  lovely  singer  who  has 
fallen  prey  to  the  machinations  of  Dr.  Mir- 
acle. All  end  in  tragedy  for  Hoffman,  and 
in  the  new  version  of  the  epilogue,  even 
his  present  emour  is  taken  away  by  the  in- 
sidious force  that  works  against  his  happi- 
ness. HAXXA  (Hollywood) 


So  You  Think  Only  Your  Business  Is  Bad! 


(Continued  from  Page  6) 

undelivered  sets,  kept  off  the  dealers'  floors 
because  every  available  inch  was  covered  with 
unsold  receivers.  Adding  to  their  woes  was  the 
Government's  credit  curb,  biting  deeply  into 
prospective  customers'  purchasing  potential. 

Layoffs  followed  in  several  of  the  major  TV 
manufacturers'  production  help.  RCA,  Philco, 
Admiral,  among  others,  released  thousands  of 
workers  as  production  slowed  down  to  a  limp. 
Among  the  smaller  manufacturers,  hardest  hit 
by  the  slump,  there  were  complete  halts  in  pro- 
duction. Trad  Television  Corp.  of  New  Jersey, 
loaded  with  3000  unsold  sets,  ground  to  a  solid 
stop.  Ansley  Radio  &  Television  Inc.  of  Meri- 
den,  Conn.,  has  given  up  set  manufacture  for 
good.  The  Freed  Radio  Corp.  of  New  York  has 
been  marking  time  for  several  months,  waiting 
to  get  rid  of  its  surplus  stock,  some  of  it  a  year 
old. 

10 


The  set  sellers  have  been  trying  vainly  to 
ease  the  credit  rules.  The  Radio-Television 
Manufacturers  Ass'n.  reports  that  "the  insis- 
tent warnings  by  dealers  that  many  of  them  are 
facing  bankruptcy  have  grown  to  alarming 
proportions."  RCA  reported  that  four  Phila- 
delphia dealers  went  out  of  business  in  one  week. 

In  New  York,  one  dealer  coped  with  the 
overstocking  by  auctioning  off  a  backlog  of 
10.000  sets  it  had  piled  up.  His  normal  capa- 
city was  2,000.  The  receivers  found  a  read) 
market  as  thousands  flocked  to  the  auction  — 
and  bought  at  prices  approximating  or  below 
cost.  A  $617  Philco  console  brought  $350;  a 
$500  Motorola  went  for  $290,  and  so  on. 

Television's  rocket  seems  to  have  exploded 
almost  simultaneously  upon  reaching  its  zenith. 
It  has  started  its  plunge.  Possibly,  even  pro- 
bably, new  TV  rockets  will  streak  through  the 
financial  and  economic  structure,  just  as  they 


have  in  the  movie  business,  but  it  will  take  a 
new  set  of  circumstances  to  do  it. 

Undoubtedly,  there  are,  and  will  continue  | 
to  be,  men  in  exhibition  who  will  be  tempte 
to  latch  on  to  these  new  rockets.  One  exhibitc 
John  Smylnycky.  of  Colver,  Pa.,  after  21  year 
in  the  business,  has  converted  his  theatre 
a  television  receiver  salesroom  after  watchir 
his  attendance  drop  from  1700  weekly  to 
Mr.  Smylnycky.  of  course,  is  entitled  to 
whatever  disposition  he  wishes  of  his  theat 
property  and  his  method  of  earning  a  livelihc 
It  is  open  to  conjecture,  however,  whether 
has  latched  on  to  the  bright,  rising  rocket  or, 
seems  currentl  evident,  the  empty,  plung 
stick. 

No,  brother  movie  man,  you  aren't  alone  it 
jour    business  troubles.    You've  got  lots 
company.  And  remember,  it  can  be  a  lot  hotte 
in  the  fire  than  in  the  frying  pan. 

FILM     B  U  L  L  E  T  I 


THEATRE  TV  GETS  OPENING 
GUN  WITH  FIGHT  EXCLUSIVE 

Movie  history  was  made  last  week  when  thea- 
re  audiences  in  six  cities  saw  an  exclusive 
elecast  of  an  important  boxing  bout.  The  Joe 
^ouis-Lee  Savold  fight  was  scheduled  to  be 
liped  via  coaxial  cable  directly  to  nine  Para- 
mount. Loew's,  RKO  anil  Fabian  circuit  houses 
n  Cleveland.  Washington.  Chicago,  Albany, 
Baltimore  and  Pittsburgh.  It  was  not  available 
to  home  televiewers. 

The  exclusive  deal  by  the  theatre  circuits,  re- 
jresented  by  Nathan  Halpern,  was  seen  as  a 
trilestone  in  film  history,  compared  by  some  as 
mportant  as  the  advent  of  the  talking  picture. 
The  theatre  of  the  future,  it  was  said,  will  be  a 
rombination  of  Hollywood  films  and  exclusive 
arge-screen  telecasts,  and  the  Louis-Savold 
fight  was  considered  the  ice-breaker.  The  deal, 
Halpern  revealed,  included  rights  to  cover  ad- 
ditional outdoor  bouts  to  be  held  this  Summer. 

Telecasting  and  video  manufacturers  were 
quick  to  intensify  their  campaigning  for  the  de- 
velopment of  a  system  of  subscription  television 
to  offset  the  loss  of  revenue  in  video  advertising 
and  the  sale  of  TV  sets. 

Zenith  president  E.  F.  McDonald,  whose  com- 
pany has  been  testing  phonevision  for  some  time, 
called  on  other  TV  manufacturers  and  network 
heads  to  combat  the  probability  that  "  all  de- 
sirable sports  and  special  events  programs,  even 
those  now  available  to  television,  may  soon  be- 
come exclusive  features  for  theatres." 

McDonald  suggested  the  establishment  of  a 
broadcasting  boxoffice  similar  to  his  company's 
phonevision  as  the  only  solution  to  the  problem. 

FOX  CONSENT  AGREEMENT 
LEAVES  M-G-M  SOLE  HOLDOUT 

I    Metro-Goldwyn-Mayer  was  left  as  the  lone 
|  production  -  distribution  -  exhibition  survivor 
1 1  among  the  majors  as  20th  Century-Fox  took 
the  leap  into  divorcement  and  divestiture  via 

I  the  consent  agreement  course. 

The  step,  announced  by  Attorney  General  J. 
I  Howard  McGrath,  will  mean  the  separation  of 
20th-Fox  from  its  450-theatre  subsidiary,  Na- 
|  tional  Theatres  Corp.  The  latter  will  be  re- 
!  quired  to  divest  itself  of  approximately  100 

II  theatres  or  limit  its  bookings  to  60  per  cent  of 
the  product  released  by  the  eight  majors.  In 

!  another  15  localities,  XT  will  be  required  to  rid 
itself  of  theatres,  if,  over  a  period  of  time,  the 
chain  operates  more  than  a  designated  number 

I  of  theatres  on  specified  runs. 

As  with  the  other  consent  decree  signatories, 
stockholder  approval  of  the  judgment  must  be 
obtained  within  90  days.  TJie  two  companies 
must  therefore  operate  totally  independently  of 

1  each  other  and  be  subject  to  inj mictions  in  the 

i  District  Court  judgment  of  Feb.  8. 

The  proposed  judgment  also  prohibits  Fox 
from  expanding  its  theatre  holdings  during  the 
two  year  period  allowed  for  carrying  out  the 
decree.  The  new  theatre  company  may  acquire 
additional  theatres,  thereafter,  only  with  court 
approval. 

There  will  be  no  objection  to  continued  opera- 
tion of  National  by  George  Skouras,  while 
brother  Spyros  maintains  the  presidency  of  the 
film  company. 


BULLETIN 

Volume  19,  Number  13 
June  18,  1951 

News 
and 
Opinion 


PARAMOUNT'S  BALABAN 

Next  Half  Looks  Good 


ROSY  OUTLOOK  FOR  FILMS 
NEXT  SIX  MONTHS  -  BALABAN 

Painting  an  optimistic  picture  for  Paramount 
business  and  movie  business  in  general  for  the 
coming  six  months.  Paramount  president  Barney 
Balaban  told  stockholders  at  the  company's  an- 
nual meeting  that  more  employment,  more  ex- 
pendable income  and  less  available  consumer 
goods  should  have  a  favorable  impact  on  the 
motion  picture  industry. 

In  his  report,  Balaban  credited  television  with 
being  only  a  contributing  cause  to  the  decline 
of  boxoffice  receipts,  pointing  out  that  the  chang- 
ing economy  of  our  country  from  wartime  to 
peacetime  was  the  principal  factor,  with  the 
disrupted  releasing  schedules  resulting  from 
antitrust  litigation  having  also  been  of  consider- 
able influence  in  the  decline. 

Referring  to  television  as  an  important  new 
medium  of  show  business.  Balaban  listed  as 
important  assets  Paramount's  various  video  in- 
terests, which  include  its  investment  in  DuMont ; 
a  50%  interest  in  Chromatic  Television  Labora- 
tories, developers  of  the  new  Chromatron  pic- 
ture tube,"  and  a  505o  interest  in  International 
Telemeter  Corporation,  which  holds  patents  on 
a  promising  device  for  subscription  television. 


SALESMEN'S  'DUTY'  TO  AID 
THEATRES'  SELLING  -LICHTMAN 

"No  longer  can  we,  as  representatives  of 
the  production-distribution  end  of  this  busi- 
ness, slough  off  on  the  exhibitors  the  job  of 
selling  our  pictures.  Henceforth,  it  will  be 
the  duty  of  every  division  and  branch,  sales- 
man and  booker,  to  offer  every  assistance  to 
the  individual  tluatrenien  in  selling  our  pro- 
duct. Before  any  picture  opens  in  a  given 
area,  we  intend  to  see  to  it  that  the  picture 
has  been  pre-sold  through  saturation  advertis- 
ing and  exploitation,  including  talent  personal 
appearances.  Moreover,  the  cooperation  will 
be  extended  on  equal  levels  to  the  largest 
and  smallest  exhibitor  alike." 

It  was  Al  Lichtnian,  distribution  chief  of 
20th  Century-Fox.  speaking  before  the  com- 
pany's national  sales  convention  in  Los  An- 
geles. 

On  sales  policy,  Lichtnian  declared  that 
Fox  would  continue  to  use  the  sliding  scale, 
and  "in  areas  where  it  has  been  discontinued, 
reinstate  it,  provided  fair  and  equitable  deals 
can  be  consummated." 

President  Spyros  Skouras,  in  the  keynote 
address  at  the  opening  session  of  the  five- 
day  confabs,  promised  that  the  company  "will 
make  the  best  showing  in  its  history,  despite 
the  first  quarter." 

EASTERN  PA.  ALLIED  UNIT 
SUSPENDED  BY  NATIONAL  BODY 

The  rumors  of  dissaffection  between  Na- 
tional Allied  and  its  Eastern  Penna.  unit, 
burst  into  the  open  last  week  with  the  terse 
announcement  by  the  national  organization 
that  the  regional  "has  been  suspended  as  a 
member  of  Allied,  as  of  June  1,  for  non-pay- 
ment of  dues." 

The  action  was  taken  by  its  board  of  di- 
rectors at  the  Kansas  City  meeting  a  few- 
weeks  ago.  the  announcement  revealed. 

Sidney  E.  Saniuelson,  general  manager  of 
the  Pa.  unit,  said  he  had  "no  comment  to 
make"  pending  a  meeting  of  the  regional's 
board.  No  date  has  been  set  for  the  meeting, 
he  added. 

DISTRIBS  WARM  TO  JUBILEE, 
RUND-TABLE  AGENDA  SET 

Encouraged  by  a  favorable  reception  from  film 
company  presidents  on  the  proposed  Theatre 
Jubilee  program  next  Fall,  Arthur  L.  Mayer, 
COMPO  executive  vice-president,  was  set  to 
huddle  with  sales  and  advertising  heads  last 
week  to  speed  up  preparations  for  the  plan. 

Mayer  also  revealed  that  arrangements  for 
the  exhibitor-producer  round-table  discussions 
in  Hollywood  next  month  were  completed  after 
an  all-day  meeting  of  COMPO  and  exhibitor 
organization  heads  in  New  York.  Dates  for  the 
round  table  sessions  were  fixed  as  July  23-26, 
with  a  meeting  of  the  COMPO  Executive  Board 
set  for  the  night  of  the  23rd. 

Representation  at  the  round  table  will  include 
two  delegates  from  each  of  the  ten  charter  mem- 


J  U  N  E    18,  1951 


11 


News  and  Opinion 


bers  of  COMPO ;  four  additional  representatives 
each  from  Allied  and  TOA;  two  more  from 
PCCITO  and  five  to  be  invited  by  COMPO 
president  Ned  E.  Depinet.  The  last  group  will 
be  selected  to  take  in  non-organization  exhibitors 
and  also  to  fill  in  any  geographical  gaps. 

Agenda  for  the  meetings  will  include:  quan- 
tity and  quality  of  pictures;  how  exhibitors  can 
help  build  new  stars  and  enhance  the  value  of 
existing  screen  personalities ;  picture  cycles,  low 
budget  films,  audience  tastes,  titles,  color  films, 
industry  relations;  television  and  TV  trends; 
ads  and  trailers,  the  jubilee  and  motion  picture 
exposition. 

KIRSCH  CLAPS,  SNAPER 
SNAPS  AT  LICHTMAN  POLICY 

The  pronouncement  by  Al  Lichtman,  20th 
Century-Fox's  director  of  distribution,  that  his 
company  would  do  its  utmost  to  help  distressed 
exhibitors,  was  greeted  with  opposite  reactions 
by  the  heads  of  two  Allied  organizations. 

Jack  Kirsch,  president  of  Allied  of  Illinois,  ap- 
plauded the  statement  in  a  letter  to  Lichtman, 
in  which  he  wrote : 

"Exhibitors  the  country  over  can  take  en- 
couragement from  an  article  .  .  .  wherein  you 
were  reported  as  stating  that  20th  Century  Fox 
Film  Corporation  would  give  sympathetic  atten- 
tion to  all  theatres  in  trouble  and  that  if  a  plea 
for  a  renal  cut  would  help  a  distressed  exhibitor 
and  was  found  justified  your  company  would 
not  turn  a  deaf  ear  ...  I  take  this  opportunity 
of  congratulating  you  and  your  company." 

On  the  other  side  of  the  fence,  Allied  of  New 
Jersey  president  Wilbur  Snaper  lashed  out  at 
Fox's  sales  policy  in  a  bulletin  to  his  member- 
ship. 

In  chastizing  Lichtman  for  the  distribution 
policy  of  Fox's  New  York  exchange,  Snaper 
wrote :  "Fox  certainly  should  realize  the  error 
of  its  ways  in  demanding  more  money  at  a  time 
like  this  from  a  territory  that  is  suffering  ter- 
ribly at  the  boxo.  .ce." 

He  admitted  that  Lichtman  might  mean  "what 
he  says  in  the  confines  of  his  own  offices  when 
speaking  to  the  press  but  can  his  representa- 
tives put  into  action  what  he  says  in  words.  He 
speaks  of  distressed  theatres  threatened  with 
closing.  If  there  is  a  more  distressed  area  than 
New  Jersey,  it  would  be  difficult  to  find." 


GINSBERG  WITH  NBC 

Just  what  course  Henry  Ginsberg, 
former  studio  chief  at  Paramount 
Studios,  would  pursue  following  his 
resignation  from  that  past,  has  been 
partially  determined  as  a  result  of  his 
appointment  as  a  general  consultant  to 
the  National  Broadcasting  Company. 

NBC's  president  Joseph  H.  McCon- 
nell,  who  announced  the  appointment, 
said  Ginsberg  would  be  free  to  operate 
in  the  motion  picture  industry,  since 
the  deal  was  not  on  an  exclusive  basis. 
Ginsberg's  activities  will  be  linked  with 
those  of  John  West,  vice-president  in 
charge  of  NBC's  western  headquarters. 


FRENCH  END  DOLLAR  CURB, 
FILM  QUOTA  REMOVAL  SEEN 

John  G.  McCarthy,  MPAA  vice-president,  re- 
turned from  abroad  with  the  good  news  that 
France  has  agreed  to  end  restrictions  on  earn- 
ings by  American  film  companies  and  will  per- 
mit full  conversion  of  francs  into  dollars. 

McCarthy  said  negotiations  were  also  under 
way  whereby  the  French  would  remove  limita- 
tions on  the  number  of  Hollywood  films  per- 
mitted to  be  shown  in  France.  The  present 
quota  is  121  pictures  a  year. 

Although  the  agreement  with  France  will 
probably  boost  industry  earnings  about  $4,000,- 
000,  the  gain  from  the  ending  of  curbs  will  be 
negligible  due  to  the  negotiations  six  months  ago 
which  permitted  the  bulk  of  American  funds  to 
be  withdrawn. 

SWG  URGES  SCRIPTERS  TO 
FIGHT  20TH-FOX  PAY  SLASH 

Members  of  the  Screen  Writers  Guild  were 
advised  by  their  board  of  directors  not  to  accept 
the  proposal  made  recently  by  20th  Century-Fox 
that  all  Fox  employees  receiving  more  than  $500 
per  week  take  a  voluntary  cut  in  pay. 

A  telegram  sent  to  27  guild  members  employ- 
ed by  Fox  said  in  part:  "Your  board  is  meet- 
ing with  the  boards  of  other  talent  guilds  for  the 
purpose  of  translating  into  action  our  unalter- 
able opposition  to  this  cut." 

Copies  of  the  wire  were  sent  to  guild  members 
in  other  Hollywood  studios. 

WARNER  6-MONTH  NET  DIPS 
$2,000,000  TO  $3,827,000 

Warner  Brothers  disclosed  a  dip  of  more  than 
$2,000,000  in  net  profits  in  their  financial  state- 
ment for  the  six  months  ending  February  24, 
1951.  The  company  recorded  a  net  of  $3,827,000 
for  the  more  recent  fiscal  period,  as  compared  to 
a  net  of  $5,897,000  for  the  corresponding  period 
in  1950. 


U-l  ON  HOT  WEATHER  WAGON 
WITH  BIG  ONES  IN  JULY-AUG. 

Universal-International  joined  the  spearhead 
of  film  companies  determined  to  break  the  cus- 
tomary  "summer  slump"  with  release  of  their 
top  product  during  the  hot  weather  months.  U-I 
sales  chief  Alfred  E.  Daff ,  in  a  special  announce- 
ment, named  six  films  selected  for  release  in 
Jul>  and  August,  and  the  pre-release  engage- 
ment of  one  special. 

"There  is  nothing  seasonable  about  the  motion 
picture  business  when  strong  and  outstanding 
product  is  released  at  an  even  flow  the  year 
around  as  is  our  policy  at  Universal,  Daff  de-T 
clared.  "In  order  to  sustain  public  interest  in 
theatre-going  throughout  the  year,  it  is  essen 
tial  that  a  steady  flow  of  strong  product  be  made 
available  on  a  month  to  month  basis  rather 
spot  particular  pictures  for  a  specific  period.  In 
this  way  we  are  helping  exhibitors  to  get  an 
audience  and  hold  them  with  a  steady  supply  of 
commercial  pictures  that  appeal  to  a  mass  audi- 
ence." 

REPUBLIC,  MONOGRAM  SIGN 
AFM  VIDEO  AGREEMENTS 

The  pattern  set  by  the  Lippert  television  deal 
with  the  American  Federation  of  Musicians,  was 
followed  by  two  more  motion  picture  companies, 
Republic  and  Monogram,  AFM  president  James 
C.  Petrillo  revealed  at  the  union's  annual  con 
vention. 

Set  for  three  years,  the  agreements  call  for  th 
film  companies  to  turn  over  to  the  union  fiv 
per  cent  of  all  receipts  from  sale  of  televisiot 
rights  to  their  productions.  On  the  old  films 
the  deal  calls  for  re-scoring  by  members  of  AI 
before  exhibition  on  TV  screens.  Approximatel) 
$2,000,000  was  estimated  by  Petrillo  to  go 
the  union's  trust  fund  from  video  exhibition  o 
films. 

Republic  president  Herbert  J.  Yates  declare 
that  the  company  is  "studying  the  revenue  pi 
bilities,  and  we  will  not  move  until  we  are 
that  the  operation  is  profitable."  Decision 
plans  for  releasing  some  old  product  for  TV  i 
should  be  forthcoming  in  about  a  week  or 
Yates  added. 


M.  A.  ROSENBERG,  53 

The  second  Allied  leader  to  die  within 
weeks  saddened  the  industry.  M.  A. 
Rosenberg,  a  former  president  of  Na- 
tional Allied  and  a  long-time  president 
and  board  chairman  of  Western  Pa. 
Allied,  succumbed  June  4,  shortly  after 
the  death  of  Pete  Wood.  Rosenberg, 
53,  had  operated  the  Parkway  and 
Colony  Theatres  in  McKees  Rocks,  Pa. 
He  retained  an  active  interest  in  exhi- 
bitor organization  affairs  as  long  as  his 
health  would  permit,  retiring  from 
Allied's  board  of  directors  only  a  few 
weeks  ago.  He  has  been  in  the  exhibi- 
tion field  since  the  end  of  World  War  I. 


12 


FILM  BULLETI 


□ST  MAGNIFICENT  SCREEN  SPECTACLE  EVER  MADE! 


Wabulou 


biola 


. .  Goddess  Of  Love 

In  A  City  Of  Sin! 


Hfnfi 


■Ml 


FABULOUS 
BUSINESS! 
FABULOUS 
HOLDOVERS! 

Following  the  greatest  open- 
ing in  the  history  of  the  Joy 
Theatre,  New  Orleans,  it's 
SMASH!  SAN  FRANCISCO 
GREAT!  BOSTON 
SOCK!  BALTIMORE 
WOW!  WASHINGTON 
TOPS!  CINCINNATI 

And  in  NEW  YORK, 
at  the  Victoria  Theatre, 
!  following  uBorn  Yesterday", 

|  A  SMASHING  NEW  HIGH1. 

U    THIS  IS  THE  ONE  FOR  '51  ! 


IICHEL  SIMON 


Screenplay  &  Directed  by  Alessandro  Blasetti 

English  Language  Adaptation  by  Marc  Connelly  &  Fred  Pressburger 

Based  on  the  novel  "Fabiola"  by  Nicholas  Wiseman  • 


Released  thru  UNITED  ARTISTS 


NEVER  HAS  THE  SCREEN  BROUGHT 
YOU  SUCH  LAVISH  SPECTACLE... SUC 
TREMENDOUS  EXCITEMENT! 


NEVER  SUCH  TRADE  RAVES! 


"Tremendous  spectacle.  Most 
elaborate,  enormous  scope!  —  daily  variety 


Impressive,  sumptuous  produc- 
tion, for  strong  patronage!" 

—FILM  DAILY 

'Amazing.  Spectacular  mob 
scenes,  climax  of  vast  scope  and 
action!"  -showmen's 

'Lush  spectacle.  Impressive  the 
massacres  before  thousands  of 
screaming  extras!"  -variety 


i 


"Opulent,  visually  exciting,  en- 
grossing, spectacular!"   -mp  daily 

"Great  theme,  powerfully  dealt 
with  on  the  grand  scale,  never 
before  equalled  on  the  screen!" 

-MP  HERALD 

"Lavish,  thrilling,  amazing,  action 
aplenty!"  -boxoffice 


NEVER  HAS  THE  EXHIBITOR 
HAD  SUCH  OPPORTUNITY  FOR 
SENSATIONAL  GROSSES! 


IEE 


ipi« 


The  borbarous 
dor,  the  c  o  I  o  •. 
pageantry,  the  lusty  gran-! 
the  unchoined  emotioni 
wicked,  sinful,  pagan  Romr 


SEE  A  casl  of  50'000  -  -  - 

hordes  of  victims  led 
to  their  doom  in  the  Colosseum 
.  .  .  history's    most  agonizing 


SEE 


Ferociour  beasts  at- 
tack helpless  human 
sacrifices  ...  in  the  most  merci- 
less massacre  the  world  has  ever 
knownl 


<BKE     Giant  gladiators  fight 
to  the  death  ...  in  the 
screen's  most  savage  scenes  of 
mortal  combat  I 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
Cxctyji*  $L  BULLETIN  Otatun 


HOLLYWOOD  EDITORIAL 
TV  Expenses 

'I   With    Republic,    Monogram,  Lippert 
pud  several  other  studios  on  the  verge 
I lof  releasing  a  major  portion  of  their 
Ifcacklog  of  old  pictures  to  television,  pro- 
ducers are  being  brought   face   to  face 
Uwith  the  realization   that  ownership  of 
I (these  films  is  not  the  absolute  thing  it 
would  appear  to  be  on  the  surface. 
;    Despite  the   fact  that  the  producing 
companies  have  paid  huge  sums  of  money 
I  for  scenarios,  actors  and  musical  scores  in 
making  these  old  movies,  they  are  never- 
theless faced  with  the  prospects  of  hav- 
ing to  pay  those  talent  costs  a  second  time, 
'if  they  are  to  dispose  of  what  they  might 
rightfully  asume  to  be  wholly  theirs.  For 
j  example,  James  Petrillo  and  his  Ameri- 
I  can  Federation  of  Musicians  have  al- 
ready extracted  from  the  above-mentioned 
studios  a  flat  five  percent  of  the  proceeds. 
Moreover,  under  terms  of  Petrillo's  con- 
tract, all  of  the  films  will  have  to  be  re- 
I scored  with  different  musicians  than  those 
making  the  original  picture  track.  Scale 
i  for  these  musicians  will  be  on  AFM's 
telepix  basis  of  $50  for  three  hours,  in- 
stead of  the  theatrical  picture  scale  of 
$39.90  for  a  three-hour  session. 

And,  as  if  that  isn't  a  deep  enough 
gouge,  the  producers  are  encountering 
I  similar  demands  from  other  organized 
talent  groups.  The  Screen  Writers  Guild 
demands  15  percent;  the  Screen  Actors 
Guild  has  its  claim  under  consideration, 
but  will  undoubtedly  try  to  exact  at  least 
as  much  as  the  Writer's  Guild  ;  the  Direc- 
tors, Cinematographers  and  other  crafts 
are  yet  to  be  heard  from. 

It  is  quite  possible,  what  with  these 
added  expenses,  that  the  film  producers 
will  find  the  small  fees  TV  pays  for 
movies  not  worth  the  bother. 

—JAY  ALLEN 


COLUMBIA 

STUDIO  SETS  18  FILMS 
FOR  START  BY  LABOR  DAY 

Columbia  will  top  all  other  production  comp- 
anies in  the  number  of  films  rolling  during  the 
normally  slack  summer  months.  Between  now 
and  labor  Day,  the  Gower  Street  lot  will  be 
kept  humming  with  a  total  of  18  productions  set 
to  go  before  the  cameras.  Included  in  this  slate 
will  be  Stanley  Kramer's  initial  production  un- 
der his  recently  signed  pact  with  Columbia. 

Budgets  on  the  majority  of  the  company's  own 
productions  will  remain  on  about  a  par  with 
those  of  pictures  turned  out  in  the  last  year, 
with  numerous  "B"  fillers  included  on  the  slate. 

Setting  the  pace  for  this  heavy  summer  sche- 
dule, prexy  Harry  Cohn  ordered  the  cameras  to 
roll  on  five  pictures  within  a  single  week  early 
this  month.  The  Gene  Autry  starrer,  "Valley  of 
Fire,"  directed  by  John  English  and  produced 
by  Armand  Schaefer,  rolled  on  location  at  Big 
Pine,  California,  June  4,  and  on  the  same  day, 
'Chain  of  Circumstance"  second  in  the  "My 
True  Story"  series,  got  away  on  the  company's 


Sunset  studio  lot,  under  Will  Jason's  direction, 
Wallace  Mac  Donald's  production.  The  following 
day,  director  Richard  Quine  and  producer  Sam 
Katzman  launched  production  on  "Purple  Heart 
Diary"  (Frances  Langford— Judd  Holdren)  La- 
ter m  the  week,  the  high-budgeted  Sidney  Bu- 
chman-Coluinbia  feature,  "Boots  Malone"  (Wil- 
liam Holden),  moved  onto  the  sound  stages 
after  a  week  of  exterior  shooting  in  Mexico, 
William  Dieterle  is  directing  for  acting  produ- 
cer Milton  Holmes.  And  completing  the  group 
of  five  new  starters  was  "Corky  of  Gasoline 
Alley,"  most  recent  entry  in  the  series  starring 
Scotly  Beckett,  Jimmy  Lydon  and  Susan  Mor- 
row. Ernest  Berends  is  directing  the  latter  for 
Wallace  MacDonald. 

Two  more  pictures  are  set  to  go  within  the 
next  fortnight:  "California  Conquest"  (Cornel 
Wilde — John  Dehner),  and  "Pecos  River" 
(Charles  Starrett-Smik-y  Efumette).  Lou  Lan- 
ders directs  "Conquest"  for  Sam  Katzman,  and 
director  Frank  Sears  and  producer  Charles 
Clark  pair  up  on  "River". 

Harry  Popkin's  "The  Well"  has  also  been 
set  for  Columbia  release,  as  the  most  recent  de- 
velopment in  the  producer's  hassle  with  United 
Artists.  The  picture  was  produced  early  this 
year,  and  UA  officials  have  claimed  it  was  to 
have  been  included  in  the  group  of  pictures 
Popkin  still  owes  the  company  under  his  old 
contract. 


LIPPERT  PRODUCTIONS 

LIPPERT  SIGNS  PACT  TO 
RELEASE  12  ROACH  FILMS 

Although  only  one  picture  has  been  filming 
here  during  the  past  fortnight,  it  has,  neverthe- 
less, been  a  very  important  period  for  this  com- 
paratively young  production-distribution  compa- 
ny. 

One  of  the  most  important  devlopments  was 
the  signing  of  a  pact  with  Hal  Roach,  Jr.,  which 
provides  for  Lippert  to  release  12  Roach-pro- 
duced pictures  to  be  filmed  within  the  next  12 
months.  All  of  the  films  fall  in  the  program 
class,  budgeted  in  the  neighborhood  of  $125,000 
each.  First  of  the  group  is  "As  You  Were", 
which  has  already  been  completed,  and  stars 
Joe  Sawyer  and  Bill  Tracy,  who  appeared  for 
Roach  in  a  series  filmed  just  prior  to  the  war. 
All  12  of  the  pictures  included  in  the  new  deal, 
will  be  either  action  or  comedy  features,  and 
will  run  from  60  to  70  minutes  each. 

Another  important  development  of  the  past 
two  weeks  was  the  sale  by  Lippert  of  26  of  his 
old  theatrical  films  to  television.  CBS-TV  is  re- 
ported to  have  paid  $70,000  for  the  group  of  old 
pictures,  and  KTLA,  a  Los  Angeles  outlet,  is 
paying  $69,000  for  duplicate  prints  of  the  same 
features  and  chase  westerns.  All  of  the  pictures 
are  being  rescored,  in  compliance  with  an  agree- 
ment with  James  C.  Petrillo's  AFM,  at  a  cost 
of  $30,000. 


Lippert  has  also  turned  down  a  lucrative  offer 
to  sell  an  interest  in  his  production -distribution 
company  to  Official  Films,  a  New  York  Tele- 
vision syndicate  which  recently  gained  control 
of  Jerry  Fairbanks,  Inc. 

"F.B.I.  Girl"  (starring  Cesar  Romero,  George 
Brent- Audrey  Totter)  is  the  lone  feature  that 
has  been  shooting  for  the  company  the  past  tu.. 
weeks.  Willliam  Berke  doubles  on  the  produc- 
tion and  directorial  chores. 


METRO-SOLDWYN-MAYER 

SCHENCK  ASSURES  STUDIO 
TOPPERS  NO  SALARY  CUTS 

Upper  echelon  executives  and  production  tal- 
ent are  breathing  easier  at  MGM  following  an 
announcement  by  Nicholas  M.  Schenck,  presi- 
dent of  Loew's,  Inc.,  that  there  will  be  no  whole- 
sale salary  slashes  at  this  time,  as  had  been 
feared  by  many  following  20th  Century-Fox's 
recent  cutbacks.  Instead,  Dore-Schary,  the  stu- 
dio's production  chief,  has  called  his  producer 
staff  into  session  and  placed  the  responsibility 
for  cutting  operating  overhead  directly  in  their 
laps.  It  was  inferred  that  unless  the  various 
producers,  directors  and  department  heads  are 
able  to  effect  sizeable  savings  in  the  future,  a 
move  similar  to  that  instituted  by  Fox  may  have 
to  be  forthcoming. 

One  point,  which  S chary  stressed  particularly 
in  his  meeting,  was  the  necessity  for  maintaining 
the  same  high  level  in  the  quality  of  the  com- 
pany's product.  The  production  chief  also  out- 
lined his  company's  summer  production  plans, 
which  include  15  features — all  in  the  high  budget 
bracket.  Three  of  the  pictures  in  this  group  will 
roll  this  month,  two  of  them  in  Technicolor. 
This  week,  producer  Arthur  Freed  will  start  tin- 
cameras  rolling  on  "Belle  of  New  York"  (Fred 
Astair-Yera  Ellen),  a  million-plus  musical,  with 
Chuck  Walters  directing.  At  about  the  same 
time,  another  Freed  production,  "Singin"  In  the 
Rain"  (Gene  Kelly-Debbie  Reynolds),  will  be- 
gin shooting  on  a  neighboring  soundstage,  with 
Stanley  Donen  and  Kelly  doubling  on  the  mcg- 
ging.  June  starter  will  be  "Just  This  Once" 
(Janet  I^eigh-Peter  Lawford),  with  Don  Weiss 
directing  for  Pandro  S.  Berman.  In  addition, 
producer  Stephen  Ames  and  director  Andrew 
Marion  have  resumed  shooting  on  "The  North 
Country,"  Stewart  Granger  starrer  which  star- 
ted three  months  ago  on  location  at  Sun  Yalley 
and  was  shelved  until  this  time. 

If  there  is  any  truth  to  studio  scuttlebutt — and 
there's  every  reason  to  believe  here  is — Louis 
B.  Mayer's  anticipated  resignation  should  be 
forthcoming  before  the  end  of  the  month.  Mayer 
has  still  not  announced  any  future  affiliation, 
but  he  has  been  holding  conferences  with  several 
important  industry  leaders  away  from  the  Met- 
ro lot. 

(Continued  on  Page  18) 


JUNE    18,  1951 


17 


STUDIO  SIZ6-UPS  1 

{ConlinucJ  In;,,  Vaijr  17) 

MONOGRAM  - AA 

PROFIT  STATEMENT  SHOWS 
BLACK,  MONO-AA  OPTIMISTIC 

What  with  the  company's  operations  mov- 
ing into  the  profit  column  for  the  first  time 
in  more  than  a  year,  and  considerable  more 
revenue  expected  to  come  from  the  projected 
sale  of  much  of  the  library  of  old  films  to 
television,  a  healthy  air  of  optimism  is  begin- 
ning to  pervade  Monogram  and  its  subsidiary, 
Allied  Artists. 

According  to  a  statement  recently  released 
has  racked  up  earnings  of  $258,118  during 
by  Mono  prexy  Steve  Broidy,  the  company 
the  39-\veek  period  just  past.  And,  if  the  sale 
of  old  films  to  television  goes  through  within 
the  current  39-week  frame,  there  is  every 
indication  that  the  profits  may  double  even 
those  of  the  last  period. 

Broidy  has  also  disclosed  that  his  company 
i  taking  over  the  very  lucrative  Bowery  Boys 
series  from  producer  Jan  Grippo,  who  leaves 
the  lot  this  month.  The  deal  included  the  star 
contracts  of  Leo  Gorcey  and  Huntz  Hall, 
held  personally  by  Grippo,  and  which  have 
three  years  yet  to  run.  The  independent  pro- 
ducer retains  all  of  his  rights  to  the  23  "Bow- 
ery" pictures  which  he  has  made  over  the 
six-year  period  he's  been  making  them  for 
Mono  release. 

Production-wide,  the  past  two  weeks  have 
been  equally  impressive  ones.  One  new- 
Allied  Artists  and  one  new  Monogram  fea- 
ture have  started,  two  more  productions  are 
in  the  final  stages  of  preparation  for  filming 
later  this  month,  and  one  Allied  Artists  and 
one  Monogram  picture  have  just  been  turned 
over  to  the  editing  department  for  final  Miip- 
ping. 

The  new  AA  feature  is  "My  Wife  Is  Mine" 
(Rod  Cameron-Florence  Marly)  launched  by 
producer  S.  R.  Dunlap  on  June  11.  The  new 
Monogram  entry  is  "The  Longhorn,"  first 
Wild  Bill  Elliott  starrer  under  his  new  long 
term  pact,  directed  by  Lewis  Collins  and  pro- 
duced by  Vincent  M.  Fennelly. 

Scheduled  to  roll  later  this  month  are: 
"Rodeo,"  a  Cinecolor  feature  starring  Jane 
Nigh,  directed  by  William  Beaudine  for 
Walter  Mirisch,  and  "Joe  Palooka  in  Hitch 
Hike  Killer"  (Joe  Kirkwood  -  Cathy  Owens), 
a  Hal  Chester  production. 

PARAMOUNT 

PAR.  INKS  2-YEAR  PACT 
FOR  EIGHT  BY  PINE-THOMAS 

All  upper  strata  personnel  at  Paramount 
have  been  notified  that  they  need  have  no 
fear  of  salary  cuts.  One  reason  for  this,  it  is 
understood,  has  been  the  long-time  effort  of 
the  company  to  hold  salaries  at  a  sensible 
level,  even  at  a  time  when  other  studios  were 
skyrocketing  salaries  of  their  key  personnel. 

Pine-Thomas,  within  the  past  fortnight, 
inked  a  new  two-year  deal  with  Paramount 
for  production  of  a  minimum  of  eight  pic- 
tures, three  of  which  are  already  in  prepara- 


tion. The  new  contract  goes  into  effect  next 
year  and  involves  close  to  $10,000,000.  This 
does  not  necessarily  mean  that  the  budgets 
on  the  eight  pictures  will  consume  that 
amount  of  money,  but  merely  that  the  sum 
will  be  available  for  production  costs  and 
expenditures  on  television  prints,  should  the 
situation  demand  it. 

Pine-Thomas  must  still  deliver  four  pic- 
tures to  Paramount  under  the  old  contract, 
which  has  a  year  to  run.  Two  of  these  "Cross- 
winds"  and  "Hong  Kong",  both  in  Techni- 
color, are  already  completed.  Coming  up  are 
"The  Lumberjack  and  the  Lady,"  and  "Carib 
Gold,"  both  to  be  filmed  in  Technicolor. 

Cecil  B.  De  Mille  has  wound  his  epic  circus 
picture,  "The  Greatest  Show  On  Earth,"  after 
83  days  of  sporadic  shooting.  He  will  spend 
the  next  two  months  editing  and  dubbing 
the  multi-million  dollar  Technicolor  feature, 
which  is  slated  for  a  1952  release. 

Only  one  new  picture  has  started  since 
FILM  BULLETIN  last  went  to  press,  leav- 
ing the  number  of  pictures  shooting  at  four. 
The  new  starter  is  the  Technicolor  outdoor 
epic,  "Warbonnet"  (Charlton  Heston  -  Peter 
Hanson).  George  Marshall  is  directing  for 
producer  Mel  Epstein.  Others  still  before 
the  cameras  are:  "My  Son  John"  (Helen 
Hayes),  produced  and  directed  by  Leo  Mc- 
Carey;  "Aaron  Slick  From  Punkin'  Crick" 
(Dinah  Shore  -  Alan  Young  -  Robert  Mer- 
rill), a  Perlberg-Seaton  Technicolor  musical, 
and  "Rage  of  the  Vulture"  (Deborah  Kerr  - 
Alan  Ladd),  which  was  called  back  before 
the  cameras  for  additional  scenes,  after  pro- 
ducer Everett  Riskin  and  director  Charles 
Yidor  had  once  called  it  completed. 

Two  additional  pictures  are  set  to  roll 
later  this  month.  They  are:  Nat  Holt's  "The 
Denver  and  Rio  Grande"  (Edmond  O'Brien  - 
Sterling  Hayden).  Technicolor  outdoor  drama 
directed  by  Byron  Haskin,  and  "Anything 
Can  Happen,"  a  new  Perlberg-Seaton  comedy 
starring  Jose  Ferrer  and  Kurt  Krasner. 

REPUBLIC 

REP.  MAKES  DEAL  WITH 
AFM,  RESCORE  OLDIES  FOR  TV 

After  two  years  of  negotiations  with  the 
American  Federation  of  Musicians,  Repub- 
lic has  finally  completed  a  deal  making  it 
possible  to  dispose  of  the  company's  vast 
library  of  old  films  to  television.  A  group  of 
the  old  pictures  are  currently  being  rescored 
in  accordance  with  the  agreement,  and  prexy 
Herbert  Yates  is  momentarily  expected  to 
announce  a  sale  of  some  of  the  film  prop- 
erties. 

Yates  has  declined  to  comment  on  the 
number  of  films  which  will  be  offered  to 
television,  pending  a  study  of  the  cost  in- 
volved in  the  rescoring.  However,  he  did  in- 
dicate tint  there  will  be  a  continuous  flow 
of  Republic  properties  into  the  television  field 
if  the  venture  does  prove  to  be  profitable. 

The  company  has  also  relaxed  its  stand 
against  contract  stars  appearing  on  live  tele- 
vision shows,  at  least  as  far  as  Roy  Rogers  is 
concerned.  However,  even  this  concession 
has  not  lassoed  the  western  star  back  into 
the  Republic  corral  following  the  termination 
of  his  old  contract  a  few  weeks  ago.  As  a 
matter  of  fact,  it  seems  evident  that  Yates 


had    anticipated   trouble   on   renewing   the  I 
Rogers  pact  as  long  ago  as  last  summer,  I 
when  he  signed  Rex  Allen  to  a  termer  and  | 
started  giving  him  a  big  build-up.  At  the 
present  time,  the  publicity  department  at  the  I  1 
studio  is  referring  to  Allen  as  "the  king  of  the  ■ 
cowboys." 

Production    has    slowed   down   somewhat  | 
this  month,  albeit  filming  has  gotten  under- 
way on  one  of  the  highest  budget  features  . 
to  be  released  by  the  company  this  year.  On  |j 
June  4,  John  Ford  started  the  cameras  roll-  I 
ing  in  Ireland  on  his  million  dollar  produc-  | 
tion,  "The  Quiet  Man"  (John  Wayne  -  Maur- 
een O'Hara  -  Barry  Fitzgerald).  Three  days  1 
later,  director  Phil  Ford  and  producer  Mel  ' 
Tucker  launched  production  on  the  new  Rex  i 
Allen  starrer,  "Utah  Wagon  Trail." 

One  picture,  "Flight  From  Fury"  (Penny  I 
Edwards  -  Robert  Clark),  reported  last  is-  i 
sue,  has  been  completed. 

RKO 

ONE  FILM  ROLLING  AS  RKO 
STEPS  UP  RELEASE  SCHEDULE 

Only  one  picture,  "The  Las  Vegas  Story"  II 
(Jane  Russell  -  Victor  Mature)  has  been  I  I 
shooting  at  RKO  during  the  first  part  of  81 
June.  The  tentatively-titled,  "They  Sell  Sail-  I 
ors  Elephants,"  co-starring  Groucho  Marx  I  I 
and  Marie  Wilson,  was  to  have  started  on  I  I 
June  11,  but  is  held  up  pending  Miss  Wilson's  II 
recovery  from  a  recent  bout  with  blood-  II 
poisoning.  Irving  Allen,  however,  had  his  II 
"Slaughter  Trail"  (Brian  Donlevy  -  Gig  1 1 
Young)  back  before  the  cameras  for  a  few  IP 
days  to  add  some  new  scenes  in  an  effort  to  9  . 
give  it  added  production  value. 

The  only  new  starter  slated  for  the  re-  Hi 
mainder  of  the  month  is  the  Wald-Krasna  ■ 
comedy,  "High  Heels."  which  Harriet  Par-  | 
sons  will  produce.  No  director  or  cast  has 
yet  been  announced. 

Samuel  Goldwyn  starts  filming  his  next 
feature,  "I  Want  You"   (Farley  Granger  -  I 
Dana  Andrews  -  Dorothy  McGuire),  on  June 
18.  Mark  Robson  will  direct. 

RKO's  backlog  of  pictures,  probably  the 
largest  in  the  company's  history,  will  be 
somewhat  depleted  following  Howard  Hugh- 
es' announcement  that  RKOV  distribution 
schedule  is  to  be  stepped  up.  starting  with 
the  release  of  a  total  of  33  films  during  the 
balance  of  1951. 


20th  CENTURX-FOX 

BIG  PRODUCTION  PLANS 
CHEER  WORRIED  FOX  EXECS 

News  from  the  home  office  in  New  York 
that   Fox  has  allocated  a  production  budget 
of  $50,400,000  for  36  films  to  be  turned  out 
for  release  during  1952.  plus  the  announce-l  I 
ment  that  the  company  is  amending  its  orig-l 
inal  salary  reduction  plan  to  allow  those  af-l 
fected  to  recoup  their  entire  cuts  have  com-|  1 
bined  to  create  an  atmosphere  of  enthusiasm!  j 
on  the  Westwood  lot,  where,  only  a  couple  oiml 
weeks  ago,   there   was  a  yeiu-ral   feeling  ofL 
fear  and  trepidation.  ! 

(Continued  on  Page  20) H 


FILM  BULLETIN 


100  THEATRES  WHOOP  IT  UP 
FOR  A  GREAT  ACTION  SHOW! 


iflmfiaMMMMBMWHIMlllMI 
Yes,  sir!  Four  hundred  thee 


an;  .ww.  i.w.iuim  .neatres  in  the  Kansas  City,  Salt 
Lake,  Oklahoma  City  and  Denver  Exchange  territories 
grouped  for  mid-June  and  early  July  to  launch  RKO's 
sensational  saga  of  hot  lead  and  cold  courage!... 
Happy  showtime  excitement  and  ballyhoo  sweeping 
like  wildfire  across  the  prairies  to  the 
mountains,  for  the  one  big  show  as  V~  •  f 

glorious  as  the  West  it  pictures!      ^fcTf  I  |  ' 


W^TECH 


COLOR  BY 

TECHNICO 


starring 


ROBERT  RYAN  •  CLAIRE  TREVOR 
JACK  BUETEL  •  ROBERT  PRESTON 

with  WALTER 

BRENNAN 

JOHN  ARCHER  IT 
LAWRENCE  TIERNEY 

1NR 


Directed  by  WILLIAM  D.  RUSSELL  .  Screenplay  by  ROBERT  HARDY  ANDREWS  and  JOHN 


[  studio  sizeups  : 

(Continued  frotn  Page  18) 

Under  the  amended  salary  reduction  plan, 
employees  may  be  able  to  regain  the  -alary 
losses  on  an  accumulative  basis  out  >f  the 
profits  for  the  entire  two-and-one-hall"  y  ar 
period.  All  of  the  130  top  employees  who 
have  been  asked  to  participate  in  the  stabili- 
zation plan  will  share  in  SO  percent  of  the 
profits  of  the  company,  up  to  the  point 
where  their  original  salary  will  be  resto.ed. 

In  view  of  this,  it  would  seem  that  the 
Screen  Producer's  Guild  and  the  Screen 
Writer's  Guild  are  being  unnecessarily  dif- 
ficult in  urging  their  members  not  to  accept 
the  voluntary  reductions  until  a  special  com- 
mittee has  been  appointed  to  thoroughly  in- 
vestigate the  matter. 

Further  evidence  that  production  chief 
Darryl  F.  Zanuck  intends  to  operate  the  com- 
pany along  firm  business  lines,  was  the  sus- 
pension of  Tyrone  Power  for  refusing  to  play 
an  assigned  role.  This  suspension,  on  the 
heels  of  the  one  recently  meted  out  to  Betty 
Grable,  should  serve  notice  to  other  stars  on 
the  Fox  roster  that  these  are  times  when 
employees  must  bend  to  studio  orders  without 
the  usual  Hollywood  bickering. 

Zanuck  wasted  no  time  in  replacing  Power 
for  the  starring  role  in  "Lydia  Bailey,"  so 
that  the  big  Technicolor  feature  would  not 
be  delayed  in  starting  on  schedule,  June  11. 
Newcomer  Dale  Robertson  took  over  the 
role,  under  the  direction  of  Jean  Negulesco. 
Jules  Schermer  is  the  producer.  The  only 
other  new  picture  to  go  before  the  cameras 
since  the  first  of  the  month  is  "The  Marriage 
Broker"  (Jeanne  Crain  -  Thelma  Ritter), 
hudgeted  in  the  million  dollar  class,  and  di- 
rected by  George  Cukor  for  producer  Charles 
Brackett.  Three  other  features  are  still  shoot- 
ing, following  earlier  starts:  "Golden  Girl," 
George  Jessel's  Technicolor  musical  starring 
Dennis  Day  and  Mitzi  Gaynor;  "Let's  Make 
It  Legal"  (Claudette  Colbert  -  MacDonald 
Carey),  Robert  Bassler  producing,  and  "Viva 
Zapata"  (Marlon  Brando  -  Jean  Peters), 
which  Elia  Kazan  is  directing  for  Air.  Zanuck 
in  Mexico.  "Let's  Make  It  Legal",  incident- 
ally, is  something  of  an  experiment  in  short- 
schedule  shooting  for  Fox,  having  been  set 
for  only  three  weeks  of  camera  work. 

Two  additional  productions  will  roll  this 
week.  They  are:  "Mabel  And  Me,"  a  Dan 
Dailey  comedy,  produced  by  Fred  Kohlmar 
and  directed  by  Henry  Levin,  and  "The  Jane 
Froman  Story"  (Susan  Hay  ward  -  Rory  Cal- 
houn -  David  Wayne),  with  Walter  Lang 
megging  for  Lamarr  Trotti. 


UNITED  ARTISTS 

AROUSED  INDE  ACTIVITY 
EXPANDS  UA  RELEASE  SLATE 

The  growing  optimism  that  has  suddenly 
descended  on  Hollywood  producers  within  the 
past  month  is  resulting  in  the  greatest  expan- 
sion of  independent  motion  picture  produc- 
tion in  more  than  two  years.  Consequently, 
UA  should  be  in  a  position  to  pick  and 
choose  at  will,  before  long,  in  lining  up  the 


large  releasing  slate  which  executives  of  the 
company  have  promised  for  1952. 

UA's  president,  Arthur  Krim,  left  Holly- 
wood in  high  spirits  for  two  weeks  of  home 
office  conferences.  In  a  meeting  with  one  of 
the  many  independent  producers  with  whom 
he  has  been  discussing  distribution  deals, 
Krim  expressed  complete  confidence  that  the 
company  would  have  the  most  impressive 
array  of  pictures  ever  assembled  by  the  com- 
pany in  a  single:  year. 

Just  prior  to  his  departure  for  the  home 
office  confads,  Krim  inked  a  distribution  deal 
with  Mike  Phillips,  prexy  of  Demyrtha  Pro- 
ductions, for  two  pictures,  "Double  Cross" 
and  "Eleven  Days."  The  pictures  will  carry 
budgets  from  $200,000  to  $250,000.  the  financ- 
ing having  already  been  arranged  through 
bank  and  private  interests.  "Double  Cross," 
the  first  of  the  pair  to  be  filmed,  is  expected 
to  get  away  around  July  1. 

There  is  also  a  better  than  even  chance, 
FILM  BULLETIN  hears,  that  UA  may 
latch  onto  a  choice  releasing  contract  with 
Alan  Ladd,  which  would  be  a  real  boon  for 
the  company.  Ladd,  who  has  just  set  up  his 
own  Ladd  Enterprises  for  production  of  mo- 
tion pictures,  TV  film  series  and  radio,  ex- 
pects to  start  production  on  his  story  prop- 
erty, "Shadow  Riders  of  the  Yellowstone," 
shortly  after  the  expiration  of  his  Paramount 
pact  in  November  1952. 

Two  pictures  are  at  present  in  production 
for  UA  release.  The  first,  "The  Big  Night," 
Phillip  Waxman  production  starring  John 
Barrymore,  Jr.,  has  been  filming  since  May 
21.  And  on  June  11,  Frank  Melford's  Cen- 
tura Pictures  Company  started  location  lens- 
ing  on  "Fort  Defiance"  (Dane  Clark  -  Ben 
Johnson  -  Peter  Graves).  John  Rawlins  di- 
rects the  latter  on  a  budget  reported  to  be 
in  the  neighborhood  of  $200,000. 

UNIVERSAL-INTERNAT'L 

20  IN  N-l  BACKLOG,  TO 
START  17  MORE  BY  SEPT. 

Universal-International  is  in  second  place 
among  Hollywood  studios  in  the  number  of 
films  slated  for  production  during  the  norm- 
ally lethargic  summer  season.  According  to 
the  most  recent  revisions  in  the  production 
slate,  studio  topper  Bill  Goetz  will  greenlight 
a  total  of  17  pictures — most  of  them  above 
the  medium  budget  range — between  now  and 
September.  And  with  a  backlog  of  20  com- 
pleted and  unreleased  films  in  the  vaults,  U-I 
i>  in  oiie  of  the  strongest  positions  in  many 
years,  product-wise. 

Within  the  past  fortnight,  the  company  has 
finished  shooting  on  three  pictures  and 
launched  four  new  ones.  "Finder's  Keepers" 
(Tom  Ewell  -  Julia  Adams),  and  "Reunion 
in  Reno"  (Mark  Stevens  -  Peggy  Dow  -  Gigi 
I'erreau),  wound  on  June  6.  Both  were  pro- 
duced by  Leonard  Goldstein,  with  Frederick 
de  Cordova  directing  the  former,  and  Kurt 
Neumann  the  latter.  "The  Door"  (Charles 
Laughton  -  Boris  KarlofT  -  Sally  Forrest), 
finished  the  day  following,  Joseph  Pevney 
having  directed  the  film  for  Ted  Richmond. 

First  of  the  new  pictures  to  roll  was  "  The 
Treasure  of  Franchard"  (William  Powell  - 
Julia  Adams),  Technicolor  production  which 
went  into  the  works  on  location  at  Burney, 


California,  June  7,  with  Ted  Tetzlaff  direct- 
ing and  Leonard  Goldstein  producing. 
"Weekend  With  Father"  (Van  Heflin  -  Pa- 
tricia Neal  -  Richard  Denning  -  Gigi  Per- 
reau),  started  on  June  11,  directed  by  Doug- 
las Sirk,  with  Leonard  Goldstein  again  pro- 
ducing. "Meet  Danny  Wilson"  (Shelley  Wint- 
ers -  Frank  Sinatra),  which  Joseph  Pevney 
directs  for  producer  Goldstein,  and  "Here 
Come  the  Nelsons"  (Ozzie  and  Harriet  Nel- 
son), directed  by  Frederick  de  Cordova  and 
produced  by  Aaron  Rosenberg,  both  roll  this 
week.  One  other  picture,  "The  Cimarron 
.Kid,"  Technicolor  western  starring  Audie 
Murphy,  continues  before  the  cameras,  hav- 
ing started  May  16. 

WARNER  BROTHERS 

WARNERS  ON  SPREE  WITH 
HEAVIEST  POSTWAR  PROGRAM 

Jack  L.  Warner  has  launched  his  company 
on  one  of  the  heaviest  production  sprees 
since  the  war.  In  a  meeting  with  the  press 
earlier  this  month,  the  studio  chieftain  dis- 
closed that  he  has  completed  a  long-range 
production  program  covering  52  pictures  of 
which  14  are  either  already  underway  or  are 
set  to  start  within  the  next  90  days.  In  addi- 
tion, 38  other  properties  are  in  various  stages 
of  story  preparation,  indicating  that  there  is 
likely  little  truth  to  he  persistant  rumors  that 
the  three  brothers  are  still  negotiating  for 
sale  of  their  holdings. 

Two  new  pictures  started  this  month  — 
Cagney  Production's  Technicolor  feature 
"Bugles  in  the  Afternoon"  (Ray  Milland  - 
Forrest  Tucker  -  Hugh  Marlowe  -  Helena 
Carter),  and  "The  Tanks  Are  Coming" 
(Steve  Cochran  -  Eve  Miller).  Roy  Rowland 
is  directing  the  former,  with  William  Cagney 
personally  handling  the  production  chores. 
Lew  Seiler  directs  the  latter,  which  went  be- 
fore the  cameras  at  Fort  Knox,  Ky.,  under 
the  production  of  Bryan  Foy.  Starting  last 
month  but  still  filming  are:  "Starlift"  (James 
Cagney  -  Virginia  Mayo  -  Doris  Day  -  Ruth 
Roman  -  Gordon  MacRae),  and  "Come  Fill 
My  Cup"  (James  Cagney  -  Phyllis  Thaxter). 

Of  the  remaining  pictures  included  in  the 
fourteen  set  for  filming  within  the  next  90 
days,  the  following  are  Hearing  the  camera- 
work stage:  "The  Will  Rogers  Story,"  "The 
Gus  Kahn  Story,"  "Room  For  One  More," 
"Where's  Charley,"  and  "Bugles  in  the  After- 
noon." Late  summer  starters  will  include: 
"The  Crimson  Pirate,"  "The  Big  Trees," 
"Miss  America,"  "Springfield  Rifle,"'  "Mara 
Maru,"  and  "A  Lion  Is  in  the  Streets." 

Of  no  little  interest  is  the  Warner  dis- 
closure that  his  company  has  now  perfected 
its  own  color  system,  and  will  unveil  it  in 
the  near  future  with  a  Gordon  Hollingshead 
short.  The  first  feature  production  earmark- 
ed for  the  new  color  process  is  Bryan  Foy's 
forthcoming  production  of  "Blue  Stallion." 

Distribution  arrangements  have  been  com- 
pleted between  Warner  and  A.  Pain  Blumen- 
thal,  of  Fidelity  Pictures,  whereby  Warners 
will  release  Fidelity  productions.  The  first 
picture  to  be  released  under  this  agreement 
will  be  "San  Francisco  Story"  (Joel  McCrea). 
Shooting  will  start  about  August  1,  with  a 
new  one  starting  every  forty  days  over  a  21- 
month  period.  Howard  Welsch  will  be  in 
charge  of  production. 


20 


FILM  BULLETIN 


Sit  art  Subjects 


By  BARN 


VDVERTISING  manager  Si  Seadler. 
F  '  who  has  a  way  with  words,  puts  the  movie 
industry's  case  in  neat,  concise  form  in  an 
jarticle.  "Speak  Up,  Movie  Folk!  It's  Your  In- 
jdustry  They're  Knocking !"  which  is  being  dis- 
Itributed  by  COMPO  to  all  branches  of  the 
business.  "Whether  you're  an  usher  or  a  vice- 
Ipresident.  a  studio  worker  or  a  film  salesman, 
lyou  earn  you're  living  in  the  film  business,  it's 
(high  time  you  answered  idle  gossip  with 
[FACTS."  says  Seadler.  "It's  your  livelihood 
(that's  being  torn  down.  Next  time  you  hear 
[someone  attack  your  business,  fight  back !"  He 
[goes  on  to  list  some  sample  answers  to  the  gard- 
en variety  of  irresponsible  statements  that  are 
heard  every  day  by  industryites — and,  too  often 
[left  unanswered,  thus  assuming  the  standing  of 
I  fact.  You  know  these  canards:  "Pictures  are 
lousy."  "Hollywood's  a  den  of  iniquity,"  "The 
I  movie  business  is  full  of  Communists,"  "Movies 
breed  juvenile  delinquency,"  and  all  the  other 
slurs  on  a  great  industry.  But  do  you  know 
what  to  say  when  you  hear  them,  or  do  you 
just  sit  glumly  by  and  give  your  tacit  agree- 
Iment  by  not  showing  up  the  statements  with 
logical,  irrefutable  facts?  You'll  be  doing  your- 
self and  the  industry  that  puts  the  bread  in  your 
mouth  a  good  turn  if  you  get  hold  of  the  Sead- 
ler pamphlet  and  speak  up  when  your  indus- 
try is  being  knocked. 

THE  NEW  YORK  Sunday  News  of  June  17 
is  going  to  look  like  a  fan  magazine.  The 
front  page  has  a  full-page  photo  of  U.  S.  Navy 
frogmen  crawling  on  a  beach  near  the  Xaval 
Amphibious  Base  at  Little  Creek,  Ya.,  taken 
during  the  recent  press  junket  held  by  20th 
Century-Fox  at  the  base.  Inside,  on  pages  14-15, 
is  a  picture  spread  on  the  rigors  of  training  for 
the  hardy  tadpoles  who  would  emerge  as  full- 
fledged  frogmen,  and  a  plug  for  the  Fox  film 
on  the  subject,  "The  Frogmen." 

In  the  roto  section  of  the  same  paper,  also  in 
both  the  local  and  national  editions,  will  be  a 
spread  featuring  the  old-time  circus  ballyhoo 
which  has  put  United  Artists'  "Fabiola"  among 
the  current  top-grossers.  The  spread  features 
the  Lucullan  feast  staged  in  New  Orleans  for 
the  world  premiere,  executed  by  Murray  Roman 
of  exploitation  head  Mori  Krushen's  staff.  The 
banquet,  simulating  the  feast  shown  in  the  film, 
held  in  the  celebrated  New  Orleans  restaurant. 
Arnaud's,  has  all  the  trimmings  of  the  ancient 
orgies,  with  beautiful  "slave  girls",  "gladiators", 
lion  cubs,  etc.  Included  are  shots  of  Mayor  de 
Lesseps  Morrison  and  producer  Jules  Levey 
decked  out  in  togas. 

CLEEPWALKERS    of    the    world,  awake! 

Somnambulism  is  finally  going  to  pay  off. 
Anybody  who  walks  in  his  (or  her)  sleep  will 
get  a  pass  from  20th  Century-Fox  to  a  special 
showing  of  "Half  Angel",  at  the  Roxy.  It 
seems  that  Loretta  Young,  who  is  co-starred  in 
the  film  with  Joseph  Cotten,  gets  into  all  sorts 
of  romantic  complications  because  of  her  "pro- 
clivity for  somnambulism",  it  says  in  the  Fox 
release  (showoffs!),  and  the  stunt  has  just 
enough  schmaltz  to  get  a  neat  bit  of  publicity. 
To  get  the  Annie  Oakley,  all  you  have  to  do  is 
get  a  note  from  your  doctor  testifying  that  you 
walk  m  your  sleep.  Upon  receipt  of  the  testi- 


METRO'S  SEADLER 

Slur-Slugger 


monial,  20th-Fox  will  supply  the  afflicted  one 
with  a  free  ducat  for  the  special  showing.  The 
thought  occurs  that  Fox  must  be  doggone  sure 
of  the  entertainment  value  of  the  film.  Some  of 
these  characters  could  go  into  their  act  at  the 
showing  and  wouldn't  a  lot  of  faces  be  red  if 
a  few  members  of  the  audience  started  to  par- 
ade through  the  aisles  and  (heaven  forbid!) 
walked  out  of  the  theatre. 

THE  SUCCESS  which  greeted  the  initial 
"Look  Forward-Go  Forward"  showings  of 
Warner  Bros,  four  top  productions  in  New  York 
on  May  31-June  1,  was  duplicated  last  week 
when  some  2500  theatre  owners,  managers  and 
bookers  in  each  exchange  city  turned  out  for 
the  two-day  showings.  It  was  a  heartwarming 
reaction  for  sales  vice-president  Ben  Kalmen- 
son,  ad-publicity  c.p.  Mort  Blumenstock  and 
the  rest  of  the  WB  staff  who  have  received 
a  welcome  shot-in-the-arm  with  the  company's 
expanded  plans  after  some  jittery  days. 

IT  TOOK  three  theatres  in  Albuquerque  (pop. 

circa  40.000)  to  take  care  of  the  crowds  for 
the  world  premiere  of  Paramount's  "Ace  in  the 
Hole,"  June  14.  Jerry  Pickman,  Paramount  ad- 
publicity  chief  and  an  old  hand  at  staging 
world-preems,  stopped  off  at  the  New  Mexico 
town,  site  of  the  film's  story,  to  see  that  all  was 
in  order  enroute  from  Hollywood  to  New  York. 
The  shindig  was  right  up  to  the  Pickman  par. 
Kirk  Douglas  and  Jan  Sterling,  stars  of  the 
film,  sparked  the  two-day  celebration  as  an  esti- 
mated 75.000  flocked  into  the  town  for  the  festi- 
vities. With  local  excitement  whipped  to  a  high 
pitch  by  cooperating  merchants  (who  handled 
distributing  of  15.000  heralds),  newspapers  and 
radio  stations  in  Albuquerque  and  Santa  Fe.  the 
big  day  saw  a  giant  parade  of  cowboys,  Indians, 
civic  groups  and  school  children  of  both  towns, 
followed  by  a  barbecue  for  the  benefit  of  local 
charities  and  climaxed  by  the  stars'  appearances 
at  each  of  the  three  theatres. 


IJN'ITED  ARTISTS  is  going  all  out  to  sell 
"Cyrano  de  Bergcrac"  for  its  "mass  appeal". 
A  circular  that  is  covering  every  active  theatre 
in  the  country  is  being  distributed  through  each 
of  UA's  local  exchanges  and  represents  the 
opening  gun  in  the  campaign.  Half  a  million 
copies  of  a  comic  book  telling  the  Rostand  story 
have  already  been  sold.  "This  means,"  says  the 
circular,  "that  millions  have  already  thrilled  to 
the  high  adventure,  the  brilliant  sword  play, 
the  smashing  action  and  the  swashbuckling 
romance  of  this  magnificent  story  on  the  basic 
level  represented  by  the  comic -recuthuj  public. 
Additionally,  the  pamphlet  stresses  the  millions 
who  have  head  the  Rostand  original,  and  of 
course,  star  Jose  Ferrer's  Oscar-winning  per- 
formance. 

THE  OULD  SOD  is  going  to  get  a  Variety 
Tent.  Application  for  the  newest  member  of 
the  famed  show  business  organization  was  re- 
ceived by  International  Chief  Barker  Marc  J. 
Wolf,  and,  barring  unforeseen  complications, 
will  be  known  as  Tent  #41  of  Ireland.  The 
eleven  men — as  required  by  the  VC  constitution 
— who  applied  for  the  Charter,  who  will  be  the 
first  crew  and  officers,  are  all  members  of  the 
motion  picture  industry:  Louis  Elliman,  Odeon 
Ireland  ltd.;  C.  B*.  Sheridan,  Adelphia  Dun- 
laoghaire:  A.  Elliamn.  Odeon  Ireland:  Patrick 
Farrel.  Capitol  &  Allied  Cinemas  Ltd. ;  J.  Lyons, 
M-G-M;  B.  T.  Britten,  20th  Century-Fox;  M 
Baum.  Roxy.  Forum  "and  other  cinemas";  N. 
Barfield,  Paramount  Film  Service  Ltd.;  D.  O'- 
Keefe.  Carlton  Cinema ;  Peter  Farrell,  Capitol  ft 
Allied  Cinemas  Ltd. ;  V.  Garland,  Republic  Pic- 
tures Ltd.  Clubrooms  for  the  new  Ireland  Tent 
will  be  in  Dublin's  Shelbourne  Hotel.  Interest  is 
so  widespread,  it  is  reported,  that  more  thati  a 
hundred  applications  for  membership  have  al- 
ready been  received  despits  the  fact  that  Inter- 
national Canvassmen  have  not  yet  voted  on  the 
Charter  for  the  applicant. 

AI  MEN  AND  THINGS:  Paramount'.  AI 
Schwalberg  did  a  Jessel  at  the  Harry  Fein- 
stein  Testimonial  Dinner  by  Pittsburgh  Variety 
Tent  #1  last  Tuesday  (12th)  to  honor  the  new 
Warner  Theatres  New  England  Zone  manager. 
Other  execs  who  paid  tribute  to  Feinstein  were 
WB  sales  head  Ben  Kalmenson,  WB  Theatres 
general  manager  Harry  Kalmine,  Universale 
Maurice  Bergman.  Paramount's  Ted  O'Shea, 
Lippert's  Arthur  (Ireenblatt  and  WB  division 
manager  Jules  Lapides  .  .  .  Francis  S.  Harmon's 
resignation  as  a  vice-president  of  the  MPAA 
due  to  ill  health  was  accepted  with  reluctance 
and  paeans  of  praise  for  the  valuable  services 
rendered  the  industry  since  1937  when  Harmon 
joined  the  Ass'n  as  executive  assistant  to  the 
president  .  .  .  Joyce  O'Hara  was  named  a  vice 
president  of  the  MPEA  at  a  board  meeting  at 
which  all  incumbent  officers  were  reelected  .  .  . 
The  appointment  of  Moe  Levy  as  Mid- Western 
division  manager  for  20th-Fox  moves  the  head- 
quarters for  that  division  to  Minneapolis  .  .  . 
Peter  Myers  moves  up  from  20th-Fox  Toronto 
branch  manager  to  head  the  Canadian  division. 
Phil  Sherman  takes  over  Myers'  branch  spot  .  .  . 
H.  L  Frost,  former  MGM  circuit  sales  manager 
in  Milwaukee  and  Giicago  becomes  Monogram- 
AA's  Kansas  City  branch  manager  today  (18th). 


JUNE     18,  1951 


21 


EXPLOITATION  PICTURE 


OSCAR  -  WIMER  WILRER  HAS  'ACE' 

"Ace  in  the  Hole"  Has  Strang,  Novel  Tale 

The  sharp-pointed  pen  and  directorial  genius  of  Billy  Wilder  has  rarely  failed 
to  manufacture  top  quality  merchandise.  In  "Ace  in  the  Hole",  the  eminent  writer- 
director  land,  in  this  case,  producer)  seems  to  have  the  makings  of  another  screen 
drama,  characterized  by  the  unusual  themes  and  twists  that  have  marked  Wilder's 
previous  efforts  like  "'Lost  Weekend""  and  "'Sunset  Boulevard."  On  this  count  alone, 
"Ace  in  the  Hole"  bears  a  potent  exploitation  potential. 

There  are  others,  however,  just  as  important.  The  story  has  angles  that  are 
more  often  found  in  real  life  drama  than  on  the  screen.  The  despair  of  a  cave-in 
victim  while  he  awaits  rescue;   the  great 


crowds  that  converge  on  the  disaster  scene 
and  the  parasitic  concessionaires  who  turn 
it  into  a  macabre  carnival ;  newspapermen 
who  act  like  members  of  the  press  rather 
than  the  Hildv  Johnson  caricature  of  the 
fourth-estaters.  For  dramatic  pace  and 
suspense.  Vi  ilder  has  centered  the  camera 
on  a  reporter,  who.  envisioning  fame  in  his 
profession  deliberately  keeps  the  impris- 
oned man  from  rescue  while  he  builds 
nationwide  fame  as  the  "exclusive"  source 
for  the  dramatic  bulletins.  His  romance 
with  the  dving  man's  trollopy  wife  and  his 
death  at  her  hands  are  additional  punch- 
packers,  along  with  the  ironic  ending, 
wherein  the  dying  reporter's  attempts  to 
tell  the  truth  and  gain  a  real  scoop  meets 
dismal  failure. 

All  of  this  is  strong  exploitation  meat. 
Just  as  flavorsome  are  the  stars.  Kirk 
Douglas  has  developed  into  a  top-flight 
attraction  ever  since  "Champion"  put  him 
into  stellar  ranks.  In  this  film,  as  the 
tough  newspaperman.  Douglas  has  the 
build  and  the  powerful  personality  to 
bring  him  the  same  "tough  guy"  magne- 
tism that  endeared  Cagney  and  Bogart  to 
movie  audiences.  His  slapping  around  of 


co-star  Jan  Sterling  is  a  thing  of  beauty 
and  is  very  likely  going  to  have  the  un- 
predictable fair  sex  sighing.  Paramount, 
incidentally,  has  some  special  material 
available,  entitled  "How  to  Behave  With 
The  Ladies  ..."  which  should  give 
this  angle  some  high-powered  publicity  in 
newspaper  plants.  It  shows  Douglas 
strangling  the  fair  Sterling  with  a  fur 
scarf,  as  well  as  some  other  scenes  from 
earlier  films  depicting  the  gals  being  man- 
handled by  other  screen  "he-men." 

The  blond  Miss  Sterling,  too.  has  plenty 
to  offer  for  ballyhoo  purposes.  One  of  the 
fastest-rising  stars,  Jan's  physical  attributes 
are  nothing  to  dismiss  easily.  On  top  of 
that,  she  gives  as  good  as  she  takes,  dash- 
ing her  pinking  shears  into  the  ruged 
Douglas  abdomen.  In  conjunction  with 
this,  Paramount  has  concocted  a  layout 
showing  this  scene  along  with  others  where 
the  "weaker"  sex  gives  the  poor  male 
victim  what-for. 

The  newspaper  ads,  too,  are  in  the  sock 
category.   Those  shown  below  can  give  a 


By  hiding  easy  rescue  method,  Dougla 
has  thousands   flocking  to  scene,  concesionair 
turn  it  into  a  macabre  midwav. 


fair  idea  of  th 


lints  mentioned  above. 


Aware  the  trapped  man  may  die,  Dougla! 
lents,  has  violent  argument  with  Sterling, 
tempts    to    choke    her.     She   stabs  him 


ACE  m  THE  HOLE 

Bill v  Wilder,  who.  with  Charles  Brackett.  has  been  responsible  for  a  high 
quota  of  Hollywood's  off-the-heaten-track  films  —  "Lost  Weekend"  and 
"Sunset  Bouleyard"  were  theirs  —  that  have  garnered  multiple  Oscars,  adds 
another  unusual  drama  to  the  distinguished  list.  Doubling  as  producer-director 
and  also  collaborating  on  the  screenplay.  Wilder  has  etched  a  powerful  study 
of  an  unscrupulous,  discredited  newspaperman  who  attempts  to  get  hack  in 
the  big  time  via  the  exclusive  coverage  of  a  man  trapped  in  a  New  Mexican 
Indian  rock-dwelling.  With  a  canny  regard  for  the  news  and  dramatic  value 
of  such  a  situation,  (remember  how  the  entire  nation  hung  on  the  new-  of  a 
small  girl  trapped  in  unused  oil  well,  or  the  similar  plight  of  a  man  from 
Brooklyn  who  staved  alive  for  68  hours  while  rescue  workers  attempted  his 
removal),  Wilder  has  combined  human  interest  with  irony,  compassion  and 
suspense.  "Ace  in  the  Hole"  is  powerful  entertainment  that  may  offend  some, 
but  will  undoubtedly  cause  the  kind  of  talk  that  sells  seats. 


m 


6XHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


ATO  o)  Indiana 

BAD  PRINTS 

Motion  picture  contracts  are  filled  with  every 
conceivable  clause  for  the  protection  of  the  dis- 
tributor, but  it  is  certainly  also  a  part  of  that 
agreement  that  after  an  exhibitor  contracts  for 
a  picture  he  is  to  receive  a  copy  of  a  print 
"suitable  for  exhibition."  Suitable  for  exhibition 
does  not  mean  that  after  the  theatre  projectionist 
has  done  a  certain  amount  of  preparatory 
work  at  the  theatre.  At  present,  exhibitors  are 
receiving  their  prints  in  every  sort  of  way — 
heads  out,  tails  out,  emulsion  up  and  emulsion 
down. 

The  reason  for  this  is  that  some  "efficiency 
expert"  has  figured  out  that  the  film  compan- 
ies could  cut  down  on  the  number  of  people 
employed  in  the  inspection  rooms  if  reels  were 
never  rewound  more  than  once  in  the  inspec- 
tion process. 

Making  projectionists  do  exchange  work  is 
creating  a  complicated  problem  with  many  thea- 
tre owners.  Some  prints  have  to  be  rewound 
twice  and  the  automatic  rewind  can  not  be 
used  for  the  job,  and  it  is  building  up  both 
overtime  and  adding  to  ever-mounting  and  un- 
controllable theatre  expenses. 

Certainly,  an  exhibitor  is  entitled  to  receive 
his  prints  in  a  uniform  condition  without  regard 
to  how  some  earlier  run  exhibitor  may  have  re- 
turned it  to  the  exchange  (the  film  companies 
explain  it  is  shipped  out  just  the  opposite  of 
how  it  is  received  because  they  can  only  re- 
wind once).  All  film  should  be  shipped  to  ex- 
hibitors heads  out  and  ready  to  run  and  the 
theatre  should  stop  being  forced  to  assume  part 
of  the  inspection  job  that  is  the  responsibility 
of  the  film  exchange. 

BUSINESS  SUICIDE 

ITO  of  Ohio 
CEd.  Note:  The  following  item  is  part  of  the 
last  bulletin  issued  by  P.  J.  Wood,  shortly 
before  his  death.) 

Did  you  ever  pick  np  the  paper  and  read  of 
someone  who,  because  of  frustrations  peculiar 
to  mankind,  had  taken  his  life  by  one  means  or 
mother? 

If  you  have  had  this  unfortunate  and  disturb- 
ing experience,  you  must  have  wondered  WHY 
he  chose  the  particular  means  he  did  to  accom- 
plish HIS  END.  Whatever  means  he  chose  to 
commit  suicide  is  hard  for  you  to  understand 
and  you  probably  vowed  never  to  let  your  prob- 
lems get  you  into  such  a  mood. 

Yet,  with  your  seemingly  healthy  mind,  you 
are  committing  business  suicide  with  a  fountain 
pen  with  every  film  contract  you  sign  that  calls 
for  more  money  than  you  gave  previously  for 
a  comparable  picture. 

Specifically,  we  are  concerned  with  the  film 
companies'  present  policies  on  current  releases, 
and  we  do  not  think  that  the  companies  are 
being  fair  or  even  intelligent  in  expecting  more 
than  they  have  gotten  for  previous  top  pictures. 

Nevertheless,  they  are  asking  higher  per- 
centage terms  with  extended  playing  time  or 
increased  buy  offs  in  the  small  flat  rental 
situations. 

With  grosses  in  an  unending  spiral  downward, 
and  each  exhibitor  actually  struggling  to  remain 
24 


in  business,  we  feel  that  these  new  policies  are 
unreasonable,  unfair  and  extortionate. 

In  view  of  increased  Distributor's  profits 
over  last  year,  we  should  expect  some  consider- 
ation as  their  customers,  we  who  are  now 
struggling  to  keep  our  doors  open,  but  appar- 
ently, as  evidenced  by  the  new  policies,  they 
feel  that  what's  yours  is  theirs  and  what's 
theirs  is  their  own. 

Get  wise !  Learn  self  preservation  and  don't 
commit  business  suicide  with  our  fountain  pen ! 

As  one  indication  of  what  is  happening  at 
the  box  office,  let  us  take  the  figures  just  re- 
leased by  the  city  of  Chicago  covering  theatre 
tax  collections  in  that  city  for  the  three  months 
ending  March  31.  1951  and  1950.  For  the 
month  of  March,  1951  the  collections  amounted 
to  $94,212  as  against  $148,157  for  March  1950, 
a  drop  of  36  percent.  For  the  three  months 
period  of  1951  the  collections  were  $285,000 
as  against  $367,000  for  1950,  a  drop  of  only  22 
percent. 

With  figures  like  these  before  them  how 
much  longer  will  the  greedy  and  heartless  dis- 
tributors impose  their  extortionate  terms  upon 
exhibitors? 

Perhaps  Messrs.  Kefauver,  Tobey,  et  al.  should 
investigate  a  racket  which  is  maintaining  a 
great  marry  producing-distributing  executives  in 
an  exotic  way  of  life  at  the  expense  of  many 
hundreds  of  exhibitors  who  are  barely  making 
an  existence. 

NEW  TITLES:  OLD  MOVIES 

ATO  Gulf  States 

Bad  judgment  on  the  part  of  distributors  re- 
titling  "oldies"  for  current  release  is  another 
example  of  the  lack  of  thinking  which  goes 
into  the  policies  of  film  companies.  It  smacks 
of  trickery  in  the  salesmanship  of  product  to  the 
public  which  is  beginning  to  flare  up  in  more 
bad  publicity  for  Hollywood.  The  latest  is 
from  Columnist  Dorothy  Kilgallen  who  says : 

"Have  the  motion  picture  bosses  convinced 
themselves  that  it's  playing  fair  to  the  custo- 
mers to  reissue  an  old  (and  usually  bad)  movie 
under  a  new  title?  The  trick  is  becoming  more 
and  more  prevalent.  For  example,  there's  one 
being  released  called  "Sinner's  Holiday,"  star- 
ring George  Raft,,  Randolph  Scott  and  Joan 
Blondell. 

Actually  it's  a  thing  called  "Christmas  Eve," 
which  was  slaughtered  by  the  critics  when  it 
was  first  issued  three  years  ago.  A  fine  way 
of  encouraging  Joe  Public  to  go  to  the  movies 
more  often!" 

GIVE  IT  A  TRIAL 

ATO  of  Indiana 
What  reaction  there  has  been  to  our  sugges- 
tion of  substituting  percentage  deals  with  a 
plan  of  charging  a  flat  per  admission  basis 
appears  to  be  almost  unanimously  favorable. 
The  single  objection  seems  to  be  that  the  ex- 
hibitor who  through  one  device  or  another 
builds  his  business  above  the  normal  potential 
of  the  situat'^n  can  afford  to  pay  a  higher 
percentage  o.  his  gross  for  film  rental.  This 
has  no  more  logic  than  a  similar  demand  by 
.1  manufacturer  on  any  other  business  man  who 
works  and  invests  to  expand  his  business  that 


he  pay  a  higher  unit  cost  on  each  item  he  se' 
only  for  the  reason  that  he  can  afford  to  do  s 
The  retreat  to  "this  buisiness  is  different" 
no  sensible  reason  for  not  giving  this  idea 
trial  unless  there  are  specific  arguments  again 
it. 

REVIVE  SHOWMANSHIP 

Allied  of  Iowa-Nebraska 
TV  manufacturers  and  dealers  are  groanirl 
and  moaning  about  their  poor  business,  but,  w 
will  have  to  admit  they  are  doing  somethin 
about  it — advertising  campaign  ballyhoo,  cui 
ting  prices,  raising  h—  in  general.  Are  v 
going  to  sit  back  and  let  TV  beat  us  at  oi 
own  game? 

Yes,  things  look  much  brighter  in  this  bu; 
iness,  now  that  TV  i  being  tamed  and  a  tr 
novelty  of  TV,  the  "parlor  peep-sow"  weai 
off.  But  not  to  a  point  where  we  can  again  gn 
sloppy  about  our  business.  Far  from  that !  A 
I  look  into  our  future,  I  see  nothing  short  c 
wide-spread  war  that  will  lessen  our  compet: 
tion  for  the  public's  entertainment  dollar.  Tli 
high  cost  of  living  will  he  witli  us  in  any  even 
Rather,  with  the  possible  exception  of  TV. 
think  our  competition  will  increase.  And  ther 
is  but  one  answer  to  that — Buy  and  Boo 
carefully,  then  get  off  the  old  fanny  and  G 
to  work  with  showmanship — or — fall  by  th 
wayside.  Incidentally — Now  is  the  time  to  clea 
up.  Paint  up,  Repair  and/or  Replace  Wor 
out  Equipment.  We  can't  expect  people  to  com 
in  and  enjoy,  or  return  to  a  dirty,  ill-kept  thea 
tre. 

CBS  RATE  CUT 

North  Central  Allied 

The  Columbia  Broadcasting  System  has  cui 
its  rates  by  10-15%  and,  in  doing  so,  is  takini 
the  position  that  it  is  "facing  reality"  and  tha 
its  reduction  is  simply  he  "readjustment  0| 
radio  to  the  new  economy". 

There  is  no  doubt  that  the  impact  of  televi 
sion  has  something  to  do  with  this  realistic  movi 
on  the  part  of  CBS,  but  other  factors  are  in 
volved  since  the  rate  cut  applies  to  non-TV  a: 
well  as  TV  areas. 

These  bulletins  in  recent  months  have  kep 
harping  on  the  sharp  contrast  between  the  de 
clining  box  office  on  the  one  hand  and  increase< 
film  rentals  and  film  company  profits  on  th< 
other. 

In  many  ways,  CBS  can  be  compared  to  th( 
motion  picture  producer-distributor;  the  buyei 
of  time  compared  to  the  exhibitor  who  passe: 
entertainment  on  to  the  customers.  The  men 
fact  that  the  return  to  the  time-buyer  is  no 
exactly  measurable  because  his  customer  get; 
his  entertainment  free,  does  not  upset  the  anal 
ogy.  The  time-buyer  buys  his  time  anticipatinj 
a  profit  of  increased  sales. 

We  think  the  producer-distributors  could  wel 
take  a  leaf  from  radio's  book.  The  declininj 
box  office  is  no  secret  to  the  distributors.  If  the) 
are  realistic  they  will  want  to  do  like  CBS  anc 
'adjust  to  the  new  economy".  If  they  do  so,  thej 
will  make  this  a  better  and  sounder  industry  for 
all  of  us.  They  will  do  what  CBS  says  it  is  try 
ing  to  do,  "solidify  the  medium's  structure." 

CBS  in  taking  its  drastic  and  revolutionary 
step  said  that  when  "surgery  is  required,  it  must 
be  done  regardless  of  the  pain  involved."  Film 

FILM  BULLETIN 


>RODUCTIOn 
k  R€L€RS€ 


R€CORD 


COLUMBIA 


1950-51  Features 
Serials 
Westerns 


Completed  (37) 
Completed  (  3) 
Completed  (12) 


In  Production  (4) 
In  Production  (0) 
In  Production   (  I  ) 


urple  Heart  Diary 
^orky  of  Gasoline  Alley 
;hain  of  Circumstance 
oots  Malone 

alley  o,:  Fire   


RELEASE  CHART 

—  1950-51  — 


F.  Lanqford-T.  Romano 
S.  Beckett-J.  Lydon 
M.   Feld-R.  Grayson 
W.  Holden-S.  Clements 


COMPLETED 

TITLE — Running  Time 

Gusher,  The  ..  _ 

;3orn  Yesterday 


ponqo  Bill    — 

Criminal  Lawyer 
Dark  Page 

pick  Turpin's  Ride   

•Firefighters.  The  

(Flying  Missle,  The  

Fort  Savage  Raiders 
Fury  of  the  Congo  . 
.Harlem  Globetrotters.  The 
[Her  First  Romance  (73) 

Mer  Wonderful  Lie  

(Hurricane  Island   IC)  ...  _ 


'Jungle  Jim  in  the  Forbidden  Land 

(Jungle  Safari   

lLorna  Doone  IT)  

fcl  1901   

jMagic  Carpet   

(Man  In  the  Saddle   

IMy  True  Story  1 68)   

Operation  X  178)  _  

iPraire  Roundup  

(Revenue  Agent   

Ridin'  the  Outlaw  Trail 

Riders  of  the  Whistling  Pines  _  

|Sante  Fe  IT)  187)    

.Saturday's  Here   _   

Secret.  The  _  

(Silver  Canyon    

Sirocco   

Kmall  Wonder   

|Son  of  Dr.  Jekyll 
Sunny  Side  of  the  Street 

^en  Tall  Men  (T)    

Texas  Rangers   

Valentino    IT)  103)   

iralley  of  Fire    

•Afar  Cry     ....  ...  

When  the  Redskins  Rode  IC)  . 

kVhirlwind  ...   

frank  in  Korea.  A  173)  


Cast 
Morris-Foster 

Rel. 

No. 

Rev. 

Crawford-Holiday 

12-50 

344 

12-4 

Ferrer-Quin 
.JHall-Farraday 
McGnire-Moore 
O'Brien-Wyatt 
Crawford-Derek 

 5-51 

5-7 

4-51 

Hayward-Medina 

Wllliams-Revnolds 

>ord-Lindfors 

_  1-51  ... 

.   3-51 

_  4-51 

335 

Starrett-Burnette 
Weismuller-Talbot 

Gomei-Dandridge 

O'Brien-Martin 

5-51 

5-21 

Kiepura-Eaaerth   

Hall-Windsor 

_   7-51 

Weissmuller-Ryan 

Weissmuller-Greene  ...  

Hale-Greene 

_  6-51 

Wjvn<..nj<;:ivj 

1 

Rall-Agar 

Scott-Leslie 

Parker-Walker 
Robinson-Cummins 

__ 3-51 
  2-51 

5-21 
2-24 

Starrett-Burnette 

_   1-51 

343 

Kennedy-Willes 

  3-5 1 

31? 

Starrett-Burnette 

 2-51 

Autry-White 
Scott-Carter   

Derek-Da  Re 

  4-5 1 

5-21 

Derek-Cobb 

Autry-Davis 
Boaart-Loren 

7-51 

Cummings-Hale 

Hayward-Knox 

Lane-Daniels 

Lancaster-Lawrence    

Geo.  Montgomery 

4-51 

Parker-Dexter 

  4-51 

3-24 

Aotry-Burnette 
Montgomery-Long 
Hall-Castle 
Autrv-Bumette 

6-51 

5-51 
4-51 

McAllister-Phillips 

 2  51 

3-24 

In  the  Release  Chart.  "Rel."  is  th«  National  Release  Date. 

"No."  is  the  release  Number-  "Rev."  is  the  issue  in  which  the 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  arc 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


METRO-GOLDWYN-MAYER 


1950-51  Features        Completed  (551 


In   Production  (3) 


RELEAS:  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Westward  the  Women  Taylor-Darcel 
Callaway  Went  Thataway  MacMurray-McGuire 


Gable-Gardner 
Ligh;-  Touch,  The 
Too  Young  To  Kiss 
Man  With  A  Cloak 

COMPLETED 


Across  the  Wide  Missouri  IT)  195) 
American  in    Paris  IT) 
Angels  and  the  Pirates 
Bannerline 

Calling   Bulldog  Drummond 

Cause  for  Alarm  175)  

Excuse  My  Dust  IT)  182) 
Father's  Little  Dividend  182) 
Go  For  Broke  1921 
Great  Caruso,  The  1109) 
Grounds  For  Marriage  1911 
Home  Town  Story  141) 
Inside  Straight  190) 
It's  A  Big  Country 

Kim  (T)  1112)   

Kind  Lady 


Lone  Star 
Grainger-Angeli 
Ailyson-Johnson 
Cotten-Stanwyck 


Law  and  the  Lady,  The 


Sante-Hodiak 
Kelly-Caron 
Douglas-Leigh 
Forrest-Braselle 
Pidgeon-Leighton 
Young-Sullivan 
Skelton-Forrest 
Tracy-Taylor 
Johnson  Anderson 
Lania-Blyth 
Johnson-Grayson 
Crisp-Reynolds 
Brian-Dahl 
All  Star 
Flynn-Stockwell 
Barrymore-Evans 
Garson-Wlidinq 


Love   Is  Better  Than  Ever  Taylor-Parks 
Magnificient  Yankee  189)  Calhern-Harding 

Milland-Hodiak 
Turner-Pima 
Sullivan-Dahl 
Granger-Corey 
Williams-Keel 


No  Ouestions  Asked  (81 ) 

North  Country  IA)   

Painted  Hills.  The  IT)  148) 
Pandora  and  the   Flying  Dutchman 

(T)   1123)  _   

People  Against  O'Hara 

Ouo  Vadis  (T)   

Rain.  Rain.  Go  Away 
Red  Badge  of  Courage  181) 
Rich.  Young  and  Pretty  IT) 
Royal  Weddin?  IT)  192) 

Show  Boat  (T)  

Soldier's  Three    192)  ... 
Strictly  Dishonorable 

Strip.  The  ._   

Tall  Target.  The   

Teresa  1101) 

Texas  Carnival  IT)    

Thin  Knife,  The 

Details  under  title:  The  Bradley 
Three  Guys  Named  Mike  190) 


Mason-Gardner 
Tracy-O'Brien 
Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
Astaire-Powell 
Gardner-Keel 
Granger-Pilgeon 
Pinza-Legih 
Rooney-Forrest 
Powell-Ra  /mond 
Angeli-Erickson 
Williams-Skelton 
Pidgeon-Harding 
Mason  Story 
Wyman-Johnson 


July 
Apr 
July 


Two  Weeks  with  Love  IT)  192)  Powell-Montaiban 
Vengenance  Valley  IT)  183)  Lancaster-Walker 
Watch  the  Birdie    170)  Skelton-Britton 


July 
Mar 

119 

2-12 

Nov 

10-23 

Feb 

117 

2-12 

Jan 

113 

12-4 

LIPPERT 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51 


Completed   (22)       In  Production  (0) 


COMPLETED 

TITLE— Runnin 

Bandit  Queen   

Danger  Zone 
FBI  Girl 

Fingerprints  Don't  Lie 

G.I.  Jane 

Home  Town  Bov 

Kentucky  Jubilee 

Leave  It  To  the  Marines 

Littlo  Big  Horn 
I  Lost  Continent 
[Mask  of  the  Dragon 

Pier  23 
•  Present  Arms 

Roaring  City 

Savage  Drums 
|Sky  Hiah 

ISteel  Helmet.  The 

IStop  That  Cab  __  

3  Desperate  Men 
Varieties  On  Parade 
•Women  with  No  Name 
lYes  Sir.  Mr.  Bones 


RELEASE  CHART 

—  1950-51  — 


Cast 
Britton-Parker 
Beaumont-Travis 
C.  Romero-G.  Evans 
Travis-Ryan 
Porter-Neal 
H.   Lloyd.  Jr 
Colonna-Porter 
S.  Melton 
Ireland-Bridges 
Romero-Brooke 

Travis-Ryan   

Beaumont-Savage 

J.  Sawyer 

Beaumont-Travis  ... 

Sabu-Baron 

S.  Melton-M.  -Lynn 

Edwards-Brodie 

Melton-Adrian 

Foster-Davis 

Rose-Carroll 

P.  Calvert 

F.  Miller 


12-15 
4-20 

9-7 


4-18 

7-27 
3-17 


3-31 

1-5 
7-20 


No. 
5010 
5017 
5002 
5015 
5012 
5022 
5007 
5005 
5013 
5004 
5013 
5018 
5023 
5014 
5001 
5024 
5004 
501 
5009 
5020 
5021 
5019 


1950-51  Features 
Westerns 


Completed  (25) 
Completed   (  6) 


Production  (0) 
Production  (0) 


RELEASE  CHART 


COMPLETED 

TITLE — Running  Time 
According  to  Mrs.  Hoyle 

Blazing  Bullets   

Bowery  Batalion 
Casa  Manana 


Cavalry  Scout  (C)  178) 
Counterfeit 
Father  Takes  The  Air 
Father's  Wild  Game  (41) 
Ghost  Chasers  149) 
Gypsv  Furv 
Highwayman.  The  (CI 

Joe   Palooka   in   the   Squared  CircleKirkwood-Gleason 

143)   _  

Disc  Jockev  ©.  Simnu-M.  O'Shea 

Lion  Hunters.  The  (471  Sheffield-Whitfield 
Brown-Hall 


1950-51 


Cast 

Byington-Chandler 
Brown-Hall 
Gorcey-Hall 
Forbes-O'Herlihy 
Cameron-Long 
DeFoe-King 
Walburn-Gray 
Walburn-Gray 
Gorcey-Hall 
Viveca-Lindfors 
Hendrix-Coburn 


12-3  5125 

4-29  5112 

3-IB  5192. 

8-5  _ 


From  Sonora  154) 
Mexican  Silver 


Wilson-Clyde 


I  N  E    18.  1951 


25 


Modern  Marriaqe.  A  (66) 

Clarke-Field 

10-15 

519? 

...  .10-? 

Navv  Bound 
Nevada  Badman 

Neal-Toomey 
Wilson-Knight 

2-25 
5-27 

5120 
5152 

Rhvthm  Inn 
Sierra  Passage 

Stagecoach  Driver   

Trail  Dust 

Frazee-Grant 
Morris-Hale 
Wilson-Knight 
Albright-Winters 

Cook-Moore   

Wilson-Knight 

2-11 

 1-7  

  12  31 

.  5115 ....... 

5107 

5107 

Vicious  Years.  The  1791 
Wild  Horse  Prairie 

2-18 
 4-8 

5151 

Witness,  The 
Disc  Jockev 

Kirkwood-Gleason 
Simms-O'Shea   

7-22 

Babe  Ruth  Story.  The 

Let's  Go  Navy 

Yukon  Manhunt 

I  Was  An  American  Spy  185) 

It  Happened  On  Fifth  Avenue 

Southside  1-1000  (731 

Short  Grass 


ALLIED  ARTISTS 

Bendix-Trevor   

H.  Hall-G.  Gorcey 
Grant-Davis 
Dvorak-Evans 

DeFore-Storm  

DeFore-King   

Rod  Cameron   


May 

11-  12 

12-  24 


Lady  Possessed   

Million  Dollar  Pursuit   

Mason-Havoc  

Edwards-Flagg   

 June 

5-30 

5028 

Missing  Woman  (60)  

Night  Raiders  of  Montana  160) 

Oh.  Susanna!  (Tr)  (901   

Pals  of  the  Golden  West 

Edwards-Muilican   

...  Lane  

Cameron-Tucker   

Rogers-Evans 

2-23 

2-  28 

3-  10 

5025 
5059 
5008 

3-1; 
3-2( 

Pride  of  Maryland   

Quiet  Man,  The 

Clemens-Stewart   

J.  Wayne-M.  O'Hara 

Allen-Kay  

Lane-Towers 

II7-I5I 
 1-30 

15023''!'" 

1-2' 

Rodeo  King  and  the  Senorita   

Rough  Riders  of  Durango  

5058 

Secrets  of  Monte  Carlo 

Doug*a°-Ha°° 

6-20 

5030 

Silver  City  Bonanza  

South  of  Caliente  

Spoilers  of  the  Plains  166)  

  Allen-Ebsen   

Rogers-Evans   

Rogers-Edwards   

 3-1 

June 

 2-5 ... 

 4-8 ... 

5051  

504 1 

3-1; 

Thunder  in  God's  Country  

Rex-Allen   

5052  

Utah  Wagon  Trail   _  

R.  Allen-P.  Edwardt 

Wings  Across  the  Pacific  

Corey-Ralston 

Wells  Fargo  Gun  matter   

Lane-Chapin   

5-15 

5061 

PARAMOUNT 


1950-51  Features       Completed   (44)       In  Production  (2) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

Aaron  Slick  from  Punkin  Creek  Shore-Young  

My  Son  John  Hayes-Heflin 

COMPLETED 


Ace  in  The  Hole  1112) 
Appointment  With  Danger 


Douglas-Sterling 
Ladd-Calvert 
Details  under  title:  Postal  Inspector 
At  War  with  the  Army  (93)  ...  Martin-Lewis 
Branded  IT)    (103)  Ladd-Freedman 
Details  under  title:  Montana  Rides 


Ca 

Crosswinds  (T)   

Darling,  How  Could  You! 
Dear  Brat  (82) 
Detective  Story,  The 
Fort  Savage  IT) 

Great  Missouri  Raid,  The  IT)  (85) 

Greatest  Show  On  Earth  IT)   

Here  Comes  the  Groom 

Honq  Konq   

Last  Outpost,  The  IT) 
Lemon  Drop  Kid,  The  (91) 
Mating  Season.  The 

Details  under  title:  A  Relative  Strang 
Molly  183)    Berg-Loeh 

Rev.  under  title:  The  Goldbergs 
My  Favorite  Spy 
Passage  West  IT)  80) 
Peking  Express 
Place  in  The   Sun,  A 
Quebec  IT)  (85) 
Rage  of  the  Vulture.  The 
Redhead  and  the  Cowboy  (82) 
Red  Moun).;n  (T)  

Details  under  title:  Quantrell 
Rhubarb 

Samson  and  Delilah  IT)  (128) 
Septerr.L-er  Affair  (104) 
Silver  City  IC) 
Something  To  Live  For 

Details  under  title:  Mr.  and  Mrs.  Anonymous 
Stooge.  The  Martin-Lewis 
Submarine  Command  Holdon-Olson 

Details  under  title:  Submarine  Stody.  The 
That's  My  Boy  Martin-Lewis 
Trio  1911  Simmons-Renni 
Warpath  ITI  O' Brien-Jagger 

When  Worlds  Collide  IT)  Derr-Rush 


Olivier-Jones 
Payne-Fleming 
Fontaine-Lund 
Freeman-Arnold 
Douglas-Parkes 

Hayden-Rush   

-orey-Carey 
Stewart-Hutton 
Crosby-Wyman 
Reagan-Fleming 
Reagan-Fleming 
Hope-Maxwell  .... 
Tierney-Lund   


Hope-Lamarr   

Payne-O'Keefe 

Cotten-Calvet   

Clitt-Winters 
Barrymore,  Jr.-Ca 

Ladd-Kerr   

Ford-Fleming   

Ladd-Kennedy 
fteiders 
M.  Hand-Sterling 
Lamarr-Mature 
Fontaine-Cotton 
DeCarlo-O'Brien 
Fontaine-Milland 


2-  51 

9-51 

5-5 1 
4-51 

3-  51 

4-  51 

12-51 

7-  51 

8-  51 
951 

4-51 

3  51 


9-51 

3-51 
2-51 


5021 
5013 


5020 
5018 
5016 


5017 
5015 


5026 
5020 


RKO  RADIO 


1950-51  Features       Completed  (50)       In  Production  (I) 


IN  PRODUCTION 

TITLE — Running  Time 
Las  Vegas  Story,  The   

COMPLETED 

Blue  Veil,  The 

Las  Vegas  Story,  The   

Racket.  The   

Alice  In  Wonderland  (T)   

Behave  Yourself   

Best  of  the  Badmen  (84)   

Company  She  Keeps  (83) 


RELEASE  CHART 

—  1950-51  — 


Cast 
Mature-J  Rutsell 


Wyman-Carlson 
Russell-Mature 
Mitchum-Scott 
Disney  Cartoon 
Winters-Granger 

Ryan-Trevor   

Greer-O'Keefe 


Details  under  title:  The  Wall  Outside 


Crack  Down 
Cry  Danqer  (79) 
Flying   Leathernecks  ( 
Footlight  Varieties  (61 
Gambling  House  (801 

Details  under  title:  f 

Gun  Notches  

Gun  Thunder 

Details  under  title:  Mother  of 

Half  Freed.  The   

Hard,  Fast  and  Beautiful  (76)  . 

It's  Onlv  Money   

Jet  Pilot  (Tl 

Jungle  Headhunters  (T)   

Kon-Tiki  173) 
Macao 

Mad  With  Mush  Heart   

Man  He  Found.  The  

My  Forbidden  Past  170)   

On  The  Loose   

Payment  on  Demand  190)   

Details  under  titl 
Pistol  Harvest  160) 
Roadblock 
Hustler's  Range 
Saddle  Legion  1611 

Sealed  Cargo  (89)   

Sons  of  the  Musketeers  (T) 

Target   

Tanan's  Peril  (791   

Texas  Triggerman   

Thing,  The  (81)   

Tokyo  File  212  (84)   

Two  Tickets  to  Broadway  (T) 


Williams-Armstrong 
Powell-Fleming 

 Wayne-Ryan   

Pear-Buttons   

Bendix-Mature   

ke  Fury 

Holt-Martin   

Holt-Martin 
Champion 

Young-Carter   

Trevor-Forrest   

....  Sinatra-Russell   

Wayne-Leigh 

 Travel 

Travel   

Russell-Mitchum 
Ryan-Lupino 
Reid-Tuttle 
Gardner-Mitchum 

Evans-Earl   

Davis-Sullivan 


McGraw-Dixon 
Holt-Martin 

Holt-Martin   

Andrews-Rains 

Wilde-O'Hara 

McGraw-White 

Barker-Huston 

Holt-Martin 

Tobey-Sheridan 

Marly-Peyton 

Leigh-Martin 


2-51 
1-51 


4-5 1 
2-51 


2-24 

4-9 
2-12 


4-9 

3-12 


20th  CENTURY-FOX 


1951  Features 


Completed  (39)       In  Production  (41 


1950-51  Features 
Serials 
Westerns 


REPUBLIC 


Completed  (20) 
Completed  (  I  ) 
Completed  (10) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production   (  I  ) 


COMPLETED 

TITLE— Running  Tii 
Belle  Le  Grand 
Buckaroo  Sheriff  of  Texas 
Bullfiqhter  and  the  Lady 
Cuban  Fireball 
Dakota  Kid,  The  (60) 
Don  Daredevil  Rides  Again 
FigMinq  Coast  Guard 
Flight  From  Fury 
Fuqitive  Lady 
Havana  Rot* 
Heart  of  th.  Rockies 
Honeychil*  (Tr.) 
In  Old  Amerillo  (67) 
Insurance  Investigator  160) 


RELEASE  CHART 

—  1950-51  — 


Cast 
Ralston-Carroll 
Chapin-Janssen 
Stack-Page 
Estelita-Vincent 
Chapin-Janssen 
Curtis-Towne 
Donlevy-Tucker 
Edwards-Clark 
Paige-Barnes 
Rogers-Rodriguez 
Rogers-Edwards 
Canova  Foy,  Jr. 
Rogers-Roc'riguez 
Denning-Long 


5-26 
5-15 
3-30 
May 
5-15 
5-23 


No. 
5006 
5066 
5009 
5007 
5067 
5084 
5010 

501  I 
5043 
5042 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Let's  Make  It  Legal   

Viva  Zapata   

Marriage  Broker,  The  

Golden  Girl.  The  (Tl 

COMPLETED 

A  WAC  in  His  Life 
Anne  of  the  Indies 
As  Young  As  You  Feel  177) 
Bird  of  Paradise  ITI  (100) 
Call  Me  Mister  (Tl  (95) 
David  and  Bethsheba  IT) 

Day  The  Earth  Stood  Still,  The   

Decision  Before  Dawn 
Desert  Fox.  The 

Dr.  Praetorious  Story.  The  

Follow  the  Sun  (901 
Fourteen  Hours  1911 
Friendly  Island  (Tl 
Frogmen 

Golden  Goose.  The 

Guv  Who  Came  8ack.  The  1911 

Half  Angel   IT)  180) 

Halls  of  Montezuma.  The  ITI  1113) 


Cast 
Colbert-Carey 
M.  Brando-J.  Peters 
J.  Crain-T.  Ritter 
Day-Gaynor 


Haver-Lundigan 

Jordan-Paget 

Woolley-Ritter 

Jordan-Paget 

Grable-Dailey 

Peck-Hayward 

Rennie-Neal 

Merrill-Basehart 

Mason-Young 

Grant-Crain 

Ford-Baxter 

Douglas-Basehart 

Lundigan-Greer 

Widmark-Andrews 

MacMurray-Parker 

Douglas-Darnell 

Young-Cotten 

Widmark-Gardner 


7-51  118 
6-51  116 
1-51        103  12-18 


26 


FILM  BULLETINI 


House  on  Teleqraph  Hill  (93) 
House  On  the  Square 
II  Can  Get  It  For  you  Wholesale  l?l ) 
(I'd  Climb  the   Hiqhest  Mountain 

I    IT  I  1881     

.Kangaroo  IT)   _  

Kefauver  Crime  Investigation 
Lucky  Nick  Cain  1871 
v.an  Who  Cheated  Himself,  The  181) 
Meet  Me  After  The  Show  IT) 
Mr.  Belvedere  Rings  The  Bell 

Mudlark    1991  -  

No  Highway  In  The  Sky     

Of  Men  and  Music  1851 

On  the  Riviera   IT)  190)  

Rawhide  8* 

Secret  of  Convict  Lake 

Sword  of  Monte  Cristo,  The  180) 

Take  Care  of  My  Little  Girl  IT)  193) 

Thirteenth  Letter.  The  185)  

You're  in  the  Navy  Nok  193) 

Rev.  under  title:  U.S.S.  Teakettle 


Cortesa-Lundigan 

Power-Smith 

Dailey-Hayward 

Hayward-Lundigan 

O'Hara-Lawford 

News  Feature 

Ratt-Gray 

Cobb-Dall 

Grable-Carey 

Webb-Dru 

Dunne-Guiness 

Stewart-Dietrich 

Concert  Feature 

Kaye-Tierney 

Power-Hayward 

Ford-Tierney 

Montgomery-Corday 

Crain-Peters 

Darnell-Boyer 

Cooper-Albert 


4-51 
3-51 
1-51 


3-51 
5-51 
5-51 


Harvey  C 1 0 1 ) 
Hollywood   Story  I7i) 
Iron  Man.  The 
Katie  Did  It  1811 
Lady  from  Texas  IT) 
Lady  Pays  Off  The 
Little  Eqypt  ITI 
Ma  and  Pa  Kettle  at  the  Fair 
Ma  and  Pa  Kettle  Back  on  the 
Magnet.  The  178) 
Mark  of  the  Renegade  IT) 
One    Never  Knows 
Operation  Disaster  1100) 
Pool  of  London 
Prince  Who  Was  A  Thief,  The 
Raging  Tide,  The 
Reunion   In  Reno 
Smuggler's  Island  IT) 
Target  Unknown  1901 
Thunder  On  the  Hill 
Tomahawk  IT)  (82) 
Under  the  Gun  184) 
Up  Front  192) 


1751 


Stewart-Hull 
Conte-Adami 
Keyes-Chandler 
Blythe-Stevent 
Hull-Duff 
Carnell-McNally 
Fleming-Stevens 
Mein-Kilbrid* 
Farm  Main-Kilbride 
Murray-Walsh 
Montalban-Charisst 
Powell-Dow 
vlills-Cherry 
Colleano-Shaw 
Curtis-Laurie 
Winters-Contt 
Stevens-Dow 
Keyes-Chandler 
Stevens-Nicol 
Colbert-Blyth 
Heflin-DeCarlo 
Totter-Conte 
Wayne-Ewell 


(T) 


Feb 
Jan 
Apr 


121  5-21 


I  29 
I  I 
3  12 


UNITED  ARTISTS 


1950-51   Features        Completed   (39)       In  Production  (I) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 


Big  Night,  The 

J.  Barrymore-P.  Foster 

COMPLETED 

Bad  Man's  Gold 

Carpenter-  Lock  wood 

4-3 

Blue  Lamp  184)  .    

Warner-Hanley 

 Eric  Portman 

Milland-Roc 

3-1 

Cairo  Road 

Circle  of  Danger  66  

7-4 
3-8 

'Cloudburst 

 Preston-Sellars 

8-3 

Cyrano  De  Berqerac  1112)  

Ferrar-Powers 

7-20 

Kr. 

1  1-20 

Fabiola  

 Michele  Morgan 

4-1 

Lev 

First  Leqion  

 Boyer-Bettger 

5-11 

Sirk 

Four  In  A  Jeep  197)  

 Lindfors-Meeker 

8-24 

IHe  Ran  All  the  Way  (77)  

Hoodlum.  The   

Korea  Patrol  1571 

 Garfield-Winters 

 Tierney-Roberts 

Emory-Fong  

7-13 
4-15 
1-15 

Reb 

Long  Dark  Hall.  The  (84) 

..Harrison-Palmer 

4-10 

5-7 

Man  From  Planet  X  (70)   

_  Clark-Field   

4-27 

Cor 

4-4 

Man  With  My  Face  175)  

Mr.  Drake's  Duck 

  Nelson-Matthews 

 Fairbanks-Donlan 

4-8 
8-10 
1  —  1 0 

!Mr.  Universe  190)   

 Carson-Paige  

iMy  Outlaw  Brother  (82)  

Rooney-Hendrix 

2-27 

;  Naughty  Ariette  184)  

Tettering-Williams 

3-9 

iNew  Mexico  lAns)  

 Roses-Maxwell 

5-18 

Ain  I 

Obsessed 

Odette    _. 

jOliver  Twist  (105) 

Pardon  My  French  

(Prowler,  The  192) 

Queen  For  A  Dav  1 107) 

 Farrar-Fitzgerald  ... 

Neagie-Howard 
Newton-Guinness 

 ...Oberon-Henreid 

Heflin-Keyes 
Avery-McGavin 

8-17 
5-15 

4-  17 
7-27 

5-  25 
4-13 

Eag 

5-7 

4-4 
4-9 

iSearf,  The  (93) 

Ireland-McCambridge 

The 

Young-Drake 
Baer-Coogan 
Simmons-Bogarde 

 4-4 

G-C 

3-24 

1    Details  under  title:  Dungeon, 
Second.  Woman.  The  (91) 
Skipalong  Rosenbloom 
So  Long  at  the  Fair  190) 

2-51 
4-3 
3-29 

Pop 

2-12 
1-29 

St.  Henry,  the  Dip  180) 
iSun  Sets  at  Dawn.  The  171) 

Foch-Haymes   _.  

Parr-Shawn 

4-22 
1-22 

Dan 

2-12 

Thev  Were  Not  Divided   

Underdown-Clanton 

2-1 

Three  Steps  North     

Bridges-Padavoni 

4-15 

Wil 

Try  and  Get  Me  190) 
Two  Gals  and  a  Guy 
lUnderworld  Story 

Loveioy-Ryan 

5-4 
4-29 
7-21 

Stm 

12-18 

Paige-Alda 
Duryea-Storm 

C-E 

Volcano   II  10)    

Magnani-Brazzi 

5-1 

Wicked  City  174) 
IWhen  1  Grow  Up  190) 

Montez-Aumont  

Preston-Scott   ■.  

1-2 
4-20 

WARNER  BROTHERS 


1950-51  Features        Completed   (38)       In  Production  (4) 


IN  PRODUCTION 

TITLE — Running  Time 

Starlift   

Tanks  Are  Coming.  The 
Come  Fill  the  Cup 
Bugles  in  the  Afternoon  IT) 
COMPLETED 

Along  the  Great  Divide  188) 

As  Time  Goes  By 

Captain  Heratio  Hornblower  IT) 

Dawn  Is  Ours.  The 

Distant  Drums  ITI 

Dodge  City  1 104) 

Enforcer,  The  (87) 

Fort  Worth  IT)  180) 

Goodbye,  My  Fancy  1107) 

Highway  301  183) 

I  Was  A  Communist  183) 

Inside  Walls  of  Folsom  Prison  I 

Jim  Thorpe,  All-American 

Lightning  Strikes  Twice  1911 

Lullaby  of  Broadway  IT)  (92) 

Moonlight  Bay  (T) 

North  of  the  Rio  Grande 

Only  The  Valiant  I  105) 

Operation  Pacific  1 109) 

Painting  the  Clouds  with  Sunshine 

Raton  Pass  (84) 

Storm  Warning  (91 ) 

Strangers  On  A  Train   (  101  ) 

Streetcar  Named  Desire,  A 

Sugarfoot  IT)  (80) 

Tomorrow  Is  Another  Day 

Virginia  City  1121) 


RELEASE  CHART 

1950-51  — 


Cast 

V  Mayo-J  Cagney 
S  Cochran. E.  Miller 
J.  Cagney-P  Thaxter 
R.  Milland-H.  Carter 


Douglas-Mayo                      4-2  025 
Milland-Tierney 

Peck-Mavo 

Holden-Olson 

Cooper-Alden 
Flynn-deHaviland 

3-17 

0  I  7 

Bogart-Roberts 

2-24 

D  1  5 

2-04 

Scott-Brian 

7-14 

028 

2-04 

Craw  ford- Young 

5-19 

B24 

4  23 

Cochran-Andre 

1-13 

CI2 

Loveioy-Hart 

5-5 

123 

S-7 

Brian-Cochran 

4-14 

024 

Lancaster-Biekford 

Roman-Todd 

3-10 

111 

2-24 

1  94 

ne 

4-9 

MacKae-Day 

McCrea-Mayo 

Peck-Payton 

4-21 

D22 

3-12 

Wayne-Neal 

1-27 

313 

1-29 

Mayo-Morgan 

Morgan-Neal 

4-7 

D2I 

4  9 

Rogers-Reagan 

2-10 

C  1  \ 

1-29 

Walker-Roman 

4-30 

D27 

Brando-Leigh 

Scott-Jeroens 

3-3 

tit 

2-12 

Roman-Cochran   

Flynn-Bogart 

'.-17 

118 

UNIVERSAL- INTERNATIONAL 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat  l 

250  N.  Juniper  St.,  Phila. 


Film  Carriers 

7,  Pa.  —  LOcust  7-4823 


1950-51  Features        Completed  (44) 


Production  (2) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Cimarron  Kid,  The  IT)  

Treasure  of  Franchard  (t)   

COMPLETED 

Abbott  &  Costello  Meet  the 

Invisible  Man 
Air  Cadet 

Apache  Drums  IT)  175) 
Bedtime  for  Bonzo  183) 
Briqht  Victory 
Cattle  Drive  IT) 
;Cave,  The  ITI 
Comin'   Round  the  Mountain 
Door.  The 

Double  Crossbones  ITI  175) 
IFat  Man.  The  177) 
Finders  Keepers 
Flame  of  Araby  IT) 
Frenchis  ITI 

Francis  Goes  to  the  Races  188) 

Golden  H>rde.  The  IT) 

Groom  Wo,-t  Spurs  (80)  

JUNE      18,  195 


Cast 

A.  Murphy-Y.  Dugay 
W.  Powell-J.  Adams 


Abbott  &  Costello 
McNally-Russell 
Grey-McNally 
Reagan-Lynn 
Dow-Kennedy 
McCrea-Stockwell 
Smith-Carey 
Abbott  &  Costello-Sh 
Laughton-Karloff 
O'Connor-Carter 
Smart-Meadows 
Ewell-Adams 
Chandler-O'Hara 

McCrea-Winters  

O'Connor-White 
Blythe-Farrer 
Rogers-Carson  Mar 


Mar 
Mar 
June 
Feb 


July 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  m  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236   N.  23rd  St.,   Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


TMIERS 


TO  BLV/ID 


HARM  WEATHER  WS//VfSS/ 


Get  them  out  of  their  Hot  Houses  .  .  .  into  your  COOL  Theatre  .  .  . 
with  showmanship-packed,  NSS  COOL  TRAILERS! 

Impress  upon  your  patrons,  the  COOL  comfort  ...and  fine  entertain- 
ment .  .  .  offered  by  your  AIR-CONDITIONED  theatre ...  and  show 
them  how  to  beat-the-heat  ...  by  GOING  TO  A  MOVIE! 

NSS  has  created  a  large  variety  of  beautifully 
produced  COOL  TRAILERS  ...  for  every 
type  of  COOLING  system  .  .  .  and  every  the- 
atre ...  to  fill  all  your  needs!  Ask  your  NSS 
salesman  about  them  ...  or  get  full  details 
from  your  local  NSS  exchange  .  .  .  and  then 
. . .  buy  several . . .  and  rotate  them  throughout 
the  Summer  months! 


Use  patron -pulling  STANDEES 

...  the  colorful  DISPLAYS  .  .  .  with  the 
beautiful  Fluorescent-lighted  base  .  .  . 
that  SELL  ...  in  your  Lobby,  Foyer  and 
out-front  ...  or  away-from  theatre  .  .  . 
in  hotel  Lobby  or  bank  .  .  .  terminal  or 
store  window!  ASK  Your  NSS  Salesman. 


Get  the  most  out  of  your  AIR-CON- 
DITIONING system  ...  by  selling 
COOL  COMFORT  with  NSS  COOL 
TRAILERS! 


mmmificfew  service 

Kjpfiizr  boby  of  mf  inousmr 


4 


25c  per  Copy 


BULLETIN 


THEATRE 
TELEVISION 
ON  ITS  WAY! 


EDITORIAL  by  MO  WAX,  Page  3 


WHY  NOT  HAVE 
MOVIE  BARGAIN'  DAYS? 


Exclusive  Article,  Page  5 


POEM  FOR  SHOWMEN 


For  easy  sailing,  please  take  note 
Of  Leo's  Hits!  "Don't  miss  the  boat!" 

"The  Great  Caruso's"*  noble  voice 
Makes  M-G-M  the  nation's  choice, 
There's  "Go  For  Broke!",  "Excuse  My  Dust"* 

"Rich,  Young  and  Pretty"*  is  a  must 
The  asterisks*  convey  to  you 
Those  films  with  Technicolor,  too! 
You  need  the  best  at  summertime 
So  here  are  more  (without  a  rhyme): 

"Strictly  Dishonorable,'"  "The  People  Against  O'Hara,"  "The  Law  and  the  Lady" 
"Teresa,"  "The  Tall  Target,"  "The  Strip,"  "Angels  in  the  Outfield"— and  "An 
American  in  Paris"*  "Pandora  and  the  Flying  Dutchman"*  (both  Fall  releases),  etc. 

 ★  

P.S. 

And  let  us  not  forget  this  Fall 
"QUO  VADIS  1  comes  to  top  them  all! 


BULLETIN 


THEATRE  TV  ON  ITS  WAY! 


i 


Volume  19,  Number  14 
July  2,  1951 

Page  Three 


ft 


THINK  IT  OVER 
IGNORANCE 

"There  is  nothing  more  terrible  than 
energetic  ignorance." — Goethe. 


ft 


REVIEWS  in  This  Issue 


Showboat   19 

Ace  in  the  Hole  19 

Peking  Express   1.9 

Captain  Horatio  Horxblower  20 

That's  My  Boy   20 

Comix'  Round  the  Mountain   20 

Kind  Lady   21 

Along  the  Great  Divide   21 

According  to  Mrs.  Hoyle  21 


FILM  BULLETIN  —  An  Independ- 
ent  Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Taylor.  Pub- 
lication  Manager:  Robert  Heath,  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave.,  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


The  sell-out,  turnaway  crowds  that  have  poured  out  for  the  first  two  boxing 
matches  sent  over  closed  channels  to  theatres  equipped  with  large  screen  television 
offer  enthusiastic  proof  that  the  exhibition  business  stands  on  the  threshhold  of  a 
bright  new  era.  Theatre  television  is  not  the  whole  answer  to  the  problems  we  face, 
but  it  does  seem  to  offer  a  golden  opportunity  to  bring  back  millions  of  people  who 
have  forsaken  the  movie  theatre. 

Many  in  our  industry  have  watched  theatre  television  with  a  great  deal  of 
skepticism,  and  there  are  still  those  who  ask,  "Can  we  survive  on  a  few  important 
fights  a  year?"  That  is  a  shortsighted  view;  the  horizon  is  as  broad  as  the  whole  field 
of  entertainment. 

First  of  all,  there  will  be  many  more  good  fights  staged,  for  this  new  wonder 
of  the  big  TV  screen  in  the  theatre  offers  succor  to  the  badly  battered  boxing  game, 
too.  Their  boxoffice  virtually  wrecked  by  free  home  television,  promoters  have 
been  reluctant  to  stage  matches  for  the  small  revenue  they  have  been  realizing  for 
the  past  two  years,  while  outstanding  fighters  have  been  shying  away  from  the 
minute  purses.  Madison  Square  Garden,  which  used  to  sell  out  practically  every 
Friday  night,  was  staging  some  thirty  or  more  topnotch  fights  each  seasons.  Then, 
during  the  summer  months  there  were  a  dozen  outstanding  fights  arranged  in  the 
open-air  stadiums.  When  the  fight  game  was  flourishing,  there  was  no  dearth  of  at- 
tractions to  entice  the  crowds.  That  will  be  the  case  again  when  a  boxoffice  of  several 
thousand  theatres  is  established  for  this  popular  sport.  We  can  see  the  likelihood 
of  at  least  one  important,  crowd-drawing  match  every  week  in  the  year.  And  won't 
this  sport  have  a  wider  audience  than  ever  before  as  a  result  of  millions  of  new  fans 
created  in  the  living  rooms  of  America  these  past  few  years?  Truly,  the  fight  game 
stands  once  again  on  the  verge  of  the  "million-dollar  gate"  it  knew  in  the  days  of 
Tex  Rickard.  Let  no  one  overlook  the  tremendous  boon  to  theatres  in  confining 
these  events  to  the  closed  theatre  channel,  thereby  freeing  a  vast  audience  for  movie 
going. 

But  the  prospects  and  the  promises  of  theatre  television  go  far  beyond  boxing 
matches.  Pause  and  reflect  the  measure  of  the  revenue  that  can  be  realized  from  a 
mere  two  thousand  theatres  with  large  screen  television.  Let's  not  be  too  bold,  but 
consider  this  conservatively.  Let's  envision  a  situation  that  might  exist  one  year 
from  today. 

The  producers  of  a  stage  play  like  "South  Pacific",  having  enjoyed  a  lucrative 
two-year  run  on  Broadway,  might  negotiate  a  deal  with  a  theatre  television  network 
covering  these  two  thousand  houses.  What  could  they  pay  for  the  rights  to  the  great 
Broadway  hit?  We'll  guess  one  million  dollars.  That  may  make  you  gasp  until  you 
take  out  your  pencil  and  figure  that  the  two  thousand  theatres  actually  would  be 
paying  only  an  average  of  #500  for  a  sock  attraction  like  "South  Pacific."  Let's 
not  concern  ourselves,  for  the  moment,  whether  that  would  be  for  one  show  or  for 
a  week's  engagement. 

The  second  showing  might  then  go  to  another  two  thousand  "second-run" 
theatres,  paying  an  average  of  #200  for  the  show,  and  that's  another  #400,000  in 
revenue.  And  so  forth. 

Are  we  talking  about  eliminating  the  motion  picture?  Of  course  not.  We're 
talking  about  supplementing  it  by  creating  a  logical,  profitable  boxoffice  for  every 
kind  of  entertainment  and  sport  the  public  wishes  to  patronize.  We're  talking  about 
making  the  movie  theatre  the  all-around  entertainment  center  of  the  community. 

Great  credit  is  due  the  men  who  have  envisioned  the  potential  of  theatre  tele- 
vision and  who  have  worked  to  develop  it.  The  Fabians,  the  Skourascs,  the  Hal- 
perns,  the  Balabans,  the  Raibourns,  among  others,  have  opened  this  wide  new 
vista  of  prosperity  for  our  industry.  Others  will  enter  the  field,  capitalize  on  their 
vision  and  exploit  this  new  medium.  That  is  inevitable.  But  we  must  remember  who 
these  pioneers  are  and  express  our  gratitude  to  them.  That  is  small  enough  payment 
for  the  new  hope  they  have  brought  to  this  troubled  industry.  MO  WAX. 


FARLEY  GNU 
RUTH  R(l] 
ROBERT  WA 

.«  ALFRED  HITCHfl 

STRANI 
ON  A  1 


GREGORY  1 
:  VIRGINIA  I  j 
CAPTAIN  HOF 
HORNBLCi 

directed  by  RAOU  | 
Screen  Play  by  I  | 
Ben  Roberts  and  Aeneas  i  ■ 
From  th.  | 


JIM  TH  i 
-ALL  AMERi 

starring 

BURT  LANCA 

and  CHARLES  Bid 
STEVE  C(] 
PHYLLIS  Til 

d.rected  by  MICHAEL  | 
produced  by  EVERETT  I  V 
Screen  Play  by  Dou|ii  4 
and  l.cf  i 
music  by  Ml  H 
Jim  Thorpe,  Technic.  4 


The  Pulitzl 
and  Critics  Aw;  P 

A  STREE J 
NAMED  Dill 

An  EUA  KAZAN  Pro«« 
Produced  by  CHARLES  R.  F* 

,  VIVIEN  IN 

-d  MARLON  BRill 

directed  by  ELI  ■ 
distributed  by  WARNER  BROS.  I  ll 
screen  play  by  TENNESSEE  .11 
Based  upon  the  Or  ill 
"A  Streetcar  Namr  4 
by  TENNESSEE  U 
As  Presented  on  tne  Stage  by  Irene  Mar  * 


DORISN 
GORDON  Mail 
ON  MOONLIGHT  11 

directed  by  ROY  DE  ID 
produced  by  WILLIAk  CI 
Scretn  play  by  J'  * 
and  MELVILLE  Sr  li 
Musical  Direction  ttm 
Musical  Number:* 


OOK  FOttWA 


FORWARD/  WITH  WARMER  BROS. 


A  typical  scene  in  a  New 
York  department  store  diirm.i 
the  recent  price  DOT.  CtOW&S 
jam  the  zcvtch  CQtmters  at 
K  Inn's  as  natne .  brand  time- 
pieces are  gobbled  up  at  half 
price. 


Xetl*  Think  Akcut  fln  94ea  7c  Croud 

tfcut  Theatre  Oh  The    Otff  foai/ J 


How  about  a  "bargain  day"  ;»at'  your 
movie  theatre?  .  . 

Now  don't  get  excited,  gentlemen. 
We're  not  talking  about  a  wholesale  slash 
in  admission  prices.  As  anyone  even  re- 
motely connected  with  the  movie  indus- 
try knows,  the  exhibitor  today  is  operat- 
ing on  the  narrowest  margin  of  profit  in 
history,  what  with  greatly  increased  op- 
erating costs  and  attendance  way  down 
to  there. 

The  general  cost  of  living  rise,  accord- 
ing to  U.  S.  Bureau  of  Labor  Statistics, 
has  more  than  tripled  that  of  the  movie 
ticket  since  1945.  the  consumer  price  in- 
dex moving  up  to  38.7  percent  as  of  last 
December,  and  movie  admissions  showing 
only  a  rise  of  11.3  per  cent.  The  contrast 
grows  even  sharper  when  matched  with 
the  increase  in  food.  55.2  per  cent.  Even 
Federally-controlled  rents  have  doubled 
the  ticket  increase. 

Obviously,  movies  are  already  a  con- 
sumer's best  bargain.  Why.  then,  it  may 
be  asked,  the  suggestion  of  '"bargain  days" 
at  motion  picture  theatres  ? 


By  RICK 


ARKER 


Ciekti*  >;  BULLETIN  Jeature 


Before  plunging  into  the  well  of  con- 
troversy with  the  answers,  consider  what 
the  movie  "bargain  day"  might  mean. 
What  would  be  the  effect  if  a  theatre 
publicized  the  fact  that  one  day  a  week 
(normally  the  weakest  for  that  house),  or 
at  other  intervals,  movie  patrons  can  see 
the  entire  regular  show  at  a  cut  price, 
both  matinee  and  evening?  The  amount 
of  the  slash  would,  of  course,  depend  on 
the  regular  admission  * charge,  but  it 
should  be  substantial  enough  to  command- 
the  bargain-hunter's  attention. 

One  shibboleth  we  must  erase  is  the, 
assumption  that  a  reduction  in  admis- 
sion prices  will  be  interpreted  by  the  pub- 
lic as  an  indication  of  a  lessening  of  qual- 
itv.  Many  products  of  highest  standard 
are  offered  to  buyers  at  bargain  prices  on 
occasion,  and  that  in  no  way  deteriorates 
their  established  value.  The  movies  should 


not  be  regarded  as  being  above  this  kind 
of  merchandising.,  which  is  in  effect,  a 
facet  of  basic  showmanship. 

The  January  "white  sales"  and  the 
February  furniture  sales  are  regular 
events  that  stimulate  buying  at  a  perir>d 
of  lull  in  these  fields.  So  are  the  Spring 
fur  sales.  And  all  the  seasonal  clearances 
are  designed  to'  empty  the  shelves  of  pro- 
ducts that  would  gather  dust  for  months 
to  come. 

All  retail  merchandising  uses  the  sale 
as  a  time-honored  device  to  boost  busi- 
ness when  it  is  expected  to  be  below  par. 
Xo  one  regards  the  cut  price  as  a  reflec- 
tion on  the  merchandise  so  offered. 

Basically,  of'  course,  the  idea  of  movie 
bargains  is  not  new.  The  advent  of  the 
double  feature  was  an  attempt  at  giving 
something  extra  for  the  price  of  admis- 
sion. Dishes,  bingo,  amateur  shows  and 
all  the  other  stimulants  utilized  by  thea- 
tres in  past  years  to  hypo  the  boxoffice 
on  off  days  fall  into  the  same  category. 
Vet  the  seemingly  logical  idea  of  offering 


J  U  L  V 


2,  1951 


5 


WHY  NOT  MOVIE  "BARGAINS"? 


(Continued  from  Page  5) 

patrons  a  marked-down  admission  ticket  ap- 
pears to  have  been  overlooked  by  theatremen. 
There  were  a  few  half-hearted  attempts  in 
some  houses  to  liven  the  early  evening  lull 
by  extending  matinee  prices  up  to  six-thirty 
or  seven  p.  m.,  or  to  boost  matinee  trade  by 
a  special  "early  bird"  price,  but  these  did 
not  represent  any  "special  bargain"  because 
they  were  really  "regular"  prices. 

Public  Shopping 
For  Bargains,  Values 

There  can  be  no  doubt  that  today  the  con- 
sumer's eye  is  focussed  squarely  on  the  dol- 
lar. The  great  pinch  on  the  pocketbook.  im- 
paled on  the  high  cost  of  living,  has  made  the 
public  more  price-conscious  than  at  any  time 
since  the  early  thirties.  There  is  money  to 
spend,  but  it  is  being  scrupulously  appor- 
tioned to  only  the  absolute  necessities  and 
the  best  values.  We  are  in  a  shoppers'  mar- 
ket. 

That  the  public  will  fork  over  for  an  es- 
tablished value  when  the  price  is  cut  was 
underlined  most  dramatically  by  the  recent 
price  wars  which  had  New  York  on  its  ear 
and  eventually  spread  to  other  cities  through- 
out the  country.  The  tremendous  crowds 
that  jammed  Macy's,  Gimbel's,  Abraham  & 
Straus,  and  other  stores  that  engaged  in  the 
price-cutting  jamboree,  literally  tore  down 
the  doors  to  hand  over  their  money  for  the 
bargains.  Overstocked  shelves  were  cleaned 
out  by  the  hungry  shoppers,  and  the  stores' 
volume  of  sales  was  fantastic  in  these  times 
of  business  doldrums. 

Court  Decision 
Opens  Price  War 

Television  sets,  a  drug  on  the  market,  re- 
mained on  retailers'  floors  despite  "premium" 
offers  that  included  electric  washing  ma- 
Chimtft,  ironers,  vacuum  cleaners,  etc.,  as  an 
added  inducement  to  buy.  Yet  when  the  price 
was  slashed,  the  sets  were  gobbled  up  by  the 
public.  One  TV  dealer,  loaded  with  8200 
standard  receivers,  ran  an  auction  sale  that 
cleaned  his  stock  out  at  the  rate  of  100  sets 
per  hour. 

The  price  war  was  instigated  by  Macy's 
It  m  than  two  weeks  after  the  U.  S.  Supreme 
Cowl  decision  exempting  "non-signers"  of 
State  fair  trade  agreements  from  maintaining 
prices  stipulated  by  the  manufacturers.  The 
huge  success  of  the  bargain  sales  encouraged 
other  stores  throughout  the  country  to  slash 
their  rates  with  similar  results.  Even  as  far 
as  Sitka,  Alaska,  the  Stifts  Variety  Store 
lowered  price  tags  on  fair-trade  items  from 
10  to  IS  per  cent. 

While  the  theatreman  has  the  Supreme 
Court's  blessing  on  setting  his  own  admis- 


1945 — WC-,  19SO 


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The  above  graph  of  price  increases,  com- 
piled by  COMPO  from  figures  supplied  by  the 
U.  S.  Bureau  of  Labor  Statistics,  shows  how 
comparatively  little  the  movie  admission  price 
has  increased  in  relation  to  other  "cost  of 
living  items."  It  points  up  the  tiarrozv  margin 
of  profit  in  theatres  and  the  dangers  of  a 
'widespread  "price  "war"  in  this  industry. 


sion  price  (one  of  the  fruits  of  the  industry 
anti-trust  decision),  heaven  knows  he  could 
not  afford  to  engage  in  a  price  war.  Such  a 
policy  could  only  hasten  the  movie  theatre's 
day  of  doom,  just  as  the  prolongation  and  ex- 
tension of  the  merchandise  price  war  would 
close  down  even  mighty  Macy's.  The  idea 
being  projected  here  is  akin  to  the  retail 
field's  offer  of  a  "loss  leader,"  the  item  that 
is  sold  below  actual  cost  to  attract  patron- 
age. The  purpose  of  a  "leader"  is  to  bring 
customers  into  the  store  so  that  other  items 
will  be  sold,  so  that  salespeople  will  not  re- 
main idle,  so  that  the  customer  will  see  some- 
thing on  display  and  be  tempted  to  buy,  so 
that  the  overhead  and  other  fixed  costs, 
which  continue  whether  the  establishment 
is  full  or  empty,  will  be  capitalized  to  the  ut- 
most. 

Bargain  Admissions 
Like  "Loss  Leaders"  ■ 

The  movie  industry  is  unique  in  many 
ways,  but  it  is  also  founded  on  some  basic 
business  tenets.  The  bargain  admission  day, 
featuring  a  first-class  film,  can  be  compared 
with  the  retailer's  "leader"  practice.  We 
recommend  a  first-class"  film  advisedly,  be- 
cause the  "leader"  can  be  effective  as  a  sales 
stimulant  only  if  the  customer  feels  he  is 
receiving  good  value  for  his  money.  Ob- 
viously, if  the  quality  does  not  measure  up, 
it  will  be  difficult  to  entice  him  with  box- 
office  bargains  in  the  future. 

Once  a  theatre  establishes  a  reputation  for 
offering  a  bona  fide  "buy"  on  the  bargain 


days  and  the  public's  faith  is  won,  it  is  not 
inconceivable  that  the  bargain  days  will  be- 
come a  lively  community  event  with  an  over- 
flow audience  responding.  The  exhibitor's 
gross,  then,  could  far  surpass  the  normal 
boxoffice  for  that  d  ay,  without  any  increase 
in  costs  (with  the  exception  of  film  rental  if 
the  feature  is  played  on  a  percentage  basis). 
Those  who  might  grasp  at  this  as  an  argu- 
ment for  a  general  admission  price  slash  miss 
the  point.  The  idea  would  be  useful  only  as 
a  means  of  exciting  the  bargain-hunting  in- 
stincts of  the  public.  A  store  that  holds  a 
"sale"  every  day  in  the  year  soon  finds  that 
the  reduced  price  tag  comes  to  be  taken  for 
granted  as  no  more  than  the  established 
value. 


Advertising,  Candy 
Opportunities  Big 


Need  any  exhibitor  be  told  the  advantages 
of  a  full  house?  There  they  will  be,  the  cap- 
tive audience,  to  absorb  the  potent  seat-sell- 
ing advertising  in  the  form  of  trailers  and 
accessories  for  coming  attractions.  Business 
at  the  candy  and  refreshment  stands  will 
boom  and  return  an  added  profit.  Many  of 
the  nickels  and  dimes  saved  at  the  boxoffice 
on  bargain  day  will  go  for  candy,  popcorn 
and  soft  drinks. 

Other  benefits:  Don't  fail  to  count  the 
value  of  the  word-of-mouth  that  will  accrue 
to  a  worthy  attraction.  Don't  overlook  the 
asset  of  audience  contagion  that  can  make  or 
break  many  a  picture.  We  know  what  can 
happen  to  a  good  comedy  in  an  empty  house. 
The  first  few  laughs  that  echo  hollowly  are 
soon  smothered  in  embarrassed  silence,  the 
mood  is  lost.  And  isn't  there  something  in- 
fectious about  a  busy  boxoffice?  People  do 
follow  the  crowd  and  a  queue  at  the  ticket 
booth  is  bound  to  quicken  the  interest  of  the 
passersby. 


Can  Re-Instill 
Moviegoing  Habit 


All  of  these  are  important  factors  to  con- 
sider in  thinking  of  bargain  day  at  the  movies. 
But  one  consideration  outweighs  them  all — 
the  fact  that  it  offers  an  opportunity  to  re- 
vive the  movie-going  habit. 

Offering  outstanding  "buys"  in  film  enter- 
tainment at  a  time  when  John  and  Jane  Doe 
are  watching  every  penny  and  grabbing  at 
bargains,  might  very  well  bring  a  rush  to  the 
boxoffice,  dragging  the  living-room  dwellers 
away  from  their  television  sets.  The  bargain 
day  may  be  the  gimmick  to  win  back  many 
of  our  long  lost  patrons.  Since  this  type  of 
merchandising  has  been  employed  with  such 
success  in  other  fields,  it  should  be  explored, 
at  least,  by  the  movie  industry. 

FILM  BULLETIN; 


I! 


DNOW 

ENTIETH  CENTURY-FOX 
SSES  THE  AMMUNITION! 


if 


I  NEVER 


VE  SEEN  WHAT  WE" 
AMMUNITION!  POWl 
THE  INDUSTRY'S  SH(! 
WORLD  MOVIES  ARE  I 
ONCE  AGAIN  2^1 
TREMENDOUS  BARRAI 
HOW  THAT  MADE  SH<< 
BIGGEST  OFFENSIVE 
IS  ON!  LET'S  ATTACK 
TOGETHER! 


MY  LIFE !!" 

OT- AND  BROTHER,  WE'VE  GOT  THE 
)  BY  THE  LEADERSHIP  THAT  SET  OFF 
ilNSHIP  CRUSADE . . .  AHD  TOLD  THE 
[  GREATEST  OF  ALL  ENTERTAINMENT! 
IES  THROUGH  FOR  YOU  WITH  A 
if  HITS- SUPPORTED  BY  THE  KNOW- 
l&NSHIP  FAMOUS!  THE  INDUSTRY'S 


WE'VE  GOT  EVERYTHING  YOU] 

PUBLIC  WANTS! 


starring 

if  AHHt 


Unusual  Stories  —  Tremendoi 
star  power  — Technicolor  g<- 
lore  —  Spectacle  attractions  \ 
Exploitation  pictures  to  mah 
a  showman's  mouth  wate, 


■away 

Most  onosoo|  ••"MWIJI 
P'««re  ever  macreS,,rr,n9  -vfci 
°n  'and,  air 
or  under 
the 


cost 


starring 

RICHARD 


Jt*  byjouusJ- 

Screen  J°;bJ  £ps^H 
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-le^Oooa, 


W«>MARK 

DANA 

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Produced  by 

SAMUEL  G.  ENGEL 

D'"recfed  by 

UOYD  BACON 


1  ..and  loves 


starring 

PAUL 


f  DOUGLAS  ^ 


JOAN 


DMtHBl 


produced  by 

JUL1AN  BLAUSTEIN 

Directed  by 

JOSEPH  NEWMAN 

Screen  Ploy  by  A>>-  Sc0t*t  Eve.  Post  by 
Based  on  a  Story  ,n  the  Sat. 


William 


ilt' s  gonna  be  a  great  20th  summer! 


I 


CONVICT  LAKE 


***** 

ANN 


Ad 


° v°**  75  scott 

RG-MlCn:?a*d  by 

Go*DON 


Put 

muscles 
in  your 
boxoffice! 


J°ck 


Po//( 


>  6y 


Keep  ringii 
the  bell  wit 
20th! 


cunSTi 


,5<l 


WE  WILL 
PRODUCE 
A  GREATER 
QUANTITY 
OF  QUALITY 
PICTURES^ 


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Produced  bvAHD*  R 


JAiMFS  iMASOl, 

Directed  by  HENRY  HATHAWAY  •  Fro    «.  . 
  •"■^WAY-From,heBook  by  DKMON0  youNG 


WHICH  WILL  SERVE 
AS  A  GREAT  TONIC 
FOR  OUR  INDUSTRY 
AND  ANSWER  THE 
DEMAND  OF  THE 
MOVIE-GOING 
PUBLIC  " 


l'  M*NKl£WlCz 


JUNE 
FRANK 


Directed  by 


JULES  BUCK  •  J"  DlAfAOH0 

Based  on  u 


YOU  BET  YOU'RE  PART  W^J} 
OF  THE  26  PICTURE! 


OAUDETIE  COlBfltf 
MCDONAID  CAREY 
ZACHARY  SCOTT 

UTS  MAKE 
IT  LEGAL 


Line 
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A  romantic  I 
foursome  in  ' 
>    a  ^arm  and  § 
delightful  " 
story  of  what   1 1 


W    "  ™*"n  and 
I  —  a  delightful 

%L<M  storyofwhat 
happens 
when  the 
—  ^      fer"ale  strays  ' 


Uie  Magazine 
kicks  off  g*ea 


;est 


LIS 

rreat 

Oth 

.ineup 


advance  sale  ot  the 

Produced  by 
JUUAN  BLAUSTEIN 
Directed  by 


/f's  Terrific!  From 


Friendly  G.l.'si 


the  South  Pacific  I 


Friendly  Hula  Gals 


-  \ 


WILLIAM  LUNDIGAN  JANE  GREER  MITZI GAYNO 
DAVID  WAYNE  GLORIA  DE  HAVEN 


friendly 


ith  Gene  lockhart  •  Produced  by  FRED  KOHLMAR 
Directed  by  EDMUND  GOULDING  •  Screen  Play 
by  CLAUDE  BINYON,  ALBERT  LEWIN  and 
BURT  STYLER  •  Based  on  a  Story 
by  Edward  Hope 


i  / 


A  strong,  prosperous  exhibition  means  a  strong,  prosperous 
Twentieth  Century-Fox!  And  every  associate  in  our  organi- 
zation is  dedicated  to  serving  you -our  partners!" 


Swashbuckling  Romantic  Action  Hit! 
The  Most  Ferocious— and  Beautiful- 
Buccaneer  to  Sail  the  Seven  Seas! 


Iwe  of  le  fares 


Color  by  TECHNICOLOR 

Starring 

JEAN  PETERS  •  LOUIS  JOURDAN  •  DEBRA  PAGET 

with  HERBERT  MARSHALL*  THOMAS  GOMEZ-JAMES  ROBERTSON  justice 
Produced  by  GEORGE  JESSEL  •  Directed  by  JACQUES  TOURNEUR 
Screen  Play  by  PHILIP  DUNNE  and  ARTHUR  CAESAR 

Based  on  a  Story  by  Herbert  Ravenel  Sass 


You'll  feel  like 
a  millionaire 
when  the 
crowds  start 
pouring  in  for 
this  hilarious 
romance  of 
a  modern 
gold-digger! 


AMiwowj* 

R>RCHR#r 

..RICHARD  CARLSON 


»- CIS 


Directed  by 


P  educed  by  BERT  E.  r*™£°  ,NGLUND  .  Grig-- 
JIrSHALL  •  Screenplay  by  ^rs  Century-Fo* 
Storyby^HARAR>.Releosedby2 


Lo*  to  exp/oi,  in 
dar,'ng  drama 


of 


o  man 


who  found 
"''mse/f-/n  a 
toman's 
arms! 


ntaf/on 


i/ii/rr.s'.£""n9  STfRHNG  HAYDEN 


starring 

ricK 


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the  Scree 


WE  ARE  DETERM 
EXHIBITOR  ERIE 
RESOURCE  AT  0 


D  TO  BACK  UP  OUR  i%"F 
JS  WITH  EVERY ^Atr 

I  COMMAND  /  V|F 


KEEP  THEM' 
COMING,  1 
DARRYL! 


Just  look  at  your  20th  future!  Here  are  only  a  few  samples 
of  pictures  already  rolling  to  guarantee  your  fortunes  in  '52! 


I'LL  NEVER  FORGET  YOU" 

TECHNICOLOR  (Temporary  Tifle) 

The  great  love  story  of  the  year— 
with  an  amazing  science-fiction  angle! 
Starring  TYRONE  POWER  and  ANN  BLYTH. 


ELOPEMENT" 


That  Belvedere  Man,  CLIFTON  WEBB, 
running  away  with  the  year's  funniest  hit! 


KANGAROO' 


TECHNICOLOR 

A  whopping  big  outdoor  spectacle 
from  the  director  of  "Halls  of  Montezuma" 
starring  PETER  LAWFORD,  MAUREEN  O'HARA! 

GOLDEN  GIRL" 

TECHNICOLOR 

A  lavish  musical  with  a  novel  gold-rush  twist! 
MITZI  GAYNOR,  DENNIS  DAY,  DALE  ROBERTSON 
supply  the  Dance,  Songs,  Laughs  and  Romance! 

"RETURN  OF  THE  TEXAN" 

All  the  canvas  and  action  of  the  Great  Texas  Plains! 
Starring  GARY  COOPER  as  all  America 
knows  him  best— wants  him  most! 


"YOU  AND  THE  NIGHT  AND  THE  MUSK 

TECHNICOLOR 

The  song  and  heart-filled  Jane  Froman  story 
starring  SUSAN  HAYWARD,  THELMA  RITTER, 
RORY  CALHOUN,  DAVID  WAYNE! 

"VIVA  ZAPATA" 

A  big,  rousing,  colorful  action  spectacle  from 
John  Steinbeck's  story— directed  by  Elia  Kazan- 
starring  MARLON  BRANDO,  JEAN  PETERS  and  MARGC 

"RED  SKIES  OF  MONTANA" 

TECHNICOLOR 

The  exciting,  outdoor  drama  of  the  fire  fighters!  Starrin;  I 
RICHARD  WIDMARK,  CONSTANCE  SMITH,  JEFFREY  HUNER. 

"BELLES  ON  THEIR  TOES" 

TECHNICOLOR 

A  new  book  sensation  by  the  same  authors  and  about 
the  same  wonderful  family  as  "Cheaper  By  the  Dozen"., 
Starring  JEANNE  CRAIN 


H"LYDIA  BAILEY' 

TECHNICOLOR 


ROBERTS' 


All  the  scope— and  tremendous  action  of  the  acclaimec 
best-seller  now  comes  to  the  screen! 


THE  INI 


DUSTRY'S  BIGI 


TTACK 
TOGETHER! 


MERE'S  NO  BUSINESS  LIKE 


BUSINESS 


CENTURY-FOX 


■SHOWBOAT'  ANOTHER  SUPER-MUSICAL  A  LA  'ANNIE* 

Rates  •  •  •    •  except  in  action  houses 


MGM 

107  minutes 

Kathryn  Grayson,  Ava  Gardner,  Howard 
Keel,  Joe  E.  Brown,  Marge  and  Gower 
Champion,  Robert  Sterling,  Agnes  Moor- 
head,  Adele  Jergens,  Lief  Erickson,  William 
Warfield,  Francis  Williams,  Owen  Mc- 
Giveney,  Regis  Toomey,  Sheila  Clark. 
Directed  by  George  Sidney. 

Tlie  wonderful  music,  singing  and  dancing, 
the  Kay.  scenic  splendor  enhanced  by  eye- 
filling  Technicolor  photography,  the  humor 
and  pathos  and  happiness  and  heartache  in 
Edna  Ferber's  original  novel — all  blend 
perfectly  to  make  this  MGM  version  of  the 
clas.-ic  musical.  "Showboat,"  a  superlative 
movie  entertainment.  Just  the  title  in  itself 
on  the  marquee  will  mean  more  profits  for 
the  theatreman.  but  this  latest  effort  boasts 
such  fine  talent  pitching  in  with  such  grand 
performances  that  exhibitors  in  every  situa- 
tion are  certain  to  find  it  a  boxoffice  bonanza. 
Produced  and  directed  by  the  team  that 
turned  out  the  smash  "Annie  Get  Your 
Gun,"  this  latest  Arthur  Freed    -  George 


Sidney  extravaganaza  is  an  enviable  follow- 
up  to  that  worthy  show.  As  long  as  Holly- 
wood can  turn  out  pictures  of  this  calibre 
— and  Metro  and  others  have  proven  time 
and  again  that  it  can  be  done— the  industry 
cannot  lose  hope  for  its  future  in  the  enter- 
tainment world. 

Listening  to  Kathryn  Grayson  and  Howard 
Keel  singing  the  beloved  Jerome  Kern  - 
Oscar  Hammerstein  II  -  Charles  Harris 
music— songs  that  are  as  well  known  and 
as  popular  as  "Showboat"  itself— is  worth 
the  price  of  admission  alone.  Ava  Gardner 
is  actually  sensational  as  the  blues-singing 
Julie.  Whether  it  is  her  voice  or  a  dubbed 
one,  the  treatment  given  "Bill"  and  "Can't 
Help  Lovin'  Dat  Man"  is  the  way  those  im- 
mortal tunes  were  meant  to  be  suiik.  New- 
comer William  Warfield's  "OF  Man  River" 
established  him  as  a  bright  star  in  the  movie 
horizon,  and  in  the  charming  persons  of 
Marge  and  Gower  Champion,  and  eye-filling, 
twinkle-toed  dance  team  are  brought  to  the 
screen.  Joe  E.  Brown,  whose  return  to  the 
movies  should  bring  back  pleasant  memories 
to  many  fans,  contributes  a  warm,  sympa- 


thetic portrayal  of  Cap'n  Andy. 

STORY:  Ava  Gardner  and  her  husband 
Robert  Sterling,  arc   run  out  of  town  for 

having  committed  miccegenatioa,  leaving 
Cap'n  Andy  (Joe  E.  Brown)  and  his  Show- 
boat without  leading  players.  The  captain's 
daughter,  Kathryn  Grayson,  and  Howard 
Keel,  a  riverboat  gambler,  fill  in  in  the  emer- 
gency, fall  in  love  and  marry.  They  leave 
the  Showboat,  go  to  Chicago,  where  Keel's 
standard  of  living  fluctuates  with  his  luck 
with  card-.  After  a  long  streak  of  bad  luck, 
they  quarrel  and  Keel  leaves  Kathryn.  She 
takes  a  job  in  a  night  club,  unknowingly 
filling  in  once  again  for  Miss  Garner,  who 
is  pining  away  for  her  man.  with  the  aid  of 
old  man  Barleywin.  Cap'n  Andy  is  in  the 
audience  when  Kathryn  makes  her  debut, 
finds  out  she's  pregnant  and  takes  here 
back  to  the  Showboat.  Miss  Gardner,  now 
completely  degenerated,  meets  Keel  on  a 
river  boat,  tells  him  Kathryn  and  their  bain 
are  back  on  the  Showboat.  Keel  and 
Kathryn  are  reunited  and  the  Showboat, 
like  old  man  river,  keeps  rolling  along. 

JACKSON 


ACE  IN  THE  HOLE' 

Rates  •  •  •  generally 


POWERFUL  DRAMA  SHOULD  CLICK  BIG 


Paramount 
112  minutes 

Kirk   Douglas,   Jan   Sterling,   Bob  Arthur, 
Porter  Hall.  Richard  Benedict,  Ray  Teal, 
Lewis  Martin,  John  Berkes,  Frances  Do- 
minguez,  Gene  Evans. 
Directed  by  Billy  Wilder. 

A  rough,  tough,  novel  drama  that  hits 
with  piledriver  force,  "Ace  in  the  Hole;" 
seems  destined  for  a  gladsome  reception  at 
the  boxoffice.  Properly  exploited  for  initial 
returns  and  sure  to  build  on  word-of-mouth, 
this  Billy  Wilder  production  is  likely  to 
emerge  one  of  the  big  grossers  of  the  year. 
Wilder,  who  also  directed  and  collaborated 
on  the  script  with  Lesser  Samuels  and 
Walter  Newman,  has  proved  his  worth  with 
such  previous  off-the  beaten  track  films  as 
"Lost  Weekend"  and  "Sunset  Boulevard." 
Now  he  turns  to  a  newspaper-story  melo- 
drama and  gives  it  the  same  terse  treat- 
ment   that    lifted    the    others    above  the 


He  wrings 
drama  from 
big  city  re- 


average  Hollywood  product, 
every  ounce  of  suspense  and 
the  story  of  an  unscrupulous 
porter  who  stumbles  on  a  man  entombed 
in  a  New  Mexico  Indian  cliff  dwelling  and 
attempts  to  turn  it  into  a  scoop  that  will 
bring  him  back  to  the  big  time. 

Top-notch  are  the  performances  by  Kirk- 
Douglas  as  the  reporter,  Jan  Sterling  as  the 
entombed  man's  opportunistic,  wanton  wife, 
Richard  Benedict  as  the  victim  of  the  cave- 
in,  Ray  Teal  as  a  crooked  sheriff  and  Frank 
Jaquet  as  the  rescue  engineer.  Charles 
Lang's  photography  is  strictly  A-grade. 

STORY:  Ace  reporter  Kirk  Douglas, 
blackballed  from  big  town  dailies,  is  taken 
on  by  Albuquerque  newspaper  publisher 
Porter  Hall.  When  Richard  Benedict, 
operator  of  a  roadside  curio  shop  is  trapped 
inside  an  ancient  Indian  cliff  dwelling  by 
a  roof  cave-in,  Douglas  crawls  in  to  aid 
him,  then  realizes  that  a  quick  rescue 
would  nullify  the  news  value.    He  makes 


a  deal  with  the  sheriff  and  a  rescue  engi- 
neer to  make  the  rescue  the  hard  way  and 
aims  to  keep  Benedict  alive  for  the  week 
or  so  necessary  to  get  him  out.  The  re- 
sultant newspaper  stories  of  the  trapped 
man,  which  Douglas  hands  out  to  other 
reporters,  brings  huge  crowds  to  the  scene, 
and  food  venders  and  a  carnival  move  in 
to  take  advantage  of  the  crowds.  Benedict's 
wife,  Jan  Sterling,  played  up  in  Douglas' 
stories  as  the  suffering  spouse,  sees  in 
Douglas  a  way  to  get  away  from  the  small 
town,  and  plays  up  to  him.  Realizing  that 
the  man  will  die  before  he  can  be  rescued, 
Douglas  relents,  tries  to  get  him  out  the 
easy  way.  but  cannot.  Sterling's  disregard 
for  her  husband  enrages  him,  he  starts  to 
choke  her  and  she  stabs  him.  Fatally 
wounded  he  returns  to  the  cliff  only  to 
see  the  trapped  man  die.  In  a  last  attempt 
to  cash  in,  he  tries  to  sell  the  true  story, 
confessing  Benedict's  murder,  but  the  story 
is  laughed  off  as  a  fake,  and  he  dies,  the 
real  scoop  of  his  life  disbelieved.  Yf'RK 


'PEKING  EXPRESS'  EXPLOITABLE,  TIMELY  DRAMA 


Rates  •  • 


—  where 


sold, 


action  houses 


Paramount  (Walks) 
85  minutes 

Joseph    Cotten,    Corinne    Calvet,  Edmund 
Gwenn,  Marvin  Miller,  Benson  Fong,  Soo 
Young,  Robert  W.  Lee. 
Directed  by  William  Dieterle. 

"Peking  Express"  is  timely  and  exploitable 
even  if  its  shallow  story  is  somewhat  obvious. 
As  compensating  factors  Hal  Wallis  offers  an 
atmospheric,  authentic-looking  production,  good 
performances  by  an  average  cast,  and  some 
pretty  vivid  moments  of  action.  Woven  as 
these  elements  are  into  an  Oriental  tale  of  in- 
trigue with  topical  overtones,  the  show  comes 


through  as  entertainment  despite  itself.  The  dia- 
logue is  a  bit  overripe  with  verbose  political 
discourses.  In  the  action  sequences  director  Wil- 
liam Dieterle  fares  much  better,  inserting  quite 
a  few  shock  scenes  into  the  drama  and  building 
the  finale  exvitingly.  Exploited  properly,  the 
timely  angle  plus  the  Cotten-Calvet-Gwenn  mar- 
quee draw  should  make  this  a  satisfactory  at- 
traction generally.  Action  spots,  of  course,  will 
fare  best. 

Joseph  Cotten  is  likeable  and  easy  going  as 
the  United.  Nations  health  inspector  caught  up  in 
a  guerilla  attack.  Corinne  Calvet  is  sufficiently 
exotic  to  pose  as  a  convincing  woman  of  adven- 
ture, and  Edmund  Gwenn  plays  a  kindly  priest 


JULY,   2,    195  1 


with  quiet  dignity.  Marvin  Miller.  Benson  Fong, 
Soo  Young,  and  Robert  W.  Lee  have  their  inn- 
ings as  not  so  inscrutible  Chinese  protaganists. 

STORY:  Aboard  a  train  to  Peking,  Cotten 
meets  an  old  flame,  Corinne  Calvet.  Marvin  Mil- 
ler, another  passenger,  turns  out  to  be  a  Com- 
munist guerilla  fighter  who  seizes  the  train  and 
holds  Cotten  and  the  others  as  hostages.  His 
purpose  is  to  get  back  his  son  who  has  deserted 
him  to  play  ball  with  the  Nationalists.  The  boy 
is  returned,  but  Miller  is  not  a  man  to  keep  his 
word.  Calvet  offers  herself  in  exchange  for 
Cotten's  life.  Fate  in  the  hands  of  Miller's  wife 
who  kills  him  spares  the  lady  this  unhappy 
fate,  Cotten  and  the  passengers  battle  their  way 
out  of  the  situation.  JAMES 

19 


'CAPTAIN  HORATIO  HORNBLOWER'  ACTIONFUL  TECHNICOLOR  SEA  EXTRAVAGANZA 


Rates  •  •  •  generally 


Warner  Bros. 
117  minutes 

Gregory     Peck,    Virginia    Mayo,  Robert 
Beatty,  James  R.  Justice,  Denis  O'Shea,  M. 
Kelsall,  T.  Morgan,  Richard  Hearne,  James 
Kenney,  Ingeborg  Wells,  Alec  Mango. 
Directed  by  Raoul  Walsh. 

"Captain  Horatio  Hornblower"  is  a  sea- 
going tale  of  epic  proportions  that  should 
bring  the  masses  out  of  their  living-rooms 
and  into  theatres  in  droves.  This  Warner 
Brothers'  attraction,  beautifully  tinted  by 
Technicolor,  offers  some  breathtaking  foot- 
age of  sea  warfare,  earh*  19th  century  style. 
The  action  and  spectacle,  plus  the  stellar 
boxoffice  names  of  Gregory  Peck  and 
Virginia  Mayo,  is  a  happy  combination  that 
should  do  much  to  help  bolster  sagging 
grosses  in  movie  houses.  The  script,  based 
upon  the  escapades  of  the  popular  fictional 
British  Naval  hero  created  by  C.  S.  Forester, 
has  crammed  into  its  almost  two-hour  run- 


ning time  enough  devil-may-care  adventure 
and  colorful,  blood-curdling  battle  scenes 
to  completely  fascinate  the  action  fans, 
perhaps  even  to  the  point  where  they  will 
overlook  the  romantic  nonsense  tossed  in  as 
a  sop  to  the  Peck  femme  contingent. 

Gregory  Peck  turns  in  another  excellent 
performance  as  the  British  naval  officer 
whose  all-around  ability  as  a  sailor  and  a 
fighter  make  him  the  idol  of  his  crew,  the 
navy  and  the  people  of  the  British  Isles. 
If  there  had  to  be  a  woman  involved,  the 
choice  of  Virginia  Mayo  is  a  happy  one. 
Credit  for  the  expertly-photographed  battle 
scenes  at  sea  and  the  interesting  presenta- 
tion of  the  Hornblower  episodes  go  to 
director  Raoul  Walsh.  The  screen  play  is 
by  Ivan  Goff,  Ben  Roberts  and  Aeneas 
MacKenzie. 

STORY:  Gregory  Peck  (Captain  Horatio 
Hornblower)  sails  from  England  to  an 
island  on  the  Pacific  side  of  Latin  America, 
where   he  delivers  his  cargo   of  guns  and 


ammunition  to  a  mad  dictator  who  has 
promised  to  help  Britain  fight  the  Spanish. 
Not  knowing  that  his  country  has  made 
peace  with  Spain  and  is  now  at  war  with 
France,  Peck  and  his  crew  capture  a  Spanish 
galleon  and  give  it  to  his  bloodthirsty  "ally." 
When  the  news  arrives  that  Spain  and 
England  are  allied,  the  galleon  and  the 
dictator  are  destroyed  in  a  blazing  battle. 
During  the  long  trip  home,  a  romance  buds 
between  Peck  and  Virginia  Mayo,  an  un- 
welcome passenger  who  is  returning  to 
England  to  marry  a  member  of  the  Admi- 
ralty. The  affair  fizzles  because  Peck  is 
married.  Back  home,  his  wife  dead  of  child- 
birth, Peck  is  given  command  of  a  ship  in 
a  squadron  headed  by  Virginia's  husband, 
helps  to  bottle  up  a  good  portion  of  the 
French  fleet,  is  captured,  escapes,  returns 
to  England  a  hero  and,  in  true  fairy  tale 
style,  finds  a  widowed  Virginia  awaiting  him, 
her  husband  having  conveniently  been  killed 
in  the  battle  with  the  French.  JACKSON 


■THAT'S  MY  BOY"  GOOD  FUN 

Rates  •  •  •  on  comics'  draw 


Paramount-Hal  Wallis 
98  minutes 

Jerry  Lewis,  Dean  Martin,  Edd:e  Mayehoff, 
Ruth  Hussey,  Marion  Marshall,  Polly  Ber- 
gen, Francis  Pierlot,  Selmer  Jackson,  Hugh 
Sanders,  John  Mclntire,  Lilliam  Randolph. 
Directed  by  Hal  Walker. 

Jerry  Lewis,  zany  half  of  the  Lewis-Martin 
team,  goes  easy  on  the  slapsticky  high  jinks  in 
this  latest  comedy  featuring  that  popular  pair. 
Consequently,  "That's  My  Boy"  emerges  on 
screen  as  a  good  enough  comedy,  but  one  which 
will  probably  prove  a  bit  disappointing  to  the 
comics'  fans.  The  popularity  of  the  team,  which 
has  grown  by  leaps  and  bounds  as  a  result  of 
their  previous  Hal  Wallis  vehicles  and  their 
current  TV  and  night  club  successes,  should  in- 
sure good  grosses  wherever  this  college  farce 
plays,  but  the  suppression  of  the  usual  side- 
splitting Lewis  antics  won't  sit  well  with  their 
followers  and  word  of  this  may  detract  from 
business  in  subsequent  runs.  The  principle  blame 


for  these  shortcomings  falls  on  screenplay  writ- 
er Cy  Howard,  whose  script  is  corny  and  con- 
trived, and  burdened  with  psychoanalytical  sit- 
uations. The  plot  might  not  have  been  too  im- 
portant, had  director  Hal  Walker  given  Martin 
and  Lewis  freer  rein,  but  their  restraint  leaves 
the  story  with  its  slip  exposed. 

Jerry  Lewis,  as  the  shy,  fumbling  introvert 
suffering  from  his  father's  popularity  as  a  col- 
lege football  hero,  is  his  happy,  mugging  self  on 
too  few  occasions,  shining  brightly  only  when 
he  can  do  a  pratfall,  dance  a  couple  of  wacky 
steps  or  utter  that  goofy  laugh  that  always 
fractures  his  fans.  His  partner,  Dean  Martin, 
fares  better  since  he  is  always  the  straight  man, 
and  his  pleasing  delivery  of  a  couple  of  old 
pop  tunes  are  high  spots  of  the  film.  Newcomer 
Eddie  Mayehoff  makes  the  best  of  an  obvious 
satire  on  college  football  stars  who  want  their 
kids  to  follow  in  their  glorious  footsteps.  Polly 
Bergen  and  Marion  Marshall  are  attractive  or- 
naments as  the  feminine  interests,  and  Ruth 


Hussey  is  okay  as  Jerry's  domineering  mama. 

STORY :  Ex-football  star  Eddie  Mayehoff 
agrees  to  send  All-American  prospect  Dean 
Martin  to  his  college  alma  mater,  providing 
Mayehoff's  own  sickly  son,  Jerry  Lewis,  makes 
the  football  team  and  is  befriended  by  Dean.  At 
college,  Marion  Marshall,  psychology  major  who 
is  working  her  way  through  school  by  selling 
men's  haberdashery,  tries  to  help  Jerry  by 
building  up  his  confidence  in  himself.  Jerry  falls 
for  her,  but  she  and  Dean  are  secretly  in  love. 
In  the  first  game,  Mayehoff's  influence  gets 
Jerry  into  the  game,  but  he  immediately  scores 
a  touchdown  for  the  opposition,  making  himself 
and  his  father  a  laughingstock.  Dean,  now  sin- 
cerely anxious  to  help  Jerry,  tutors  Jerry  in 
football  during  their  off  time.  Just  before  the 
homecoming  game,  Dean  is  expelled  for  getting 
drunk  after  a  misunderstanding  with  Marion. 
Jerry  is  sent  into  the  game  in  desperation,  scores 
the  winning  field  goal  after  running  for  a  touch- 
down and  is  automatically  cured  of  all  of  his 
neuroses.  JACKSON. 


'COMIN'  ROUND  THE  MOUNTAIN'  BELOW  PAR  ABBOTT  AND  COSTELLO 


Rates  •  •  where  the  comics  draw 

Universal-International 
77  minutes 

Bud  Abbott,  Lou  Costello,  Dorothy  Shay, 
Kirby  Grant,  Shaye  Cogan,  Joe  Sawyer, 
Glenn  Strange,  Ida  Moore,  Guy  Wilkerson, 
Bob  Easton,  Slats  Taylor,  Margaret  Hamil- 
ton, Russell  Simpson. 
Directed  by  Charles  Lamont. 

"Comin'  Round  the  Mountain"  is  only  fair 
for  Abbott  and  Costello.  The  boys  seem  to 
be  letting  down  in  this  one,  and  the  nutty 
comedy  and  dialogue  sequences  that  usually 
punctuate  their  efforts  are  missing.  "Comin' 
Round  the  Mountain"  has  too  much  plot  and 
to.,  many  characters  tor  them  to  have  time 
to  really  get  going.  The  story,  though,  is 
amusing  and  the  boys,  inevitably,  generate 


quite  a  few  laughs  as  two  Broadwayites  who 
head  for  the  back  hills  in  a  quest  for  buried 
treasure.  Howard  Christie's  production 
blandly  spoofs  the  hillbilly  world  by  using 
a  cast  of  specialized  actors,  all  of  whom  might 
have  come  straight  from  the  cartoon  pages 
of  Esquire.  Charles  Lamont's  direction  is 
brisk  and  to  the  point.  The  comics'  draw 
will  make  this  a  fair  dualler  in  the  sticks 
and  lesser  naborhoods,  but  they  can  hardly 
hope  to  win  new  friends  with  this  one. 

The  acting  news  of  "Comin'  Round  the 
Mountain"  is  supplied  by  Dorothy  Shay,  the 
Park  Avenue  Hillbilly  gal.  Miss  Shay,  like- 
able of  personality  and  an  excellent  singer, 
accomplishes  a  most  successful  celluloid 
debul  The  yarn  allows  her  to  balance  a 
competent  acting  job  with  splendid  renditions 


of  her  saucy  backwoods  ditties.  Abbott  and 
Costello  do  the  best  possible  with  the  slight 
material.  Kirby  Grant  is  okeh  in  the  romantic 
lead,  and  Shaye  Cogan's  would-be  child 
bride  is  amusing. 

STORY:  When  Lou  Cosello  turns  out  to 
be  a  possible  heir  to  his  grandpa's  hidden 
fortune,  Dorothy  Shay  and  Bud  Abbott  ac- 
company him  to  the  mountains.  His  arrival 
sparks  an  old  feud  between  his  and  another 
family.  Worried  that  there  may  not  be  an 
heir  if  Costello  does  find  the  fortune,  his 
grandmaw  insists  that  he  get  married.  After 
Dorothy  Shay  rejects  him,  the  family  comes 
up  with  Shaye  Cogan,  all  of  14.  There  is  a 
catch  in  laying  claim  to  the  fortune — it 
turns  out  to  be  buried  at  Fort  Knox. 

AXGEL 


20 


FILM  BULLETIN 


'KIND  LADY'  TALKY  BUT  ENGROSSING  MELODRAMA 


Rates  •  •'  -f-  as  dualler;  more  in  class  houses 


MGM 

78  minutes 

Ethel  Barrymore,  Maurice  Evans,  Angela 
Lansbury,  Keenan  Wynn,  Betsy  Blair,  John 
Williams,  Doris  Lloyd. 
Directed  by  John  Sturges. 


"Kind  Lady"  is  an  engrossing  melodrama 
that  manages  to  create  an  unusual  amount 
of  suspense  and  excitement  despite  a  lack 
of  action,  an  abundance  of  dialogue  and 
Victorian  atmosphere.  This  Metro  offering 
should  draw  moderately  well  as  a  dualler  in 
most  situations,  with  the  outstanding  cast 
headed  by  the  illustrious  Ethel  Barrymore  - 
Maurice  Evans  names  being  effective  pri- 
marily in  class  houses.  The  principle  short- 
coming of  this  well-made,  excellently-acted 
chiller  is  its  over-dependence  upon  talk  in 
the  development  of  the  plot,  which  may  cause 
a  great  deal  of  squirming  and  fidgeting 
among  the  more  rabid  action  fans.  Although 


there  is  no  mystery  involved  in  this  tale  of 
a  kindly  old  woman  whose  home  in  invaded 
and  plundered  by  a  scheming,  murderous 
artist,  director  John  Sturges  capably  builds 
the  tension  to  a  crashing,  heartstopping  cres- 
cendo, with  the  villian's  fantastic  scheme 
foiled  at  the  last  moment. 

Ethel  Barrymore,  as  the  lady  whose  kind- 
ness results  in  a  horrible  experience,  turns 
in  an  exceedingly  fine  performance,  while 
Shakespearian  actor  Maurice  Evans  handles 
his  assignment  of  the  role  of  an  unscrupulous 
scoundrel  with  the. skill  that  has  gained  him 
the  reputation  as  one  of  the  stage's  greats. 
Angela  Lansbury  and  Keenan  Wynn  deliver 
the  goods  as  Evans'  confederates.  Produced 
by  Armand  Deutsch,  the  screen  play  was 
written  by  Jerry  Davis,  Edward  Chodorov 
and  Charles  Bennett,  based  on  a  play  by 
Chodorov  adapted  from  a  story  by  Hugh 
vValpole. 

STORY:  Ethel  Barrymore,  a  kindly  lady 


living  alone  with  her  servants,  is  taken  in 
by  the  wiles  of  Maurice  Evan-,  a  icheming 
artist.  Before  Miss  Barrymore  realizes  what 
has  happened,  the  man  she  has  befriended 
moves  his  family  into  her  home,  imprisons 
Mi--  Barrymore  and  her  maid,  Doris  Lloyd, 
and  proceeds  to  sell  all  the  antiques  and 
priceless  paintings  in  the  house.  Evans 
answers  all  question*  about  Mi--  Ii;irrymore 
by  explaining  that  she  is  insane.  The  ruse 
works  until  John  William-,  a  banker  who 
handles  Miss  Barrymore's  affairs,  becomes 
suspicious.  Meanwhile,  Miss  Barrymore 
bribes  Angela  Lansbury,  one  of  Evans'  con- 
federates, to  release  Miss  Llovd.  Keenan 
W  ynn.  Angela's  murderous  husband,  catches 
Miss  Lloyd  as  she  is  about  to  escape  and 
strangles  her.  Egged  on  by  Evans,  Wynn 
pushes  the  body  out  of  the  window,  think- 
ing it  is  Miss  Barrymore,  Williams  arrives 
with  the  police  and  the  murderous  trio  i- 
taken  into  custody,  outwitted  by  the  kindly 
old  lady.  JACKSON 


ALONG  THE  GREAT  DIVIDE'  SLOW  PACED  WESTERN 


Rates  •  •  +  generally 

Warner  Bros. 
88  minutes 

Kirk  Douglas,  Virginia  Mayo,  John  Agar, 
Walter  Brennan,  Ray  Teal,  Hugh  Sanders, 
Morris  Ankrum,  James  Anderson,  Chas. 
Meredith. 

Directed  by  Raoul  Walsh. 

Despite  a  strong  cast  and  capable  per- 
formances, "Along  the  Great  Divide"  fails 
to  come  off  either  as  western  fish  or  drama- 
tic fowl.  The  story,  filled  with  enough 
dialogue  and  psychological  struggle  to  take 
it  out  of  the  usual  Western  pattern,  is 
below  the  standard  required  to  make  it  a 
dramatic  attraction  on  its  own.  Conse- 
quently, the  sacrifice  of  action  for  verbosity 
and  mental  aberration  is  hardly  worthwhile, 
since  it  will  be  too  slow  for  the  action 
and  western  fan,  and  too  obvious  for  the 
more  discriminating  moviegoer.  Its  greatest 
asset  is  the  name  value,  with  Kirk  Douglas, 
Virginia  Mayo,  John  Agar  and  Walter 
Brennan  registering  more  than  average 
marquee    potency    for    this    type    of  film. 


Occasional  excitement  is  injected  from  time 
to  time,  and  a  certain  amount  of  suspense 
is  engendered  by  situations,  but  the  inevi- 
table outcome  ard  the  stylized  plot  dis- 
sipates much  of  this.  The  story,  which 
has  a  law  enforcement  agent  attempting 
to  administer  justice  with  an  iron  hand  to 
overcome  his  own  past,  may  be  new  for 
the  horse  opera,  but  it  is  certainly  old  stuff 
on  the  screen.  The  result  is  a  combination 
of  screen  fare  that  won't  satisfy  anyone. 
The  names  may  bring  above  average 
grosses  in  some  spots,  but  audiences 
generally  will  be  disappointed. 

Kirk  Douglas,  stymied  by  an  unconvinc- 
ing role  and  the  trite  story,  works  hard, 
but  rarely  successfully,  to  put  heart  and 
drama  into  the  proceedings.  Virginia  Mayo 
and  Walter  Brennan,  called  upon  for  less, 
are  also  competent  but  ineffectual.  John 
Agar,  Ray  Teal  and  James  Anderson  are 
purely  routine  in  their  typed  roles.  The 
photography  is  impressive  in  the  desert 
shots,  but  much  of  it  seems  to  be  snipped 


from  dozens  of  other  such  films. 

STORY :  Kirk  Douglas,  :l  U.  S  Marshal 
and  his  two  deputies,  John  Agar  and  Ray 
Teal,  interrupt  an  attempted  lynching  of 
Walter  Brennan  headed  by  Morris  Ankrum 
and  his  son,  James  Anderson.  Ankrum 
claims  that  Brennan  has  just  killed  his 
other  son  while  cattle  rustling,  but  Douglas 
takes  Brennan  in  order  to  bring  him  to 
trial  at  Santa  Loma.  When  Douglas  learns 
that  Ankrum  is  organizing  men  in  order 
to  stop  him,  they  leave  immediately,  tak- 
ing a  short  cut  through  the  desert.  Bren- 
nan's  daughter,  Virginia  Mayo,  joins  the 
group.  When  Ankrum  does  attack,  Agar 
is  killed,  but  Anderson  is  captured  and 
taken  along  for  the  trial.  During  the  trip, 
Douglas  falls  in  love  with  Mayo,  Teal  is 
killed,  and  their  horses  lost.  When  the 
remaining  party  reaches  Santa  Loma, 
Brennan  is  convicted  of  murder  and  sen- 
tenced to  hang.  Just  before  the  hanging, 
Douglas  discovers  Anderson  is  the  real 
murderer  and  kills  him  after  a  chase. 

GRAN 


'ACCORDING  TO  MRS.  HOYLE1  STICKY,  SENTIMENTAL  COMEDY 

Rates  •  •  as  dualler 


Monogram 
60  minutes 

Spring  Byington,  Anthony  Caruso,  Brett 
King,  Tanis  Chandler,  Stephen  Chase, 
Directed  by  Jean  Warbrough. 


"According  to  Mrs.  Hoyle"  is  a  sticky, 
sentimental  comedy  that  will  please  only  a 
small  segment  of  the  family  trade.  The  story 
is  the  old-hat  account  of  the  sweet  old 
lady  who  charms  a  gang  of  thugs  and  pre- 
cipitates their  reform.  As  written  and  as 
directed  by  Jean  Yarbrough,  the  action  and 
dialogue  are  frequently  embarrassing.  Barney 


Gerard's  production  is  most  presentable  and 
considering  the  fine  quality  of  actors  involved 
it  is  more  the  pity  that  the  effort  is  wasted 
on  such  an  unentertaining  yarn. 

Spring  Byington  plays  the  title  role  with 
expected  charm,  but  even  in  her  capable 
hands  the  character  gets  out  of  control. 
Anthony  Caruso  is  excellent  as  the  hard- 
boiled  racketeer  who  goes  "legit."  Of  the 
company,  Brett  King  comes  off  best  thanks 
to  a  part  that  is  more  believable  than  the 
others. 

STORY:  When  Anthony  Caruso  takes 
over  a  hotel  he  is  faced  with  the  task  of 


evicting  Spring  Byington.  a  retired  school 
teacher  who  has  lived  in  the  second  rate 
hostelry  for  years.  Caruso  wants  to  reno- 
vate and  set  himself  and  his  boys  up  in  a 
straight  business.  They  all  agree  that  Bying- 
ton can  stay.  Two  of  the  gang  pull  a  job 
on  their  own.  Both  Caruso  and  the  school 
marm  are  involved.  Eventually  a  confession 
clears  her  of  complicity  and  she  learns  that 
one  of  the  hoodlums  is  her  son  whom  she 
has  not  seen  for  years.  And  the  husband  who 
deserted  her,  now  dead,  turns  out  to  have 
been  a  second  story  man  of  considerable 
notoriety.  She  and  the  son  prepare  for  a 
better  life.  JAMES 


JULY,    2,  1951 


21 


Short  Subjects 


By  BARN 


PHILADELPHIA  GAPED  last  Tuesday  (26) 
at  the  sight  of  an  armored  giant,  riding 
atop  the  cab  of  a  huge  red  trailer  truck,  brandi- 
shing a  sword  and  looking  as  ferocious  as  all 
get-out.  The  big  man  was  Walter  Talun, 
"Goliath"  in  the  forthcoming  20th-Fox  pro- 
duction, "David  and  Bathsheba",  and  the 
trailer,  a  rolling  museum  of  costumes,  props, 
jewelry,  etc.,  used  in  the  film.  The  Quaker 
City  stunt  was  the  first  in  a  series  of  stops  that 
will  display  "Goliath"  in  some  60  cities  spread 
over  an  itinerary  covering  8600  miles.  The 
giant  bally  is  in  the  tradition  of  the  sensational 
circus-type  promotions,  tours  and  junkets  that 
were  fathered  by  Charles  Einfeld  all  through 
his  career  as  a  super-publicist,  first  with 
Warners  and  then  with  Fox.  It  is  the  first  of 
a  three-prong  promotion  angled  at  all  segments 
of  the  movie-going  public.  The  "Goliath"  stunt 
for  the  youngsters  (of  all  ages)  ;  Francis  X. 
Bushman  for  the  more  mature  groups,  and  a 
third  angle,  still  tentative,  which  will  attempt 
to  find  lineal  descendants  of  Bathsheba. 


THE  RENAMING  of  the  famous  Broadway 
Strand  Theatre  to  the  Warner  Theatre  has 
a  timing  which  could  hardly  have  been  planned, 
yet  is  amazing  in  its  significance.  A  quarter  of  a 
century  ago,  the  first  talking  picture  revolu- 
tionized the  movie  industry  and  sound,  as  pion- 
eered by  Harry,  Jack,  Albert  and  Sam  Warner, 
began  a  new  era  in  the  entertainment  world.  A 
few  weeks  ago,  the  Strand,  first  of  the  modern 
Broadway  movie  palaces,  was  closed  down  for 
some  prettying  up  and  installation  of  RCA 
direct  television  projection  equipment.  Before  it 
reopened,  the  first  exclusive  theatre  television 
broadcast  was  received  in  several  theatres  in 
six  cities.  When  it  reopens  on  July  4  as  the 
Warner,  in  honor  of  the  late  Sam,  it  will  mark 
not  only  the  25th  anniversary  of  modern  talking 
pictures,  but  the  beginning  of  another  new  era 
in  movie  history,  the  large-screen  TV  show. 
There  will  be  a  special  premiere  on  the  evening 
of  July  3  of  "Strangers  on  a  Train"  combined 
with  a  historic  re-showing  of  scenes  from  the 
first  "talkies".  Civic  leaders  and  other  bigwigs, 
including  many  of  those  who  witnessed  the  his- 
toric 1926  premiere  are  due  to  be  on  hand  for 
the  event. 


ANE  OF  the  most  colorful  and  attractive 
ballyhoo  displays  ever  launched  by 
M-G-M's  Howard  Dietz,  who  has  created  some 
of  the  best,  is  the  "Show  Boat"  on  wheels, 
currently  on  tour.  Over  30  feet  long  and  stand- 
ing 18  feet  from  deck  to  smokestack,  the  travel- 
ing ballyhoo  is  a  replica  of  the  vessel  used  in 
the  film.  It's  so  big  that  special  arrangements 
have  to  be  made  with  local  licensing  officials  to 
pull  the  giant  truck  and  trailer  down  Main 
Street,  thus  grabbing  special  attention  even 
before  hitting  town.  Fitted  out  with  flying 
pennants,  a  moving  paddle  wheel  that  turns 
with  water  splashing  effects,  steamboat  bell 
and  whistle,  and  all  the  other  trimmings,  in- 
cluding a  real  dock  on  which  town  bigwigs 
make  the  welcoming  address.  Live  lovelies  in 
"Show  Boat"  costume  cavort  with  the  bally  in 
each  of  the  locales,  promoted  locally  from  stores 


"JEFFERSON,"  "GOLIATH,"  EXHIB 

Philly  Gaped 


and  model  agencies  en  route.  The  itinerary, 
beginning  with  New  York  City  June  20-21,  will 
take  the  impressive  display  through  Pennsyl- 
vania, Ohio,  Kentucky,  Indiana,  Illinois,  Minne- 
sota and  Wisconsin  during  July.  The  traveling 
"Show  Boat"  is  another  prime  example  of  the 
old-time  ballyhoo  this  industry  needs  so  badly. 

"Show  Boat"  will  also  get  the  "Closer  to 
Home"  theatre  screenings  treatment  originated 
by  sales  chief  William  F.  Rodgers.  Some  50 
such  showings  have  been  set,  in  addition  to  the 
regular  key  city  screenings,  so  that  busy 
theatre  operators  won't  have  to  make  long 
trips  to  view  the  Technicolor  musical. 


WISE  SELECTION  of  films  for  video 
advertising  has  been  shown  by  20th 
Century-Fox  in  its  initial  use  of  film  clips  for 
a  major  TV  time-buy  on  every  TV  station  in 
the  New  York  metropolitan  area.  The  video 
campaign  to  kick  off  the  program  heralded  the 
world  premiere  of  "The  Frogmen"  at  the  Roxy 
on  June  29.  The  strange  and  striking  under- 
sea action  sequences,  which  will  be  featured  in 
the  TV  trailers,  are  ideal  for  visual  attention- 
grabbers.  Surrounding  programs  with  youngster, 
teenage  and  mass  audience  appeal  were  given 
careful  consideration  during  the  campaign,  and 
results  will  be  closely  watched  by  company  ex- 
ecutives as  an  indication  of  the  value  of  this 
kind  of  advertising  in  key  cities. 


Il  l  IS  expanding  its  video  promotion  on 
its  film  product  with  a  new  package 
designed  to  plug  not  only  the  new  pictures,  but, 
even  more  important  from  a  long-range  stand, 
its  new  stars.  Entitled  "Movie  Star  Album", 
the  new  service  is  set  up  on  a  bi-weekly  basis, 
with  each  five-minute  program  devoted  entirely 
to  the  life  of  a  star.  The  show  consists  of  20 
stills,  a  transcription  of  the  star's  voice  and 
prepared  script  to  enable  individual  station  an- 


nouncers to  "interview"  the  personality.  New- 
comer Tony  Curtis,  debuting  as  a  star  in  "The 
Prince  Who  Was  a  Thief",  will  lead  off  the 
"Album",  which,  with  "Hollywood  Picture 
Flashes",  gives  the  company  two  regular  TV 
promotions.  The  latter  series,  which,  two 
years  ago,  marked  the  initial  attempt  by  a 
major  studio  to  use  TV  for  promotion  of  its 
pictures,  is  now  being  used  regularly  by  63 
video  outlets. 


TOMPO'S  BOXOFFICE  drive  thls  Fall  is 
getting  up  a  head  of  steam  that  should 
see  the  campaign  off  to  a  flying  start,  con- 
sidering the  caliber  of  the  men  who  have  been 
designated  to  lay  the  groundwork.  At  the 
recent  meeting  of  the  MPAA's  ad-publicity 
directors'  committee,  Loew's  Howard  Dietz 
was  named  temporary  chairman  of  an  advertis- 
ing committee  which  will  sift  ad  campaign  ideas 
to  be  submitted  by  the  film  companies,  and 
Charles  Simonelli,  U-I  Eastern  ad-publicity 
manager,  will  be  temporary  head  of  the  ex- 
ploitation and  publicity  committee.  Two  sales 
toppers  and  three  ad-publicity-exploitation  chiefs 
make  up  the  committee  to  work  with  the  Ex- 
hibitors of  Greater  New  York  on  the  local 
public  relations  campaign :  Paramount's  Al 
Schwalberg  and  Jerry  Pickman ;  20th-Fox's 
Charles  Einfeld,  Warners'  Mort  Blumenstock 
and    U-I's  Charles  Feldman. 


CTAR-MAKER  Walter  Wanger  is  on  the 
threshhold  of  a  new  player  develop- 
ment program.  The  six  producer  who  launched 
the  screen  careers  of  such  stars  as  Hedy 
Lamarr,  Susan  Hayward,  Claudette  Colbert,  the 
late  Walter  Huston,  the  Marx  Bros,  and  a  host 
of  others,  revealed  plans  in  Hollywood  to  con- 
tract and  develop  a  "minimum  of  four  young 
and  now  unknown  players."  Wanger's  an- 
nouncement came  in  conjunction  writh  the  dis- 
closure that  he  plans  to  form  a  "foundation" 
stock  company  of  players,  writers,  directors, 
designers  and  key  production  associates  pre- 
liminary to  launching  his  new  program  of  film- 
making for    Allied  Artists  release. 

AF  MEN  AND  THINGS:  Teet  Carle  has 
"  been  named  Paramount  studio  publicity 
manager  by  chief  Jerry  Pickman.  A  member 
of  the  studio  publicity  department  for  the  last 
11  years,  Carle  replaces  Norman  Siegel,  re- 
signed. .  .  .  Realart's  Carroll  Puciato  was 
elected  a  vice-president  of  the  company  at  the 
company's  recent  Board  meeting.  Re-elected 
were  Jack  Broder,  president  and  Board  chair- 
man ;  Budd  Rogers,  executive  vice-president, 
and  Simon  Lipson,  Secretary-Treasurer  .  .  . 
Arthur  Greenfield  moves  over  to  Portland,  Ore., 
as  U-I  branch  manager,  replacing  James  S. 
Hommel,  resigned.  Carl  F.  Reardon,  Pittsburgh 
salesman,  takes  over  Greenfield's  former  post 
as  New  Haven  branch  manager  .  .  .  The  third 
anniversary  of  the  National  Television  Film 
Council,  founded  by  Melvin  L.  Gold,  ad-pub- 
licity director  for  National  Screen  was  marked 
June  27  with  a  day-long  meeting  and  special 
luncheon 


22 


FILM  BULLETIN 


....mee#i"9»<«ta>''5  _ 

top  BOX-oFF.ee  omuio 


for 


NEW  FACES 


proudly  presents  the  most 
spectacular  new  young  star 
discoveries  of  the  year ! ! 


in  a 


I  production  •  •  • 


/2 


NIGHT* 


7f>cse  arc  the 
ones  for9^]_ 

mm 


RUGGED!  ROMANTIC!  TERRIFIC 


EXCITEMENT  GIRL  OF  THE  YEAR 
co-starred  in  answer 
to  the  public's 
overwhelming 
demand 


^EODORE^1SEP:S 


\   -  EVERETT  SLOANE  •  JEFF  COREY-  PEGGIE  CASTLE 

    mmmrai   »«A-rr'     n.-j.  —  j  l..  imMADH  PA 


by  RUDOLPH  MATE  •  Produced  by  LEONARD  GOLDS! 


0-  J-  Screenplay  by  GERALD  DRAYSON  ADAMS  and  AENEAS  MacKENZIE  .  Directed 

Based  Upon  The  story  by  Theodore  Dreiser '  •    A  Universal-International  Picture 

makes  +f»e  pictures  Mfh  tfie  BUllT-       PHQfiT  / 


SECOND  THEATRE  TV  BOUT 
PLAYS  TO  TURNAWAY  CROWDS 

The  tremendously  successful  how  of  ex- 
clusive theatre  television  with  the  recent 
Louis-Savold  fight  was  multiplied  last  week 
when  10  theatres  in  8  cities  offered  the 
TV  exclusive  on  the  Jake  LaMotta-Bob 
Murphy  scrap  on  their  large  screens  to 
turnaway  audiences. 

Typical  of  the  reaction  was  one  ex- 
hibitor's statement:  "We  could  have  sold 
10,000  tickets  if  we  had  the  seating 
capacity." 

The  turnout  at  Philadelphia's  Warner 
circuit  Stanley  Theater  was  the  most  im- 
pressive. The  3000  seats  plus  standing  room 
were  sold  out  at  $1.25  within  an  hour,  and 
left  thousands  disappointed  outside  the 
theatre. 

Long  lines  formed  prior  to  the  boxoffice 
opening,  and  the  management  announced 
that  at  least  5000  persons  were  turned  away. 

In  Washington,  the  RKO  Keith  reported 
a  "wonderful"  reaction  with  a  sellout  au- 
dience. Baltimore's  Loew's  Century  said 
the  house  was  sold  out  five  minutes  earlier 
than  for  the  Louis-Savold  bout.  The  Tivoli 
and  State  Lake  Theatres  in  Chicago 
claimed  capacity  crowds,  with  many  turned 
away.  In  Richmond,  the  management  of 
the  National  Theatre  said  the  theatre  was 
jammed.  All  seats  were  reserved  at  the 
Fulton  Theatre  in  Pittsburgh  and  many 
were  turned  away.  Cleveland's  Palace 
Theatre  sold  out  all  seats  with  some  stand- 
ing room,  and  the  Palace  in  Albany  re- 
ported a  packed  house,  with  about  2000 
turned  away. 

Only  Washington's  Lincoln  Theatre 
failed  to  report  a  sellout.  The  fight  was 
shown  to  a  two-thirds  full  house,  which 
the  manager  said  compared  favorably  with 
regular  Wednesday  night  business. 

Meanwhile,  plans  for  equipping  other 
houses  in  Chicago  and  southern  Illinois 
were  made  public  by  the  Balaban  &  Katz 
and  Great  Lakes  circuits,  who  announced 
they  have  ordered  12  large  screen  TV 
installations   for    that  area. 

Another  development  arising  from  the 
exclusive  theatre  showings  of  the  Louis- 
Savold  and  LaMotta-Murphy  fights  was 
the  protest  against  theatre  or  boxoffice  TV 
by  a  group  of  New  York  lawyers.  The 
attorneys,  who  have  formed  a  Fair  Tele- 
vision Practices  Committee,  have  vowed  to 
make  an  all-out  fight  for  the  right  to  re- 
ceive free  television  of  all  events  in  homes. 

MPA  BLASTS  CHARGE  OF 
'SKYROCKETING'  ADMISSIONS 

In  a  letter  to  the  Wage  Stabilization 
Board,  the  Motion  Picture  Association  gave 
the  lie  to  the  suggestion  made  by  a  labor 
union  representative  before  Congress  that 
admissions  to  motion  pictures  had  "sky- 
rocketed." 

JULY,    2,  1951 


BULLETIN 

Volume  19,  Numher  14 
July  2,  1951 

News 

and 
Opinion 


Recent  figures  compiled  by  COMPO, 
from  Labor  Department  statistics,  which 
show  the  average  rise  in  cost  of  a  movie 
ticket  from  September,  1945,  to  December, 
1951.  were  quoted  in  the  MPAA  letter  to 
the  WSB  (See  chart,  page  6).  Government 
figures,  said  the  letter,  showed  an  admissions 
price  rise  of  11.3  per  cent,  considerably- 
less  than  the  general  cost  of  living  rise 
during  that  period  of  38.7  per  cent. 

UNIVERSAL  26-WEEK  NET 
OVER  DOUBLE  LAST  YEAR'S 

Universal  and  subsidiary  companies  more 
than  doubled  their  net  profit  for  the  26  weeks 
ended  April  28,  1951,  as  compared  with  the 
profit  for  the  corresponding  period  of  the 
previous  fiscal  year. 

For  the  current  half  year,  a  net  profit  of 
$608,565  was  reported,  after  taxes  and  costs  of 
pending  litigation,  while  the  reported  profit  for 
the  same  period  a  year  ago  was  $272,271,  an 
increase  of  $336,294. 

Provision  for  pending  litigation  costs  came 
to  $200,000.  Federal  taxes,  it  was  estimated, 
will  run  $800,000. 


MAYER  AND  METRO  PART 
AFTER  27-YEAR  ASSOCIATION 

h  wai  no  longer  news.  FILM  BULLE- 
TIN' reported  conclusively  months  au<>  that 
Louis  B.  Mayer  would  sever  his  more-than- 
a-quarter-century  association  with  Metro- 
Goldwy  n-Mayer,  and,  despite  a  closed- 
mouthed  attitude  by  both  Mayer  and  the 
studio,  it  had  become  well  known  to  indus- 
tryites  that  the  parting  was  inevitable. 
Last  Tuesday  (26th)  it  became  fact  through 
the  medium  of  simultaneou>  statements 
from  the  parties. 

In  New  Vork  City,  Nicholas  M.  Schenck, 
president  of  Loew's,  Inc.,  >aid: 

"Mr.  Mayer  has,  since  1924,  been  the 
head  of  studio  operations  at  Metro-Gold- 
wyn-Mayer,  the  production  branch  of 
Loew's,  Inc.  During  that  period  many  of 
the  gerat  motion  pictures  which  helped 
set  the  pattern  for  the  entire  world  were 
produced  at  our  studios.  Mr.  Mayer  has 
given  our  industry  leadership  and  inspira- 
tion, and  now  in  parting,  his  associates  at 
Loew's  wish  him  success  and  happiness  in 
his  future  activities." 

From  Hollywood,  came  Mr.  Mayer's 
statement: 

"It  has  been  my  great  honor  to  have 
served  as  head  of  the  M-G-M  studio 
activities  since  the  birth  of  the  company 
in  1924.  I  have  great  pride  in  its  accom- 
plishments and  am  grateful  to  and  proud 
of  the  fine  men  and  women  of  the  organi- 
zation who  have  established  the  studio 
in  a  high  position  it  has  always  held. 
Naturally  I  regret  severing  ties  of  relation- 
ship that  have  been  complete  for  many- 
years,  but  I  leave  with  my  very  best  wishes 
to  the  organization  and  to  those  connected 
with  it  and  for  the  future  prosperity  and 
success." 

Although  Mayer  did  not  disclose  what 
his  plans  are  for  the  future,  he  indicated 
that  when  he  does  resume  production  ac- 
tivities, he  will  try  to  produce  "decent, 
wholesome  pictures"  that  will  appeal  to 
the  American  public  and  to  people  through- 
out the  world. 

It  was  announced  that  Mayer  will  retain 
a  10  per  cent  interest  in  all  films  produced 
from  the  time  he  first  became  head  of  the 
studio  in  1924  until  August  31,  when  his 
resignation  takes  effect. 

SKOURAS  REAFFIRMS  FAITH 
IN  FILMS-TV  COOPERATION 

Spyros  P.  Skouras'  prophecy  that  tele- 
vision will  become  a  valuable  adjunct  to 
Hollywood  film  fare  on  theatre  screens, 
rather  than  a  threat  to  the  industry's  exist- 
ence was  reiterated  even  more  convincingly 
at  the  closing  session  of  the  20th  Century- 
Fox  sales  convention  in  Hollywood. 

The  recent  Louis-Savold,  LaMotta- 
Murphy  theatre  telecasts  pointed  up  the 
{Continued  on  Page  26) 

as 


News  and  Opinion 


{Continued  jrom  Page  25) 
prophecy  with  their  overflow  crowds,  the 
likes   of   which   had   not   been   seen  since 
the  halcyon  days  of  World  War  IT. 

Telling  his  audience  that  "good  showmen 
never  surrender,  but  fight  continuously  on 
a  high  level  until  their  goal  is  achieved,"' 
the  president  of  20th  Century-Fox  repeated 
his  conviction  that  quality  pictures  can 
continue  to  be  made  in  spite  of  economies 
effected  by  cutting  production  costs  and 
inflated  salaries. 

Skouras  scoffed  at  the  cries  of  those  who 
have  lost  confidence  in  the  industry,  saying 
"we  have  nothing  to  fear  from  competi- 
tive entertainment"  if  everyone  in  the 
industry  handles  the  product  properly. 


SPYROS  P.  SKOURAS 

"We  Have  Nothing  To  Fear" 


WESTERN  STARS  SEEK  BAN 
ON  TV  SHOWINGS  OF  OLDIES 

Another  obstacle  was  placed  in  the  path  of 
the  film  companies  considering  release  of  old 
movies  for  use  on  television,  this  time  by  thz 
two  top  film  western  stars. 

Roy  Rogers  filed  suit  in  Hollywood  asking 
for  an  injunction  to  restrain  Repuhlic  Pictures 
and  its  subsidiary,  Hollywood  Television 
Service,  from  selling  or  licensing  his  old  films 
for  video  transmission  on  the  grounds  that 
commercial  sponsorship  would  involve  the 
"name  or  likeness  of  Roy  Rogers  and  his 
horse,  TrinRer,"  in  commercial  advertising. 

Following  on  the  heels  of  Rogers'  action 
came  the  announcement  by  Gene  Autry,  also 
an  ex-Republic  star,  that  he  too  would  seek 
IcRal  prevention  of  the  showing  of  his  films 
on  TV.  Autry  is  at  present  producing  films 
for  video. 

The  Rogers  and  Autry  suits,  if  successful, 
can  set  a  precedent  that  would  prove  a  serious 
blow  to  film  companies  who  had  counted  on 
TV  film  sales  as  a  source  of  substantial  revenue. 
In  any  case,  there  is  little  doubt,  that  all  film 
player  contract  hereafter  will  carry  definitive 
clauses  regarding  the  actors'  rights  as  to  TV 
presentation. 


HUGHES  DENIES  SALE 

Rumors  which  had  Howard  Hughes 
selling  his  stock  in  RKO  were  denied 
with  emphasis  in  a  personal  statement: 

"Occasionally  rumors  make  their  ap- 
pearance which  are  damaging  to  all 
concerned  and  I  feel  it  my  duty  to 
reply.  Therefore,  let  me  say  I  am  not 
negotiating  with  any  one  whomsoever 
for  the  sale  of  my  stock  in  RKO  Radio 
Pictures  Inc.  I  have  no  intention  of 
selling  my  stock.  I  do  not  care  to  enter- 
tain or  consider  any  offers  for  the 
same." 


FIVE  MORE  UA  FEATURES 
UP  9-MOS.  PROGRAM  TO  43 

United  Artists'  release  program  for  the 
first  nine  months  of  1951  was  expanded  to 
43  with  the  addition  of  five  new  releases, 
it  was  announced  by  William  J.  Heineman, 
vice-president   in   charge   of  distribution. 

The  newly  acquired  releases  are:  "The 
River,"  Technicolor  production  filmed  in 
India  by  Kenneth  McEldowney;  "The 
Well;"'  Mister  Drake's  Duck;"  "Cloud- 
burst," and  "Obsessed." 

The  initial  showing  of  "The  River"  will 
be  on  a  roadshow  basis,  starting  with  its 
world  premiere  in  New  York  in  September. 

TOP  PROMOTION  SET  BY 
U-l  FOR  SUMMER  RELEASES 

A  record  number  of  personal  appearances, 
territorial  saturation  openings  and  special  ad- 
vertising campaigns  will  comprise  the  promo- 


DAVID  LIPTON 

Summer  Bally  Spree 


tional  program  for  Universal-International 
releases  during  the  summer  months,  according 
to  David  A.  Lipton,  vice-president  in  charge 
of  advertising  and  publicity  for  that  company. 

Lipton  told  Universal  home  office  executives 
of  plans  for  promotion  of  "Francis  Goes  to  the 
Races,"  "Mark  of  the  Renegade"  and  "Bright 
Victory,"  all  of  which  will  receive  the  full 
ballyhoo  treatment  during  June,  July  and 
•August. 

In  addition,  Lipton  said,  U-I  "will  maintain 
a  fluid  policy  on  the  use  of  its  contract  players 
on  television  for  promotional  purposes  in  con- 
nection with  specific  pictures." 


ARTHUR  L  MAYER 

"TV  Helpmeet,  Not  Neniesis" 


MOVIES  YET  'IN  INFANCY' 
TV  OPENS  NEW  ERA -MAYER 

Words  of  hope,  and  faith  in  the  future  of 
the  motion  picture  industry  were  voiced  by 
COMPO  executive  vice  president  Arthur  L. 
Mayer  in  a  speech  before  the  convention  of 
the  Motion  Picture  Theatre  Owners  Asso- 
ciation of  Virginia  in  Richmond. 

Speaking  of  the  industry  as  being  "still  in 
its  infancy,"  Mayer  declared  it  "will  grow 
to  an  importance  and  magnitude  far  beyond 
its  present  stature." 

The  COMPO  official  expressed  his  im- 
patience with  "those  who  see  in  our  present 
difficulties  the  end  of  a  business  which  has 
been  and  still  is  the  principal  source  of  en- 
tertainment for  millions  of  people." 

Comparing  TV  to  the  advent  of  sound 
and  its  effect  on  movies,  Mayer  said,  "Just 
as  sound  increased  the  scope  of  the  motion 
picture,  so  will  television  be  used  to  enlarge 
the  movie  theatre's  horizons.  Television  will 
be  the  helpmeet  of  the  movies,  not  its  neme- 
sis." 

Plans  for  the  forthcoming  COMPO  indus- 
try advertising  campaign  were  outlined  by 
Mayer,  who  also  told  the  convention  of  the 
progress  made  for  the  producer-exhibitor 
round  table  discussion  in  Hollywood  this 
month. 


26 


FILM  BULLETIN 


1% 


The  Trade  Papers  are  unanimous: 

MOT  GOES  TO  THE  RACES 


is 


BETTER 

than  the  original  FRAICK 


'BETTER  than  the  first  FRANCIS  .  . . 
more  Laughs,  more  comic  situations,  more 
values  to  satisfy  the  general  public!'7  film  bulletin 

'TOPS  the  initial  FRANCIS  .  .  .  just  the 

ticket  for  the  current  season!"  film  daily 


w 


FUNNIER  than  the  original .  .  .  will  be 
right  there  among  the  winners  in  this 
year's  boxoffice  sweepstakes!" 

MOTION  PICTURE  DAILY 

"MUCH  MORE  HILARIOUS  than  the  first  FRANCIS 
an  out  and  out  wonderful  show!" 

HOLLYWOOD  REPORTER 

"FRANCIS  DOES  IT  AGAIN.. .  Universal  and  the 
exhibitor  have  a  sure-fire  winner  in  the  talking  mule!" 

MOTION  PICTURE  HERALD 


UNIVERSAL-INTERNATIONAL  presents 

BfflKS  GOES 

TO  THE  RACES 


DONALD  O'CONNOR  •  PIPER  LAURIE 
^FRANCIS 

*  CECIL  KELLAWAY- JESSE  WHITE  .wkuw^wti 

m  OSCAR  BROOKE!  *  DAVID  STERN  •  w  t  LEONARD  GOLDSTEIN  •  tmu  k  ARTHUR  LIN 


EXPLOITATION  PICTURE 


'FROGMEN'  NOVEL  WAR  THRILLER 

"Never  Anything  Like  It"  Bally  Line 


20th  Century- 
Fox's  "The  Frog- 
men" disproves  the 
belief  that  every  war 
picture  has  been 
done  before.  Tackl- 
ing a  facet  of  armed 
services  operations 
entirely  new  to  the 
screen  the  Under- 
water Demolition 
Teams,  known  as 
the  Frogmen,  pro- 
ducer Samuel  G. 
Engel  and  director 
Llovd  Bacon  have 
uncorked  a  thriller 
that  is  as  fascina- 
ting as  it  is  exciting, 
according  to  trade 
reports  on  the  film. 

The  "paddlefoot  commandos"  who  spear- 
headed every  Allied  invasion  from  Sicily 
to  Okinawa,  clearing  the  underwater  chan- 
nels of  natural  and  man-made  barriers  so 
that  our  troops  could  hit  the  beachheads, 
are  the  real  heroes  of  "The  Frogmen" 
which  unveils  tactics  never  before  released 
by  the  Navy.  The  manner  in  which  these 
are  depicted;  a  strong,  all-male  cast  headed 
by  Richard  Widmark.  Dana  Andrews  and 
Gary  Merrill;  the  suspense,  humor  and  he- 
man  aspects  of  the  story,  and  the  unearthly 
appearance  of  these  underwater  heroes,  are 
all  angles  for  the  showman  to  plug  in  his 
exploitation  campaign. 


F  1" 

\ 

I  ! 

r — 

FROGMEN  AT  WORK 


The  Marine  Ma- 
neuvers of  the  Frog- 
men alone  will  have 
the  spectator  wide- 
eyed.  The  initial 
toughening.  t  h  e 
swimming.  diving 
and  subsurface  con- 
d  i  t  i  o  n  in  g,  the 
dangers  involved  in 
learning  the  va- 
garies of  high  ex- 
plosives, and  all  the 
other  obstacles  the 
frogmen  must  meet 
and  overcome  if 
they  are  to  stay  in 
the  elite  group  — 
alive  —  are  engross- 
film  material.  The 
pace  is  stepped  up 
to  a  gallop  when  the  men  slither  into  a  net- 
enclosed  enemy  submarine  pen  and  seems 
guaranteed  to  give  the  edge  of  your  theatre 
seats  quite  a  workout  before  the  explosive 
climax. 

In  Widmark,  Andrews  and  Merrill,  the 
showman  has  some  high-powered  marquee 
names  for  this  type  of  film — Widmark  for 
the  action  fans,  Andrews  and  Merrill  (who 
scored  in  "All  About  Eve")  for  the 
general  audiences,  including  the  ladies,  of 
course. 

The  big  angle,  however,  is  the  novel  and 
unorthodox  theme  with  its  thrilling  action 
and  out-of-the-world  aspects. 


DISPLAYS 

The  weird  garb  of  the  Frogmen  is  a  natural 
for  eye-catching  displays  that  will  go  far  in  sell- 
ing the  film,  both  advance  and  during  run.  For 
your  lobby,  the  peculiar  attire  and  implements 
of  the  Frogman  should  be  set  up  with  large 
blow-ups  of  stills  as  backgrounds.  Helmets,  gog- 
gles, fins,  sheath  knives  and  flippers  can  be  ob- 
tained from  Navy  headquarters,  ex-servicemen 
and  sporting  goods  stores. 

A  lobby  "peep  hole'"  display  is  another  natural 
for  '"The  Frogmen."  This  would  consist  of  a  tank 
built  along  lines  of  a  gold  fish  bowl,  with  cut- 
out from  "Frogmen"  paper  at  rear  of  tank  and 
goldfish  or  tropical  fish  in  the  bowl.  Label  the 
display,  "See  what  THE  FROGMEN  see." 

TIE-INS 

Navy  headquarters  or  the  Navy  League,  power- 
ful civilian  association  with  a  branch  in  most 
major  cities  and  towns,  will  be  happy  to  help  in 
co-op  campaigns  because  the  film  can  be  a  power- 
ful stimulus  to  recruiting. 

There  should  be  a  screening  for  Navy  officers 
and  Navy  League  officials  in  advance  to  kick 
off  the  campaign.  Underwater  Demolition  Team- 
men  in  your  community  should  be  specially 
honored  on  stage.  Offer  your  lobby  for  a  recruit- 
ing and  information  booth,  staffed  with  USN  and 
NL  representatives.  The  latter  can  organize  par- 
ades to  the  theatre,  plug  the  film  on  recruiting 
posters  and  booths,  and  generally  puff  up  the 
ballyhoo  to  real  proportions  that  would  hit  vir- 
tually every  citizen. 

Swimming,  diving  and  water  games  can  be  ar- 
ranged with  local  YMCA,  boys  clubs,  public  pools, 
with  free  passes  to  winners. 

Co-op  merchandising  tie-ins  with  swim  apparel 
dealers  are  also  indicated. 

NEWSPAPER  ADS 

Below,  the  striking  and  provocative  newspaper 
ads.  Teasers  are  at  right  and  bottom. 


Looking  like  a  creature  from  another  ivorld,  a  liu  sky  Frogman  sets  out  on  his  mission  of  danger. 


THE  FROGMEN 

Navy's  Underwater  Demolition  Teams  is  shown  in  'The  Frogmen", 
guarantees  audience  attention,  suspense  and  entertainment  beyond  the 
average  war  film.  \J  orking  in  close  cooperation  with  the  Navy,  pro- 
ducer Sam  Engel  and  director  Lloyd  Bacon,  have  fashioned  an  un- 
usual and  engrossing  screen  attraction.  The  story  line  itself  is  routine:. 
Richard  Widmark.  new  head  of  a  UDT  team,  earns  the  heartv  hatred  of 
his  men  by  his  cold  disregard  and  rigid  discipline,  then,  proves  lie  has 
heart  as  well  as  guts  after  a  series  of  exploits  that  finally  sees  the 
team  and  their  captain  in  harmony.  Director  Bacon,  however,  has  used 
some  sure-fire  entertainment  elements  in  the  individual  sequences  that 
more  than  overcome  any  deficiencies  in  plot.  The  scene  in  which  a 
torpedo  carshes  into  the  destroyer's  sick  bay,  fails  to  explode  and 
Widmark  and  Dana  Andrews  attempt  to  remove  the  firing  mechanism, 
is  a  heart-stopper  that  will  have  the  audience  breathless.  And.  of 
course,  the  underwater  shots  in  which  the  Frogmen  go  through  their 
rugged  and  dangerous  paces,  are  alone  worth  the  price  of  admission. 
Also  featured  in  important  roles  are  Gary  Merrill  as  the  skipper, 
Jeffrey  Hunter,  Warren  Stevens  and  Harvey  Lembeck.  Not  a  single 
female,  however,  ever  makes  an  appearance. 


Widmark  and  his  Frogmen  shove  off  from  a 
'.'y  sub  to  bloiv  up  a  Japanese  submarine  pen. 


KAYE  DRAWS  RAVES  BUT 
'RIVIERA' NOTICES  MIXED 

The  brilliant  versatility  of  Danny  Kaye 
came  in  for  a  rousing  round  of  applause  as 
the  New  York  newspaper  critics  greeted  20th- 
Fox's  Technicolor  extravaganza.  'On  The 
Riviera."  with  mixed  notices  that  ranged 
from  "mostly  disappointing"  to  most  fascinat- 
ing." 

Leading  those  who  raved  about  its  "merry 
spirit  of  tongue-in-cheek  happiness,"  the 
World  Telegram's  Alton  Cook  found  it  "all 
in  gaily  bright  color,  buoyant  with  good 
humor  and  full  of  the  most  fascinating  Danny 
Kaye  you  ever  saw." 

Seymour  Peck,  in  the  Compass,  points  out 
that  Kaye's  dual  role  provides  "a  good  chance 
that  his  army  of  admirers  will  love  him  twice 
as  much,"  the  picture  representing  a  "careful 
and  happy  effort  to  get  back  to  the  formula 
that  made  Danny's  early  movies  so  popular 
and  gay."  The  great  virtue  of  the  movie, 
writes  Peck,  "is  that  it  is  a  field  day  for  Kaye 
and  his  followers." 

"The  gayest,  brightest  musical  to  hit  the 
screen  in  some  time,"  says  Rose  Pelswick,  in 
the  Journal  American,  praising  it  as  a  film 
which  "sparkles  with  laughs,  songs,  dances 
and  lavish  Technicolor  trappings  .  .  .  You'll 
find  it  grand  fun." 

In  the  Times.  Bosley  Crowther  describes  it 
as  "a  limp  comedy  of  errors,"  complaining 
that  "something  better  could  certainly  have 
been  found  for  this  brilliant  comedian's  per- 
formance than  this  hackneyed  and  unexciting 
tale." 


QUOT€S" 


What  the  Newspaper  Critics  Say  About  New  Films 


'THE  GREAT  CARUSO' 

M-G-M 

"Most  enjoyable  light  concert  ever  to  come 
out  of  Hollywood."— Cook,  N.  Y.  World 
Telegram. 

''Lanza  .  .  .  may  be  accepted  and  enjoyed 
just  as  much  as  Lanza  in  a  Lanza  concert 
.  .  .  Sort  of  musical  art  gallery." — Guernsey, 
N.  Y.  Herald  Tribune. 

"Perhaps  the  most  elaborate  'pops'  concert 
ever  played  upon  the  screen  .  .  .  All  of  the 
silliest,  sappiest  cliches  of  musical  biography 
have  been  written  into  the  script  .  .: .  A  lot 
for  your  money." — Crowther,  N.  Y.  Times. 

"Does  not  pretend  to  be  the  life  of  the 
singer  .  .  .  (resembling)  a  long,  detailed 
montage  more  than  it  does  a  biography." — 
Winsten,  N.  Y.  Post. 

"Musical  entertainment  right  out  of  the 
top  drawer  .  .  .  Highly  enjoyable  .  .  .  You'll 
want  to  see — and.  especially  hear." — Pelswick, 
N.  Y.  Journal  American. 

"Music  is  almost  always  worthwhile  .  .  . 
Bound  to  please  a  great,  great  many  people." 
— Peck,  N.  Y.  Compass. 

'ALONG  THE  GREAT  DIVIDE' 

WARNER  BROS. 

"Solemn,  sagebrush  saga  .  .  .  Routine 
western,  second  grade." — Crowther,  N.  Y. 
Times. 

"Pedestrian  melodrama  of  the  wide  open 
spaces  .  .  .  Events  and  characters  are  hardly- 
even  romantically  believable."  —  Guernsey, 
N.  Y.  Herald  Tribune. 


"Guaranteed  the  thirstiest  movie  of  1951 1 
.  .  .  Very  grim  and  slow  and  exhausting  .  .  . 
As  for  plain,  good,  redblooded  action,  there  I 
isn't  really  very  much.'.' — Peck,  N.  Y.  -Qmm 
pass.         ;  ;•  - 

"Cumulative  effect, is  mainly  a.^s.ense  of] 
relief  that  the  picture  is  finallyvbver." — Cook,\ 
N.  Y.  World  Telegram. 

"Too  conversational' and  leisurely  ;-of,. pace 
to  provide  much  excitement  for  the  outdoor 
action  fans— Pelswick,  AT.  Y.  Journal  Ameri-j 
can.  ,jn 

APPOINTMENT  WITH 
DANGER' 

PARAMOUNT 

"Loose-jointed,  long-winded  script  .  .  .  thad 
looks  like  a  grabbag  of  leftovers  and  retreads 
from  the  studio's  story  department  .  .  .  None! 
of  it  makes  much  sense." — Barstow,  N.  K.I 
Herald  Tribune. 

"Basically  a  cops-and-robbers  tale,  tautlyjj 
written  .  .  .  Not  only  proves  that  crime  does! 
not  pay  but  that  it  can  be  interesting  to  ob-jl 
serve." — A.  W.,  N.  Y.  Times. 

"Formula  picture  for  a  formula  audience' 
(Age  14)." — Winsten,  N.  Y.  Times. 

"Melodrama  of  death  and  greed  .  .  .  Heart- 
stopping  thriller  .  .  .  should  please  both  Alan  jj 
Ladd  fans  and  the  Post  Office  Department. "i 
— Creelman,  N.  Y.  World  Telegram. 

"Lively  cops-and-robbers  melodrama  .  .  .4 
finds  Ladd  in  a  role  made  to  order  for  him."  i 
— Pelswick,  N.  Y.  Journal  American. 


New  Thrills. 

Ravage  r 


Still  Tops 


rfh 


Sa  vage  Excite  ment! 

LIPPERT!  ***** 


w!  Fa  tit asti 


<iay!  Lively! 


Ha  He»kt 


CESAR  ROMERO  1  j 

•   ,    Hillary  Brooke  1 
.        .  Acouanetta 
r       /        John  Hoyt    ,     *  , J 


mm 


Now  Shooting! 
CESAR  ROMERO  ■  GEORGE  BRENT  -  AUDREY  TOTTER 

in  Rupert  Hughes' f?P  Q  |  GIRL" 


r>°€ IGN  SALES  DEPARTMENT  723  Seventh  Ave.,  New  York,  N.  Y   CABLE  ADDRESS:  GILDFILMS  -  LIPPFILMS 


FILM  BULLETIN! 


RODUCTIOn 
R€L€flS€ 


R6CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Datt. 

"No."  is  the  release  Number  "Rev."  is  the  issue  in  which  ttv« 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


950-51  Features 
Serials 
Westerns 


Completed 
Completed 
Completed 


37) 
3) 
12) 


In  Production  (4) 
In  Production  (0) 
In  Production   (  I  ) 


irple  Heart  Diary 
arky  of  Gasoline  Alley 
jnain  of  Circumstance 
>ets  Malone 
\Wk  of  Fire 

OMPLETEO 

TITLE — Running  Time 


RELEASE  CHART 

—  1950-51  — 

F.  Langford-T.  Romano 
S.  Beckett-J.  Lydon 
M.   Feld-R.  Grayson 
W.  Holden-S.  Clements 

G.  Autrv-P.  Buttram 


g  Gusher,  The    _  ..  

Morris-Foster 

>rn  Yesterday  .   

Crawford-Holiday 

12-50 

344 

12-4 

5-7 

ave  Bulls.  The  1107)  -   

FerrerQuinn 

5  51 

una  Corsair  1 7d  1  

Hall-Farraday 

6-51 

6  18 

ongo  Bill    _   

McGuire-Moore 
O'Brien-Wyatt 
Crawford-Derek 

riminal  Lawyer    

srk  Page 

ick  Turpin's  Ride     .    ._  

refighters.  The   

Hayward-Medina 
Williams-Reynolds 

ve  1931 

S.  Douglas-W.  Phipps 

ying  Missle.  The   

Ford-Lindfors 

1-51  . 

335 

jrt  Savage  Raiders   

Starrett-Burnette 

3-51 

iry  of  the  Congo  .   

arlem  Globetrotters,  The 

Weismuller-Talbot 

4-51 

Gomei-Dandridge 
O  Brien-Martln 
Kieoura-Eggerth 

er  First  Romance  173)     

er  Wonderful  Lie   

5-51 

5-21 

lurricane  Island  (C)   

..Hall-Windsor 

7-51 

ingle  Jim  in  the  Forbidden  Land 
ingle  Safari 

Weissmuller-Ryan 
Weissrmiller-Greene  .... 

>rna  Doone  IT)    

Hale-Greene   

Wayne-DaSilva 
Ball-Agar  

6-51 
3-51 

5'-2l 

IfO)  

agic  Carpet   

an  In  the  Saddle   

Scott-Leslie 

y  True  Story  168) 

peration  X  178)   

aire  Roundup   

Parker-Walker 

3-51 

5-21 

..Robinson-Cummins   

2-51 

2-26 

.....Starrett-Burnette 

1-51 

363 

?venue  Agent 

din'  the  Outlaw  Trail     

Kennedy-Willes 

3-51 

312 

Starrett-Burnette 

2-51 

ders  of  the  Whistling  Pines 

fcnte  Fe  IT)  187)    

Iiturday's  Here    

kref.  The    

:lver  Canyon  

Irocco  1981 

nail  Wonder  

U  of  Dr.  Jekyll 

jinny  Side  of  the  Street 

;n  Tall  Men  IT) 

Uas  Rangers 

jlentino    IT)  103) 

illey  of  Fire 

'ar  Cry 

h.n  »h»  Redskins  Rode  ICI 

I  hirlwind   

isnk  in  Korea,  A  173)   


Autry-White 
Scott-Carter 
Derek-DaRe 
Derek-Cobb 

Autry-Davis    

Boaart-Loran 

Cummings-Hale 

Hayward-Knox 

Lane-Daniels 

Lane  aster- Lawrence 

Geo.  Montgomery 

Parker-Dexter 

Aotry-Burnette 

Montgomery- Long 

Hall-Castl3 

Autrv-Burnette 

McAllister-Phillips 


6-18 
3-26 


LIPPERT 

950-5 1 

Completed  (22) 

In  Production  (0) 

OMPLETED 

TITLE — Running 

indit  Queen   

inger  Zone 
II  Girl 

ngerprints  Don't  Lie 
I.  Jane 

ome  Town  Bov 
tntocky  Jubilee 
■ave  It  To  the  Marines 

Hie  Big  Horn    

>st  Continent 

ask  of  the  Dragon 

«r  23 

esent  Arms 

wring  City    

ivage  Drums 
y  Hioh 

eel  Helmet.  The 

op  That  Cab  ......   

Desperate  Men  i  

irieties  On  Parade 
is  Sir,  Mr.  Bones  


RELEASE  CHART 

—  1950-51  — 

ie  Cast 
.  Britton-Parker 
Beaumont-Travis 
C    Romero-G.  Evans 

 Travis-Ryan 

Porter-Neal 

  H.  Lloyd.  Jr 

Colonna-Porter 
S.  Melton 
Ireland-Bridges 
Romero-Brooke 
Travis-Ryan 


Beaumont-Savage 
J.  Sawyer 
Beaumont-Travis 
Sabi-Baron 
S.  Melton-M.  Lynn 
Edwards-Brodie 
Melton-Adrian 
Foster-Davis 
se-Carroll 


9-7 
3-3 
7-6 
8-17 

5-  18 

8-  24 

6-  18 

7-  27 
3-17 

5—  1 1  . 

9-  14 
2-2 

6-  22 
9-21 


FOS' 


Miller 


No. 

5010 

5017 

5002 

5015 

5012 

5022 

5007 

5005 

5003 

5004 

5013 

5018 

5023 

5016  

5001 
5024 
5006 
50 1 
5009;. 
5020 
5019 


METRO-  COLDWYN-MAYER 


1950-51  Features        Completed   (55)       In  Production  (3) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Westward  the  Women 
Callaway  Went  Thataway 
Gable-Gardner 
Ligh;  Touch,  The 
Too  Young  To  Kiss 
Man  With  A  Cloak 

COMPLETED 

Across  the  Wide  Missouri  IT)  195) 
American  in   Paris  (T) 
Angels  and  the  Pirates 
Bannerline 

Calling   Bulldoq  Drummond  1791 

Cause  for  Alarm  (75)  

Excuse   My  Dust  IT)  182) 
Father's  Little  Dividend  1821 
Go  For  Broke  192) 
Great  Caruso   The  ITI   I  1091 
Grounds  For  Marriage  1911 
Home  Town  Story  161  ) 
Inside  Straight  1901 
It's  A  Big  Country 


Cast 
Taylor-Darcel 
MacMurray-McGuire 
Lone  Star 
Grainger-Angeli 
Aily  son- Johnson 
Cotten-Stanwyck 


Gante-Hodiak 
Kelly-Caron 
Douglas-Leigh 
Forrest-Braselle 
Pidgeon-Leighton 
Young-Sullivan 
Skelton-Forrest 
Tracy-Taylor 
John  son- Anderson 
Lania-Blyth 
Johnson-Grayson 
Crisp-Reynolds 
Brian-Dahl 
All  Star 


Sep 


July 
Sep 


Feb 
June 

Apr 
May 

Apr 

Jan 
May 


4  9 

4-23 
12-18 

5  7 


T 


12) 


Kind  Lady  178) 
Law  and  the  Lady.  The  I  1041 
Love  Is  Better  Than  Ever 
Magnificient  Yankee  189) 
Niqht  Into  Morninq  1861 

Mr.  Imperium  IT)  187)  

No  Questions  Asked  181) 
North  Country  IAI 
Painted  Hills.  The  IT)  (68) 
Pandora  and  the  Flying  Dutchman 

IT)  (123)   

People  Against  O'Hara  1103) 
Quo  Vadis  IT) 
Rain.   Rain,  Go  Away 
Red  Badge  of  Courage  181) 
Rich,  Younq  and  Pretty  ITI  195) 
Royal  Wedding  ITI  192) 
Show  Boat  ITI   I  1081 
Soldier's  Three  192) 
Strictly  Dishonorable 
Strip,  The 
Tall  Target.  The 
Teresa    I  1051 
Texas   Carnival  IT) 
Thin  Knife.  The 
Three  Guys  Named   Mike  190) 
Two  Weeks  with  Love    IT)  192) 
Vengenance  Valley  IT)    183)  _ 
Watch  the  Birdie  170) 


Flynn-Stockwell 
Barrymore-Evans 
t>arson-Wlid 
Taylor-Parks 
Calhern-Harding 
Milland-Hodiak 
Turner-Pima 
Sullivan-Dahl 
Granger-Corey 
Williams-Keel 


Jan 

115 

12-18 

s 

July 
July 
July 

134 
136 

9 

Feb 

116 

1  15 

June 

130 

6  4 

Sep 

131 

6  4 

June 

132 

6  18 

May 

125 

V-l 

195) 


Mason-Gardner 

Tracy-O'Brien 

Taylor-Kerr 

Whitmore-Davis 

Murphy-Mauldin 

Powell-Damone 

Astaire-Powell 

Gardner-Keel 

Granger-Pilgeon 

Pinza-Legih 

Rooney-Forrest 

Powell-Raymond 

Angeli-Erickson 

Williams-Skelton 

Pidgeon-Harding 

Wyman-Johnson 

Powell-Montaiban 

Lancaster-Walker 

Skelton-Britton 


120 

Aug 
Mar 
July 
Apr 
July 
Aug 

121 
135 

2  26 

126 

Aug 
July 

137 

3-12 

July 
Mar 

1 19 

2-12 

Nov 

10-23 

Feb 

117 

2-12 

Jan 

113 

12-4 

MONOGRAM  -  ALLIED  ARTISTS 


1950-SI  Features 
Westerns 


Completed  (25) 
Completed   (  6) 


In  Production  (0) 
In  Production  (0) 


COMPLETED 

TITLE— Running  ] 
According  to  Mrs.  Hoyle 
Blazing  Bullets 

Bowery  Batalion  

Casa  Manana 

Cavalry  Scout   ICI  178) 

Counterfeit 

Father  Takes  The  Air 

Father's  Wild  Game  161 ) 

Ghost  Chasers  169) 

Gypsy  Fury 

Highwayman    The  ICI 

Joe  Palooka   in   the  Squar 

(63)  

Disc  Jockev 
Lion  Hunters.  The  1671 
Man  From  Sonora  154) 
Mexican  Silver 


RELEASE  CHART 

—  1950-51  — 


e  Cast 

Byington-Chandler 
Brown-Hall 
Gorcey-Hall 
Forbes-OHerlihy 
Cameron-Long 
DeFoe-King 
Walburn-Gray 
Walburn-Gray 
Gorcey-Hall 
Viveca-Lindfors 
Hendrix-Coburn 
C'rrcleKirkwood-Gleason 


I.  No. 

5-  20  5122 
5-6 

1-21  5111 

6-  10 

5-13  5101 


12-3  5125. 

4-29  5112 

3-11  5192. 
«-5 

11-5  5117 


Simms-M.  O'Shea 


Sheffield-Whitfield  3-2S  5109 

Brown-Hall  3-11  5141 

_i  ,Wil»o»-Clyde  .  ,  u^l. 


ULY,   2,  1951 


31 


Modern  Marriaqe.  A  Ik 
Navv  Bound 
Nevada  Badman 
Rhvlhm  Inn 
Sierra  Passage 
Stagecoach  Driver 
Trail  Dust 

Vicious  Years.  The  (791 
Wild  Horse  Prairie 
Witness.  The 
Disc  Jockev 


Clarke-Field 

Neal-Toomey 

Wilson-Knight 

Frazee-Grant 

Morris-Hale 

Wilson-Knight 

Albright-Winters 

Cook-Moore 

Wilson-Knight 

Kirkwood-Gleason 

Simms-O'Shea 

ALLIED  ARTISTS 


Babe  Ruth  Story,  The 

Let's  Go  Navy 

Yukon  Manhunt 

I  Was  An  American  Spy  I8S) 

It  Happened  On  Fifth  Avenue 

Southside  1-1000  173) 

Short  Grass 


Bendix-Trevor 

H.  Hall-G.  Gorcev 

Grant-Davis 

Dvorak-Evans 

DeFore-Storm 

DeFore-King 

Rod  Cameron 


10-15 

2-25 
5-27 


4-15 
May 

11-  12 

12-  24 


519? 
5120 
5152 
5115 
5107 

5107 


Million  Dollar  Pursuit  140)   

Missinq  Woman  (60)   _  

Night  Raiders  of  Montana  140) 

Oh.  Susanna!   (Tr)  (90)  

Pals  of  the  Golden  West   _ 

Pride  of  Maryland   

Quiet  Man,  The    ... 

Rodeo  Kinq  and  the  Senorita 
Rough  Riders  of  Durango 

Sea  Hornet,  The   

Secrets  of  Monte  Carlo    

Silver  City  Bonanza   

South  of  Caliente   

Spoilers  oi  the  Plains  (44)   

Thunder  in  God's  Country   _ 

Utah  Wagon  Trail  

Wings  Across  the  Pacific   

Wells  Farqo  Gunmaster   


Edwards-Flagg 

Edwards-Muilican   

..Lane    _  

Cameron-Tucker   

Rogers-Evans 

Clemens-Stewart 

J.  Wayne-M.  OHara 

Allen-Kay 

Lane-Towers   

Cameron-Booth 

Douglas-Hall 

Allen-Ebsen 

Rogers-Evans 

Rogers-Edwards 

Rex-Allen 

R.  Allen-P.  Edwards 

Corey-Ralston   

Lane-Chapm 


5-30 
2-23 

2-  28 

3-  10 


5028 
5025 
5059 
5008 


RKO  RADIO 


PARAMOUNT 


1950-51  Features        Completed   (50)       In  Production  (I) 


1950-51  Features       Completed  (44)       In  Production  (2) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev. 

Aaron  Slick  from  Punkin  Creek  IT)  Shore-Young 
My  Son  John  Hayes-Heflin 

COMPLETED 


Ace  in  The  Hole  1 1 12) 
Appointment  With  Danger  189) 

At  War  with  the  Army  (93)   . 

Branded  (T)    (103)  _ 

Carrie  

Crosswinds  IT) 

Darling,  How  Could  You! 

Dear  Brat  l»2) 

Detective  Story.  The  

Flaming  Feather  Ht 

Great  Missouri  Raid,  The  (T)  (85) 

Greatest  Show  On  Earth  IT) 

Here  Comes  the  Groom  

Honq  Konq  ITI   

Last  Outpost,  The  (T) 
Lemon  Drop  Kid,  The  (91) 
Mating  Season.  The 

Molly  183)  _  _    

Rev.  under  title:  The  Goldbergs 
My  Favorite  Spy 
Passage  West  (T) 
Peking  Express  _ 
Place  in  The  Sun, 
Quebec  IT)  (85) 
Raae  of  the  Vultur 
Redhead  and  the  Cowboy  182) 
Red  Mountain  IT) 
Rhubarb 

Samson  and  Delilah  (T)  (128) 
September  Affair  (104) 
Silver  City  ITI 
Something  To  Live  For 
Stooge,  The 
Submarine  Command 
'hat's  My  Boy 
Trio  191) 
Warpath  IT) 

When  Worlds  Collide  (T) 


ieo] 


The 


Douglas-Sterling 

Ladd-Calvert  

Martin-Lewis  

Ladd-Freeman   

Olivier-Jones   

Payne-Fleming   

Fontaine-Lund   

Freeman-Arnold 

Douglas-Parkes  

S.  Hayden-G.  Russell 

Corey-Carey  

Stewart-Hutton   

Crosby-Wyman  

Reagan-Fleming  

Reagan-Fleming 

Hope-Maxwell  

Tierney-Lund   

Berg-Loeb 

Hope-Lamarr   

Payne-O'Keefe   

Cotten-Calvet  

Clift-Winters 
Barrymore,  Jr.-Calvet 

Ladd-Kerr   

Ford-Fleming 
Ladd-Kennedy 
Milland-Sterling 

Lamarr-Mature  

Fontaine-Cotton 

DeCarlo-O'Brien   

Fontaine-Milland 

Martin-Lewis 

Holden-Olson 

Martin-Lewis 

Simmons-Rennie 

O'Brien-Jagger 

Derr-Rush 


2-51 
9-51 


4-51 

3-  51 

4-  51 


10-51 

10-  51 
8-51 
4-SI 
8-51 

11-  51 


4-23 
12-18 
12-18 


5020 
5018 
50  It 
5011 


5024  . 
5025 


IN  PRODUCTION 


RELEASE  CHART 

—  1950-51  — 


TITLE — Running  Time 

Cast 

Rel. 

No. 

Rev 

Las  Vegas  Story,  The   

V.  Mature-J  Russell 

COMPLETED 

Alice  In  Wonderland  IT) 

Disney  Cartoon 

Behave  Yourself 

Winters-Granger 

Best  of  the  Badmen  IT)  1841 

Blue  Veil.  The 

Company  She  Keeps  183) 

Ryan-Trevor 

Wyman-Carlson 

Greer-O'Keefe 

4-SI 

174 

..Zi- 

1-51 

109 

Crack  Down 

Williams- Armstrong 

Cry  Danqer  (79)   

 Powell-Fleming 

2-51 

2-2 

Flying   Leathernecks  ITI 

Footlight  Varieties  141)   

Gamblinq  House  180)  

Wayne-Ryan 
Pear-Buttons 
Bendix-Mature 

i  i*l 
no 

4- 

2-1 

1-51 

Gun  Notches 

 Holt-Martin   

Gun  Thunder  

Holt-Martin 

Happy  Go  Lovely  

D.  Niven-Vera  Ellen 

Half  Freed.  The 

Young-Carter 

Hard,  Fast  and  Beautiful  (74) 
It's  Only  Money   

Trevor-Forrest  

Sinatra-Russell 

May 

II 9 

Jet  Pilot  IT)  

Jungle  Headhunters  IT)   

Kon-Tiki  173)   

„   Wayne-Leigh   

Travel         .  . 

5-24 
 4-51 

173  I 

s- 

Las  Vegas  Story.  The   

Russell-Mature 

Macao   

Russell-Mitchum 

12-51 

Mad  With  Mush  Heart  

Man  He  Found.  The   

Ryan-Lupino  

Reid-Tuttle 

4-51 

My  Forbidden  Past  170)  

Gardner-Mite  hum 

4-51 

114 

On  The  Loose  .  

Evans-Earl 

Payment  on  Demand  1901  

Pistol  Harvest  140) 

Davis-Sullivan 
Holt-Martin 
Mitchum-Scott 
McGraw-Dixon 

2-5 1 

Racket.  The  

Roadblock  

Hustler's  Range  ...  

Holt-Martin 

Saddle  Leqion  141)  

Sealed  Carqo  189)  

Sons  of  the  Musketeers  (T) 

Holt-Martin 
 Andrews-Rains 

IT17Z 

4-; 

 Wilde-O'Hara 

Target   

Tarzan's  Peril  179)  _ 

McGraw-White 
Barker-Huston 

3-51 

172 

Texas  Triqqerman  

Thing.  The  181)   _..  

 Holt-Martin  

Tobey-Sheridan 

Marly-Peyton  

Leigh-Martin 

4-51 

 5-51 

'  174 

175  

5 

Tokyo  File  212  184)   

Two  Tickets  to  Broadway  IT)  

20th  CENTURY-FOX 


1951  Features 


REPUBLIC 


1950-51  Features 
Serials 
Westerns 


Completed  (20) 
Completed  (  I  ) 
Completed  (10) 


In  Production  ( I  ) 
In  Production  (0) 
In  Production   (  I  ) 


COMPLETED 


RELEASE  CHART 

—  1950-51  — 


TITLE— Running  Time 
Belle  Le  Grand 
I  Buckaroo  Sheriff  of  Texts 

Bullfighter  end  the  Ladv 
I  Cub**  Fireball 

Dakota  Kid,  The  140) 
'  on  Daredevil  Rides  Again 
jMing  Goeit  Guard 
ight  From  Fury 
gitive  Ledv 
■vana  lot* 
•art  of  the  Rockies 
I  oneyenile  ITr.l 

Old  Amarillo  147) 
|  lurance  Investigator  140) 
<fy  Poneiied 

st  Planet  Airmen  IReistue) 


Doelevy-Tucker 
Edwerds-Cfark 
Paige  Barnes 
Roger  s-Rodgriguez 
Rogers-Edwards 
Canova-Foy,  Jr. 
Rogers-Rodriguez 


Cast 
Ralston-Carroli 
Chapin-Janssen 
Stack-Page 
Estellta-Vincent 
Chapirr-Jarrtien  - 
Curtii-Towne 


5-15 

3-  5 
7-1 

4-  1 


No. 
5004 
5044 
5009 
5007 
5047 
50B4 
5-7 
4-18 


Denning- Long 
Meson-Havoc 
Coffin-Clerke 


32 


Completed  (39)       In  Production  (' 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

Let's  Make  It  Legal   

Viva  Zapata   

Marriage  Broker,  The 
Golden  Girl.  The   IT)   _ 


Colbert-Carey   

M.  Brando-J.  Peters 
J.  Crain-T.  Ritter 
Day-Gaynor 


COMPLETED 

A  WAC  in  His  Life 
Anne  of  the  Indies  IT) 
As  Young  As  You  Feel  177)  ... 

Bird  of  Paradise  (T)  1100)  

Call  Me  Mister  IT)  (95)    

David  and  Bethsheba  IT) 
Day  The  Earth  Stood  Still,  The 

Decision  Before  Dawn  _ 

Desert  Fox.  The   

People  Will  Talk 


Haver-Lundigan 
Jordan-Paget 

Woolley-Ritter  

Jordan-Paget 
Grable-Dailey 
Peck-Hay  ward 

Rennie-Noal    

Merrill-Basehart 
Mason-Young 

Grant-Crain   

Ford-Baxter 
Douglas-Basahart 
Lundigan-Greer 
Widmark-Andrews 

Golden  Goose.  The       .  MacMurray-Parker 

Guy  Who  Came  lack.  The  191)    Douglas-Darnell 

Half  Angel  IT)  110)    .   Youag-Cotten  ....... 

Halls  of  Monteiuma.  The  IT)  1113)  Widmark-Gardner 

Home  on  Telegraph  Hill  198)   Corteta-Lum 

Howie  On  the  Square    .  Power-Smith 


Follow  the  Sun  (90) 
Fourteen  Hours  191) 
Friendly  Island  IT) 
Frogmen 


FILM  BULLETi: 


[Can  Get  It  For  vou  Wholesale  191)  Dailey-Hay ward 
[d  Climb  the   Highest  Mountain 


IT) 

tnqaroo  IT) 

Ufauver  Crime  Investigation 
Lcky  Nick  Cain  187) 
an  Who  Cheated  Himself,  The  181) 
'  eet  Me  After  The  Show  IT) 

Jr.  Belvedere  Rings  The  Bell   -  

ludlark  19?) 

'o  Highway  In  The  Skv  

If  Men  and  Music  185) 

In  the  Riviera   ITI  1901 

Lwhide  184) 

Meret  of  Convict  Lake 

(«ord  of   Monte  Crlsto.    ISO  180 

like  Care  of  My  Little  Girl  IT)  193) 

fiirteenth  Letter.  The  185) 

Uu're  in  the  Navy  Nok  193) 

•  Rev.  under  title:  U.S.S.  Teakettle 


Hayward-Lundigan 
O'Hara-Lawford 
News  Feature 
Ratt-Gray 
Cobb-DaM 
Grable-Carey 
Webb-Dru 
Dunne-Guiness 
Stewart-Dietrich 
Concert  Feature 
Kaye-Tierney 
Power-Hayward 
Ford-Tierney 
I  Montgomery-Corday 
Crain-Peters 
Darnell-Boyer 
Cooper-Albert 


4  51 
3-51 
1-51 


8-51 

3-  51 
5-51 
5  51 
8-51 
3  51 
7  51 
2-51 

4-  51 


Harvey     101 ) 

Stewart-Hull 

Jen 

107 

10-23 

Hollywood  Story  1761 

Conte-Adami 

June 

124 

5  21 

Iron  Man,  The 

Keyes-Chendler 

Katie  Did  It  1811 

Blythe-Stevens 

May 

122 

5-21 

Lady  from  Texas  IT) 

Hull-Duff 

Lady  Pays  Off  The 

Cernell-McNally 

Little  Egypt  IT) 

Fleming-Stevens 

Ma  and  Pa  Kettle  at  the  Fair 

Main-Kilbrida 

Ma  and  Pa  Kettle  Back  on  the  Farm  Main-Kilbrlde 

Apr 
Feb. 

117 
181 

4  9 

3-2* 

Mark  of  the  Renegade  IT) 
One    Never  Knows 
Operation  Disaster  1 1001 

iwiurray-  vraisn 
Montalban-Chariise 
'owell-Dow 
vtills-Cherry 

Jen 

1  1 3 

1  2? 

Pool  of  London 

Prince  Who  Was  A  Thief.  ITI 
Raging  Tide,  The 

Colleano-Shaw 

1851  Curtis-Lauri* 
Winters-Conte 

July 

126 

6  IB 

Reunion  In  Reno 

Stevens-Dow 

Smuggler's  Island   IT)  1751 

Keyes-Chandler 

May 

121 

5-2 

Target  Unknown  190) 

 Stevens-Nicol   

Feb. 

Thunder  On  the  Hill 
Tomahawk  IT)  182) 
Under  the  Gun  184) 
Up  Front  192) 

Colbert-Blyth 

1-2? 
3-T2 

Heflin-DeCarlo 

Totter-Cont» 

Wayne-Ewell 

Feb 
Jan 
Apr 

110 
109 
1  18 

UNI 

TED  ARTI 

STS 

950-51  Features 

Completed  (39) 

In  Production    (  1  ) 

RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

)g  Night,  The  

:uMfLETEl) 

lad  Man's  Gold   

Hue  Lamp  1841  

lalro  Road    

iircle  of  Danger  186)  _   

Iloudburst 

jyrano  De  Bergerac  1112)  

hbiola   

rst  Lealon 
bur  In  A  Jeep  1971 

U  Ran  All  the  Way  177)   -  

loodlum.  The  163) 
(orea  Patrol  1571 

-g  Dark  Hall.  The  1861 
Han  From  Planet  X  170) 
han  With  My  Face  175) 
hr.  Drake's  Duck 
■  r.  Universe  190) 
hy  Outlaw  Brother  1821 
iaughty  Ariette  1861 

lew  Meilco   I Ans)  

tbsessed 

[liver  Twist  1105) 
[ardon  Mv  French 
Irowler  The  192) 

Pueen  For  A  Dav  1 1071  

karf,  The  (93) 
liver.  The 

lecond.  Woman.  The  191)  

kipalono.  Rosenbloom 
lo  Long  at  the  Fair  190) 
It   Henry,  the  Dip  1801 

un  Sets  at  Dawn.  The  171) 
Ihev  Were  Not  Divided 
biree  Steos  North 
Iry  and  Get  Me  190) 
(wo  Gals  and  a  Guy 
Inderworld  Story 
Llcano   1 1 10)   

/ell.  The 

kicked  City  176) 
When  I  G.^w  Up  190) 


Cast 

J.  Barrymore-P.  Foster 

Carpenter- Lock  wood 

Warner-Hanley 

Eric  Portman 

Milland-Roc 

Preston-Sellars 

Ferrar-Powers 

Michele  Morgan 

Boyer-Bettger 

Lindfors-Meeker 

Garfield-Winters 

Tierney-Roberts 

Emory-Fong 

Harrison-Palmer 

Clark-Field 

Nelson-Matthews 

Fairbanks-Donlan 


Roone. 
Tettering-Williams 
Roses-Maxwell 
Farrar-Fitzgerald 
Neagle-Howard 
Newton-Guinness 
Oberon-Henreid 
Heflin-Keyes 
Avery-McGavin 
Ireland-McCambridge 
American-Indian 
Young-Drake 
Baer-Coogan 
Simmons-Bogarde 
Foch-Haymes 
Parr-Shawn 
Underdown-Clanton 
Bridges-Padavoni 
Loveioy-Ryan 
Paige-Alda 
Duryea-Storm 
Magnani-Brazzi 
D.  Fairbanks 
Montez-Aumont 
Preston-Scott 


6-  1 

5-  1  I 
8-24 

7-  13 

6-  15 

1-  15 
4-10 
4-27 

6-8 

8-  10 
I  — 10 

2-  27 

3-  9 
5  18 

8-  17 
_  5-15 

4-  17 

7-  27 

5-  25 
4-13 
4-6 

9-  14 
2-51 

4-  3 
3-29 

6-  22 


G-C 
Ren 
Pop 


C-E 
Pop 


2-12 

1-  29 

2-  12 


WARNER  BROTHERS 


1950-51   Features        Completed   (38)       In  Production  (4) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Starlift    

Tanks  Are  Coming,  The 

Come  Fill  the  Cup 

Bugles  in  the  Afternoon  IT) 

CUKAVLEiED 

Along  the  Great  Divide  188) 

Close   To  My  Heart 

Captain  Heratio  Hornblower  IT) 

Distant  Drums  IT) 

Enforcer,  The  187) 

Force  of  Arms 

Fort  Worth  ITI  1801 

Goodbye.  My  Fancy  11071 

Highway  301  183) 

I  Was  A  Communist  1831 

Inside  Walls  of  Folsom  Prison  18 

Jim  Thorpe.  All-American    I  1071 

Lightning  Strikes  Twice  1911 

Lullaby  of  Broadway  IT)  192) 

Moonlight  Bay  IT) 

North  of  the  Rio  Grande 

Only  The  Valiant  1 1051 

Operation  Pacific  1109) 

Painting  the  Clouds  with  Sunshine 

Raton  Pass  184) 

Storm  Warning  191  I 

Strangers  On  A  Train   I  101) 

Streetcar  Named  Desire,  A 

Sugarfoot  IT)  180)   

Tomorrow  Is  Another  Day 


Cast 
Mayo-J  Cagney 
Cochren-E.  Miller 
Cagney-P  Thaxter 
Milland-H.  Carter 


Douglas-Mayo 

4-2 

025 

Milland-Tierney 

Peck-Mayo 

Cooper-Alden 
Bogart-Roberts 

2  24  015 

2-06 

Holden-Olson 

Scott-Brian 

7  14 

028 

2  06 

Crawford-Young 

5-19 

024 

4-23 

Cochran-Andre 

113 

012 

Loveioy-Hart 

5  5 

023 

 5-7 

Brian-Cochran 

6-16 

026 

Lancaster-Bickford 

6  18 

Roman-Todd 

3-10 

019 

2-2* 

Dav-Nelson 

3  24 

020 

4  9 

MacKae-Dav 

McCrea-Mayo 

Peck-Payton 

4  21 

022 

3-12 

Wjvne-Nejl 

1-77 

on 

1  79 

Mavo-Moraan 

Morgan-Neal 

4-7 

021 

4  9 

Rogers-Reagan 

2-10 

014 

1-29 

Walker-Roman 

6  30 

027 

6  18 

Brando-Leigh 

Scott-Jeraens 

3-3 

016 

2  12 

Roman-Cochran 

UNIVERSAL-INTERNATIONAL 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat  l  Film  Carriers 
250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


950-51   Features        Completed   (44)       In  Production  (2) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

iimarron  Kid,  The  (T)  .     A.  Murphy-Y.  Dugay 


reasure  of  Franchard  IT)   

COMPLETED 

.bbott  &  Costello  Meet  the 
I  Invisible  Man 
|.ir  Cadet 

l.pache  Drums  IT)  175) 
ledtlme  for  Bonzo  183) 
Iright  Victory 
UaHle  Drive  IT) 
liave.  The  IT) 

Uomin'  Round  the  Mountain 
Poor.  The 

fouble  Crossbones  ITI  (751 

lat  Man   The  1771 

tinders  Keepers 

llame  of  Araby  (T) 

Irenchi?  ITI 
rancis  Goes  to  the  Races  (88) 
jolden  >--rde    The  ITI 
jroom  Wj,c  Spurs  180) 


ULY 


W.  Powell-J.  Adams 


Abbott  &  Costello 

McNally-Russell 

Grey-McNally 

Reagan-Lynn 

Dow-Kennedy 

McCrea-Stockwell 

Smith-Carey 

Abbott  &  Costello-Shay 

Laughton-Karloff 

O'Connor-Carter 

Smart-London 

Ewell-Adams 

Chandler-O'Hara 

McCrea-Winters 

O'Connor-Laurie 

Blythe-Farrer 

Rogers-Carson 


Mar 
Mar 
June 
Feb 


3-12 
5-21 
1-29 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  tor 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Con'*  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236   N.  23rd   St.,   Phila.  3  —   1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National   Film  Carriers 


KRAMER' 
production 


de  bergerac 

JOSE  FERRER  QUPCWO      BECAUSE ...  IT'S  RELEASED  THRU 


de  Bergerac 


MALA  POWERS  with  William  Prince  •  Morris 
Carnovsky  Ralph  Clinton  •  Produced  by  Stanley  Kramer 
Directed  by  Michael  Gordon  •  Screenplay  by  Carl  Foreman 
Associate  Producer  George  Glass  •  Music  by  Oimitri  TiomKin 


S3  per  Year 


ftm  fcti  tribute/- J 

"LETS-GO 
TO-THE-MOVIES 
ADVERTISING 
CAMPAIGN 

in  this  issue 


o 


I 


To  2 

1 

I 


Mm 


%3 


mam 

:  mm 
i  m 


PEOPLE  WILL  TALI 

The  Zanuck - Mankiewicz  pier 
1951  tops  their  "All  About  i 
Starring  Cary  Grant  and  Jeanne^! 

TAKE  CARE  OF 
MY  LITTLE  GIRL 

Color  by  TECHNICOLOR 
Sorority  life,  U.  S.  A.— Starri 
Crain!  Dale  Robertson  clicks !  A  s 
book  is  now  a  sensational  pictui 

THE  FROGMEN 

The  top-secret  story  of  Unck" 
Underwater  Commandos!  .  .  Sf 
Richard  Widmark,  Dana  Ar|i 
Gary  Merrill!  Full  Navy  SJ 


ihtury-Fox- 

UDIO  THAT  PRODUCED 
EATEST  NUMBER  OF 


(HIRES  IN  1950!" 

MiL  o^ii 


—The  Exhibitor 


NCISION 

t  FORE  DAWN 

Sacial  Engagements  Only) 
It  tremendous!  Anatole  Litvak's  first 
ii:e  "Snake  Pit"— and  bigger!  The 
ntion  picture  achievement  of  the  year! 

It.  BELVEDERE 
INGS  THE  BELL 

tt  Belvedere  Laugh -Time  all  over  the 
w  Id  as  Clifton  Webb  rings  up  another 
trmph!  Joanne  Dru,  Hugh  Marlowe! 

r  E  DESERT  FOX 


reat  best-seller!  A  fabulous  Legend! 
rue  story!  Out  of  the  Great  African 
ert  .  .  .  comes  the  saga  of  Rommel! 


DAVID  AND  BATHSHEBA 

Color  by  TECHNICOLOR 
(Special  Engagements  Only) 

Gregory  Peck  and  Susan  Hayward  in 

the  most  awaited  of  all  motion  pictures 

. . .  backed  by  a  billion-reader  campaign! 

THE  SECRET 

OF  CONVICT  LAKE 

Watch  the  smash  All-West  openings! 
Great  performances  by  Glenn  Ford,  Gene 
Tierney,  Ethel  Barrymore,  Zachary  Scott! 

NO  HIGHWAY  IN  THE  SKY 

James  Stewart  and  Marlene  Dietrich 
...with  all  the  suspense  and  adventure 
of  Nevil  Shute's  powerful  best-seller! 


HOT  with  HITS  for  the  entire  summer 

PARAMOUNT 

starts 
your  goldt 
boxoffice 
autumn  in 


DATE 

TITLE 

CAST 

JULY 

PINE  and  THOMAS' 
PdSS3§[6  W6St  TECHNICOLOR 

JOHN  PAYNE                DENNIS  O'KEEFE 
ARLEEN  WHELAN 

BILLY  WILDER'S 

Ace  In  The  Hole 

KIRK  DOUGLAS               IAN  STERLING 

HAL  WAlLIS' 

Pekin?  Exnress 

I   Ul\lllw     LAUI  www 

JOSEPH  COTTEN            CORINNE  CALVET 
EDMUND  GWENN 

AUGUST 

HAL  WALLIS' 

That's  My  Boy 

DEAN  MARTIN                 JERRY  LEWIS 

NAT  HOLT'S 

Warpath  technicolor 

EDMOND  O'BRIEN               DEAN  JAGGER 
FORREST  TUCKER          HARRY  CAREY.  Jr. 

FRANK  CAP 

Here  Comes  The  Groom 

BING  CROSBY                  JANE  WYMAN 
FRANCHOT  TONE              ALEXIS  SMITH 

SEPTEMBER 

A  Place  In  The  Sun 

MONTGOMERY  CLIFT      ELIZABETH  TAYLOR 
SHELLEY  WINTERS 

PfRLBTRG  AND  SEATON'S 

Rhubarb 

RAY  MILLAND                 JAN  STERLING 

OCTOBER 

Crosswinds  mmllm 

JOHN  PAYNE               RHONDA  FLEMING 
FORREST  TUCKER 

Darling,  How  Could  You! 

JOAN  FONTAINE                  JOHN  LUND 
NONA  FREEMAN 

GEORGE  PAL'S 

When  Worlds  Collide  uZllo* 

The  producer  ol  "Destination  Moon"  has  made  this 
new,  and  startling  interplanetary  adventure  . 

NOVEMBER 

Submarine  Command 

WILLIAM  HOLDEN             NANCY  OLSON 
WILLIAM  BENDIX 

WILLIAM  WYLER'S  y^ 

Detective  Story  V 

KIRK  DOUGLAS             ELEANOR  PARKER 
WILLIAM  BENDIX 

DECEMBER 

PINE  and  THOMAS' 

Hong  Kong  X^* 

RONALD  REAGAN           RHONDA  FLEMING 

???Hope  Comedy 

(TO  BE  TITLED  BY  THE  PUBLIC  IN  BIG  COAST  TO  COAST  POLL) 

BOB  HOPE                    HEDY  LAMARR 

$eptembj 

with 
these 

BEi>ft«GGER 


^kv^F       The  Tremendous  Money-Show  We've  Added  For  November: 

PLEASE  NOTE  William  Wyler's  "DETECTIVE  STORY" 

Kirk  Douglas,  Eleanor  Parker,  William  Bendix 
w  The  stage  play  that  staged  the  biggest  thrills  ort  Broadway  for  two  years  .  .  . 

PLAY  PARAMOUNT  NEWS— it's  the  program  builder  that  guarantees  "the  best  show  in  to 


.ALEXIS 


JAMES 


I 

-2 


romance 


celebrates 


ROBERT  KEITH     introducing  AMA  MARIA  ALBERGH 

fWuceJ  and  Directed  by  FRANK  CAPRA  •  Assoc.ate  Producer 
IRVING  ASHER  •  Scrcenpfay  by  VlRGiWA  VAN  UPP,  UAM  O'BRIEN 


MONTGOMERY  CLIFT 
ELIZABETH  TAYLOR 
SHELLEY  WINTERS 


PLACE  IN  THE  SUN 


KEEFEBRASSELLE-Produced  and  Directed  by  GEORGE  STEVENS -Screen- 
play by  Michael  Wilson  and  Harry  Brown  •  Based  on  the  novel,  An  American  Tragedy,  by 
THEODORE  DREISER  and  the  Patrick  Kearney  play  adapted  from  the  novel 


IHUBAk 


Funniest  comedy  in  nine 
lifetimes — about  a  cat  who 
inherits  £30,000,000  and 
a  major  league  ballteaml, 


A  PERLBERG-SEATON 

Production 


■ 

MRAY  MIUANP 
_    JAN  STERLING 


GENE 

Directe( 

DORCT1 


and  RHUBARB 

LUBIN  •  Screenplay  by 
I  FRANCIS  COCKRELL 
el  by  H.  Allen  Smith 


NOTHING  WRONG  WITH  THE  MOVIES 
THAT  AN  M-G-M  MUSICAL  CAN'T  CURE! 


M-G-M's  TECHNICOLOR  MUSICAL 
PARADE  MARCHES  ON! 

At  press  time  M-G-M  launched  its  famed 
"Show  Boat".  First  3  days  does  "Caruso" 
and  "King  Solomon"  biz  in  Frisco.  Best  in 
6  years  in  Detroit.  Tops  M-G-M's  biggest 
in  Philly,  Atlantic  City  and  Wildwood,  N.J. 
Following  "Show  Boat"  comes  still  another 
M-G-M  Technicolor  Musical  smash,  "Rich, 
Young  and  Pretty".  Previewed  in  neighbor- 
hood theatres  East  and  West,  audience 
surveys  rate  it  tops  for  youthful  talents, 
romance,  great  songs  and  sure-fire  appeal. 
A  lusty  addition  to  M-G-M's  great  Techni- 
color Musical  Hits! 

 *  

M-G-M  presents  'RICH,  YOUNG  AND  PRETTY" 
starring  JANE  POWELL  •  DANIELLE  DARRIEUX 
WENDELL  COREY  •  FERNANDO  LAMAS  •  with 
Marcel  Dalio  •  Una  Merkel  •  Richard  Anderson  •  Jean  Marat 
And  Introducing  VIC  DAMON E  •  Color  hy  Technicolor 
Screen  Play  by,  Dorothy  Cooper  and  Sidney  Sheldon 
Story  by  Dorothy  Cooper  .  Directed  by  Norman  Taurog 
Produced  by  Joe  Pasternak  .  An  M-G-M  Picture 


^~  And  just  wait  till  he 
opens  his  mouth! 


yew- 

*  And 


4a 


Extra!  Unheralded,  unannounced,  two. ap- 
prise Previews  of  M-G-M's  famed  "Q}0 
VADIS"  to  thunderous  ovations  at  Berk  ey 
and  Frisco,  Cal.  Truly  the  opening  sj)ts 
of  a  Fame  to  be  heard  'round  the  WC| 
(See  LOOK,  out  July  17  th,  for  "Quo  VM 
section,  biggest  ever  given  a  motion  pict.e-) 


BULLETIN 


ft 


THINK  IT  OVER 

AMBITION 

tive  persons  endure  tedium  less 
ently  than  toil." 

— YAU  VEIN  ARGUES 


ft 


REVIEWS  in  This  Issue 


Younc  and  Pretty  

  17 

n  All  The  Way  

  17 

17 

\w  \\d  The  Ladi  18 

bit  The  Dip   ,  

   18 

Trust  A  Gambler    

 _   18 

In  Wonderland 

 20 

Canyon      _  

_   20 

of  the  Avenger   „  

-    20 

Fl'RY  .  _  

  20 

FILM  BULLETIN  —  An  Independ- 
ent Mon'on  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
If:  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  T-eonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenliouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Tavlor.  Pub- 
lication Manager:  Robert  Heath.  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave.,  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  S5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


Oh  the  tfctUtoikf  9  pageJ: 

DISTRIBUTORS  CONTRIBUTE 
THEATRE  INSTITUTIONAL  IDEAS 

An  awareness  has  been  growing  throughout  the  industry 
that  there  is  a  great  need  for  a  concerted  program  of  advertising 
the  movie  theatre  as  a  foremost  community  institution  and  pro- 
moting movie-going  as  a  desirable  and  exciting  experience. 
Plans  are  afoot  to  realize  these  ends  via  several  methods.  This 
fall  will  see  an  industrywide,  nationwide  promotional  campaign 
sponsored  by  COMPO,  as  well  as  numerous  business-building 
drives  by  various  local  groups  of  theatremen.  In  addition,  many 
of  the  individual  theatre  circuits  will  be  staging  their  own  in- 
stitutional campaigns.  All  this  adds  up  to  the  good  of  the 
entire  industry. 

To  fill  the  needs  of  thousands  of  rank-and-file  exhibitors  who 
lack  the  personnel  or  the  wherewithal  to  prepare  an  adequate 
institutional  campaign,  FILM  BULLETIN  called  upon  each  of  the 
major  distributors  to  contribute  one  idea,  one  layout,  which  could 
be  utilized  by  theatremen  to  spark  a  "Let's  Go  To  The  Movies" 
drive.  Without  exception,  the  advertising  executives  of  the  film 
companies  responded,  readily  and  heartily.  For  our  part,  we 
happily  provided  the  engravings  and  the  space. 

As  the  result,  you  have  presented  on  the  following  nine  pages 
a  group  of  fine  institutional  ads  which  should  prove  beneficial  to 
those  exhibitors  who  wish  to  get  started  immediately  on  a  cam- 
paign to  stimulate  enthusiasm  for  movie-going  among  the  people 
"in  their  communities.  Use  of  these  ads  might  prove  a  means  of 
"steaming  up"  the  public  in  advance  of  the  high-powered 
COMPO  campaign  that  is  on  its  way,  or  the  various  territorial 
drives  that  are  in  contemplation  for  the  coming  season. 

There  is  no  copyright  on  these  advertisements,  nor  do  we 
place  any  limitations  on  your  adaptation  of  them  to  your  par- 
ticular needs.  The  creators  of  the  ads  and  FILM  BULLETIN,  alike, 
desire  only  that  theatremen  utilize  them  to  improve  their  business. 
They  are  yours. 

The  advertisements,  in  their  order  of  appearance  were  pre- 
pared by  the  following  distributors: 

Page  Eight,  Paramount 

Page  Nine,  Metro-Gold wyn-Mayer 

Page  Ten,  Universal-International 

Page  Eleven,  20th  Century-Fox 

Page  Twelve,  Republic 

Page  Thirteen,  United  Artists 

Page  Fourteen,  RKO 

Page  Fifteen,  Columbia 

Page  Sixteen  Warner  Bros. 

To  the  members  cf  the  advertising  departments  of  these  film 
companies,  we  acknowledge  with  thanks- their  contributions  to 
a  better  movie  business. 

MO  WAX 


Americans  are  happy  people  who  love  to  "go  out".  And  it's  the 
most  fun  to  go  to  the  movies.  Nobody  wants  to  be  a  stay-at-hom< 
when  today  Hollywood  is  lavishing  all  its  resources  and  talents 
as  never  before  on  pictures  that  no  other  medium  can  match. 

Only  the  big  theatre-screen  can  give  you  the  biggest  entertainm< 
in  the  world.  Just  look  at  these  pictures  we're  proud  to  present  sod 


LIST 


PICTURES 


|Mc^-U>r^   uoovvH  cure* 


"ARE  YOU  SUFFERING 
FROM  HOME-I-TIS  ?" 

When  did  you  go  to  the  movies  last? 
Sure  there's  no  place  like  home,  but 
let's  not  overdo  it.  Go  out  and  meet 
the  people.  Go  to  the  movies  more 
often.  It's  the  best  way  to  relax. 

MOVIE-GOING        IS  GOOD  FOR  YOU! 

If  you  haven't  visited  us  recently 
you've  missed  such  wonderful, 
lalked-about  pictures  as: 

(List  some  outstanding  recent  pictures 
that  played  your  theatre) 

WE'VE  GOT  GOOD  NEWS  FOR  YOU! 

The  best  pictures  in  a  long  time  are 
coming  your  way.  Watch  for  these: 

(List  some 
coming  attractions) 

POPULAR  THEATRE 


Whatever 
your  pleasure 
there's  a 

MOVIE 


you 
treasure 

...tonight! 


It  takes  all  kinds  of  people  to  make  a 
world  — and  it  takes  all  kinds  of 
entertainment  to  satisfy  them. 
That's  why  moving  pictures  are  the 
favorite  entertainment  of  80,000,000 
Americans;  for  no  matter  what  you  like, 
comedies,  dramas,  westerns,  mysteries  or 
musicals,  one  of  your  local  theatres  will 
have  a  movie  for  you. 
"Let's  go  to  the  movies"  has  become  a 
part  of  the  language  — everyone  knows 
what  it  means;  getting  out  of  the  house, 
away  from  the  chores,  the  tensions,  the 
confusions;  sitting  in  a  comfortable  seat 
with  other  citizens  like  yourself,  relaxing 
and  enjoying  the  entertainment  you 
have  selected  for  yourself. 
Take  a  look  at  this  list  of  current 
attractions  and  make  a  date  to  see 
your  favorite— the  way  you  enjoy  it  most; 
at  your  local  motion  picture  theatre. 


HOW  PLAYING  AT  THiSt  SUiHTIflCAUY  AIR  ■  COHDITIOHiD  THEATRES 


List  T^e<?tre?  oo^  Attractions  J-jere 


10 


FILM  BULLETIN 


50,000,000 

Movie-Going 

AMERICANS 
CAN'T  BE  WRONG! 


Last    week  50,000,000 
Americans  went  to  the  movies! 

The    week   before  that  50,000,000 
Americans  went  to  the  movies! 

Yes,  each,  week  one-third  of  the  nation 
finds  the  enjoyment  that  only  the  greatest  of 
all  entertainment  mediums  can  offer! 

Today  the  Exhibitors  of  America  want  to  thank  you 
—  for  your  part  in  showing  us  the  way  ahead. 

Vour  attendance,  your  comments,  your  letters  have  told  us 
—  and  Hollywood  —  the   kind  of  pictures   you  really  want. 

More  "All  About  Eves"  .  .  .  more   "Born  Yesterdays"  .  .  .  more 
"Halls  of  Montezumas"  .   .   .  more  "Samson  and  Delilahs"  .  .  . 
more  "On  the  Rivieras"  .  .  .  more  "Great  Carusos"! 

And  more  and  more  Hollywood  is  coming  through  —  thanks  to  you  and 
the  millions  like  you.  Now  look  at  the  big  ones  coming  up! 

LIST  PICTURES  HERE 


The  motion  picture  industry  is  searching  new  horizons,  probing  new  techniques  .  .  . 
as  each  week  50,000,000  Americans  happily  go  to  the  movies! 

MOVt£S  ARE  AMERICA'S  GREAT  ENTERTAINMENT! 


U  L Y    16,  1951 


Left  getaway  ,fa/// 


1 4  Uftmctkpit 


Tfoe  for  a  cf,m9&  . 


<£s> 


it  ie*9oft>amoie  fit 


mm 


-.1 


FILM  BULLETI 


ENTER 


tainment! 


The  ticket 
that  buys  you 
anything  your 
heart  desires! 

A  small  price  to  pay  for  a 
trip  to  an  island  paradise 
or  your  dream  of  a  Euro- 
pean jaunt ...  to  the  time 
of  Caesar  or  Napoleon's 
wars  ...  a  journey  into 
outer  space  or  into  a 
man's  heart ...  to  all  the 
joys,  the  laughter,  the 
tender  pangs  of  love  or 
the  depths  of  any  great 
emotional  experience  . . . 
all  or  any  one  of  them 

FOR  THE  PRICE  OF 
ADMISSION! 


F  TRONIZE  YOUR  LOCAL  MOTION  PICTURE  THEATRE!  The  Great  American  Entertainment! 


7fe /tfa/tee... 

ma^ic  magnet  for 
millions — and  still 
America's  most  popular 
form  of  entertainment!.. 
This  season  s  wonderful 
new  shows  make  it 
smarter  than  ever  to  say: 

70A//G#r'" 


9 


The 
Best 

Times  of 
Your  Life 

Think  back!  Remember  the  red-letter  birthday  when  you  got 
that  shining  new  bicycle?  The  morning  you  graduated?  That 
hay  ride?  The  evening  you  got  engaged? 

Run  through  your  list  of  days  and  nights  that  even 
now  bring  a  smile  to  your  lips,  a  thrill  to  your  heart,  a  look 
of  wonder  to  your  eyes. 

Among  your  treasured  souvenirs,  there  are  many  mem- 
ories of  movies .  .  .  memories  of  the  silver  screen  that  even 
now  stand  out  as  high  spots  in  your  life. 

Yes,  movies  make  wonderful  souvenirs.  The  movie  you 
see  today  you  may  well  remember  with  delight  through  all 
the  years  to  come. 


6  ,    19  5  1 


IS 


KS::;;::;:;;^^ 


HOW  TO  COMBINE  INSTITUTIONAL 
COPY  WITH  DISPLAY  ADS 


As  constant  reminders  of  the  desirability  to  "get  out 
for  a  good  time"  a  technique  similar  to  this  was 
used  effectively  by  Norris  Had  away,  manager  of  the 
Alabama  Theatre  in  Birmingham.  Warner  Bros.,  in 
recognizing  the  value  of  this  kind  of  institutional 
promotion,  are  providing  copy  such  as  shown  here 
regularly  in  their  pressbooks.  A  different  message  and 
illustration  on  this  theme  is  regularly  included  in  the 


ad  sections  of  the  Warner  pressbooks. 
They  are  designed  to  go  either  at  the  top  or  bottom 
of  regular  display  ads;  adjustment  can  be  made  to  fit 
in  theatre  name  and  policy.  Hadaway  reports  success 
with  this  device  in  his  territory  and  the  Warner  mate- 
rial is  getting  considerable  play  around  the  country. 
They  are  prepared  for  reproduction  directly  from  the 
pressbook. 


Got  those 
stay-at-home 
blues? 

Want that 


((  Get  out  and  see  a  Get-Happy  Picture  like  this !  > 


Ho  get  away  from  the  cares  of  the 
home  and  the  cares  of  the  day 
SEE  A  MOVIE  LIKE  THIS  f/f 


ONE 
TWO 
OR 

THREE 

COLUMN 

"AD" 

GOES 

HERE 


This  use  of  theatre  copy  is  recommended  for 
those  theatres  where  budget  limitations  prevent 
large  institutional  displays.  Technique  allows  for 
full  use  of  specific  picture  merchandising,  and  as 
a  "plus"  emphasizes  the  theatre  as  a  community 
institution. 

The  size  and  proportions  to  be  divided  between 
the  picture  and  the  institutional  message  can  be 
adapted  to  most  budgets.  > 


\  G'moa  i 
house 


We've  got  a  walloping  big 
screen  .  .  .  and  some  darn 
good  entertainment  to  go 
with  it.  We've  got  a  nice 
comfortable  seat-just  for 
you— where  you  can  relax 
and  enjoy  yourself  without 
interruption.  You  won't  be 
jumping  up  to  strangle  a 
squawking  phone  — there's 
no  reminder  here  of  all  the 
cleaning-up-after  ward 
chores.  Just  pleasure  and 
fun -and  lots  of  it!  You'd 
be  surprised  how  good  it  is 
for  you  to  get  away  for  this 
little  while  from  the  cares 
of  the  home  and  the  cares 
of  the  day. 

So,  c'mon  over  to  our  house! 


*ICH,  YOUNG  AND  PRETTY'  LIVELY,  ENTERTAINING  TECHNICOLOR  MUSICAL 


jtes  •  •  •  —  generally;  less  in  action  spots. 
GM 

r  minutes 

me  Powell,  Danielle  Darrieux,  Wendell 
orey,  Vic  Damone,  Fernando  Lamas,  Mar- 
1  Dalio,  Una  Merkel,  Richard  Anderson, 
an  Murrat,  Hans  Conreid,  George  and  Kat- 
n  Tatar,  Monique  Chantal,  "Four  Fresh- 
en" Quartette, 
irected  by  Norman  Taurog. 

"Rich,  Young  and  Pretty"  is  a  Techni- 
lor  musical  that  lives  up  to  its  title  — 
|e  Joe  Pasternak  production,  encompassing 
ch  amusingly  contrasted  backgrounds  as 
|e  plains  of  Texas  and  Parisian  boulevards, 
I  rich  and  pretty,  while  players  like  Jane 
hwell,  Vice  Damone,  and  Fernando  Lamas 
Ike  care  of  the  "young"  department  with 
Irve  and  animation.  The  story,  a  familiar 
J  nation  on  the  parallel  romantic  ramifica- 
fcns  of  oldsters  and  juveniles,  is  a  bit  long, 
lawn  out,  and  not  too  funny.  But  the  per- 
Ijrmances,  the  bright  songs,  and  the  spirited 


farieu)  fating 


performances  of  the  players  go  a  Ioiik  way 
toward  taking  up  the  slack.  Norman  Taurog's 
direction  is  bouncy,  never  taking  the  story 
too  seriously.  With  it's  light-hearted  style 
and  escapist  theme,  "Rich,  Young  and 
Pretty"  will  serve  the  exhibitor's  purpose 
quite  satisfactorily  in  most  locations. 

Jane  Powell,  pert  and  pretty,  plays  the 
daughter  of  a  Texas  politician  with  charac- 
teristic charm.  Danielle  Darrieux,  a  French 
music  hall  entertainer,  is  more  than  delight- 
ful, both  as  chanteuse  and  actress.  Wendell 
Corey,  his  good  looks  hidden  behind  a 
mustache,  is  splendid  as  the  father.  Vic  Da- 
mone, likeable  and  easy  going,  makes  a 
favorable  impression   in    his    movie  debut. 


particularly  with  his  vocals.  Fernando  Lamas 
is  a  real  Latin  charmer;  the  gals  will  like 
him.  Supporting  players;  mainly  character 
people,  do  their  jobs  well. 

STORY:  Wendell  Corey's  reluctance  in 
accepting  an  invitation  to  address  the  U.  S 
in  Paris  is  explained  when  he  and  daughter 
Jane  Powell  arrive.  It  seems  that  Corey's 
former  wife  is  Danielle  Darrieux,  now  a  cafe 
star.  They  had  married  after  a  Legion  con- 
vention in  Paris  during  the  20's.  The  French 
girl  could  not  adapt  herself  to  Texas  and 
returned  home.  Corey's  worst  fears,  that 
Powell  and  Darrieux  will  meet,  materialize. 
The  daughter  also  falls  in  love  with  Vic 
Damone,  a  French  boy.  Corey,  seeing  a  par- 
allel to  his  own  unhappy  marriage,  tries  to 
nip  the  romance.  Miss  Darrieux  steps  into 
the  situation,  solves  it  with  typical  French 
resourcefulness,  and  the  intimation  at  the 
fini>h  is  that  there  may  be  some  more  ro- 
mantic   doings    between   her  and  Corey. 

HANXA  (Hollywood) 


JE  RAN  ALL  THE  WAY'  OFF-BEAT  EXPLOITABLE  SUSPENSE  MELLER 

ites  •  •   '  generally,  with  exploitation;  better  in  action  houses. 


ni/ed  Artists  (Roberts) 
minutes 

ijhn  Garfield,  Shelley  Winters,  Wallace 
>rd,  Selena  Royle,  Bobby  Hyatt,  Gladys 

«;orge,  Norman  Lloyd, 
rected  by  John  Berry. 

I'He    Ran  All  the  Way"    is  an  off-beat 

■  atment  of  the  hoodlum  story  —  a  yarn 
nt  attempts  to  present  the  antisocial  as  a 
jjaracter  study,  a  flesh-and-blood  guy  who 
Ints  to  be  liked,  has  moments  of  human 
■inpassion,  and  is  alternately  clever  and 
■ipid.  It  makes  for  an  imaginative  gimmick, 
Id  in  points  of  casting  and  realistic  at- 
■)sphere  the  Bob  Roberts  production  for 
JJiited  Artists  almost  pulls  it  off  success- 
■ly.  The  major  shortcoming  in  the  script 

■  the  unbelievable  romance  instigated  be- 
■een  a  killer  and  a  healthv,  normal,  earthv 


girl  who  sees  his  ruthlessness,  but  persists 
in  falling  in  love  with  him  —  even  when  he 
holds  her  father,  mother,  and  little  brother 
in  terror  of  his  trigger-happy  fingers.  As 
directed  by  John  Berry,  the  film  is  often 
leisurely  and  verbose,  but  builds  in  sus- 
pense to  an  explosive  climax.  Properly  ex- 
ploited, the  film  should  reach  into  the  bet- 
ter brackets,  aided  by  the  Garfield-Winters 
marquee  draw.  Best  returns  will  accrue  in 
the  action  houses. 

John  Garfield,  in  one  of  his  best  perform- 
ances, reaches  deep  inside  the  character  of 
the  slum-bred  boy  who  drifts  automatically 
into  a  life  of  crime;  he  makes  the  fellow  real 
and  believable.  Shelley  Winters  is  superb  as 
the  girl  he  meets  after  a  hold-up  and  whose 
home  he  uses  as  a  hide-out.  Wallace  Ford 
and  Selena  Royle  present  authentic  portraits 
of  her  parents,  and  Gladys  George,  in  just 


a  few  moments  on  screen,  gives  an  insight 
into  the  nature  of  Garfield  with  her  expert 
make-believe  as  his  blowsy  mother. 

STORY:  Garfield,  pulled  into  a  robbery 
job  by  Norman  Lloyd,  escapes  in  the  shoot- 
ing foray  that  fells  a  policeman.  Lloyd  is 
killed,  identifies  Garfield  as  his  partner. 
Meantime,  Garfield,  by  sticking  with  the 
crowd,  has  landed  in  a  public  swimming  pool 
where  he  meets  Shelley  Winters,  accompan- 
ies her  home.  She  invites  him  into  the  apart- 
ment, introduces  the  family.  Garfield's  iden- 
tity is  soon  disclosed.  He  keeps  the  family 
at  bay  with  his  gun,  lets  them  pursue  their 
daily  lives  but  always  holds  one  member 
under  observation  as  a  hostage.  During  these 
hours  of  terror  Winters  falls  in  love  with 
him,  but  it  is  she  who  ultimately  turns  on 
him  and  kills  him.  JAMES 


'ION  MAN'  HOKEY  BUT  ACTIONFUL  RING  SAGA 

Ftes  •  •  •  in  action  houses;  good  dualler  elsewhere 


liiversal-In/ernational 
8  minutes 

E  Chandler,  Evelyn  Keyes,  Stephen  Mc- 
Mly,  Rock  Hudson,  Joyce  Holden,  Jim 
Ickus,  Jim  Arness,  Steve  Martin,  George 
1  xter. 

1  ected  by  Joseph  Pevney. 

Iflron  Man"  falls  entertainingly  and  ex- 
IJngly  into  the  new  groove  of  boxing  pic- 
iles.  The  slugger  who  leaps  from  a  drug- 
Mi  sleep  in  a  hotel  room  to  Madison 
Biare  Garden,  the  old-time  gamblers  and 
■joked  promoters  are  gone.  Xow  we  have 
pjiracter  studies  of  the  boxers  themselves. 
M  why  and  how  of  their  personalities.  It's 
M  improvement,  for  a  good  deal  of  the 
Rion  takes  place  in  the  arena  where  fight 
Miles  provide  punch  and  action.  As  pre- 
Wted  in  a  speedy,  vigorous  production  by 
Mron  Rosenberg.  "Iron  Man"  lacks  the 
H'leties  and  story  refinements  of  "The  Set- 


Up"  and  "Champion,"  often  becoming  hokey 
and  melodramatic.  But  the  show,  played  and 
directed  by  Joseph  Pevney  at  break-neck 
speed,  filled  with  good  action  scenes,  and  a 
credible  plot,  never  bores.  It  adds  up  to 
strong  popular  entertainment,  an  item  that 
will  prove  especially  attractive  to  the  action 
fans. 

Jeff  Chandler  is  guilty  of  much  of  the 
overplaying,  but  on  him  it  looks  good.  He 
fits  the  part  of  a  killer-fighter,  a  character 
you  don't  expect  to  have  the  finesse  of 
Clifton  Webb.  Evelyn  Keyes  is  fine  as  the 
wife  who  pushes  him  into  the  fighting  rack- 
et, and  Stephen  McXally  plays  the  brother- 
promoter  in  glib,  likeable  fashion  —  even 
if  the  fellow  is  on  the  heelish  side.  New- 
comer Rock  Hudson  makes  a  substantial 
impression  as  a  rival  boxer,  and  Jim  Back- 
us' intelligent  sports  writer  is  a  gem  of  a 
performance. 

STORY:   Chandler  is  a   coal  miner  en- 


gaged to  marry  Evelyn  Keyes:  their  am- 
bition, to  open  a  music  store.  But  Chandler's 
enormous  potentialities  as  a  fighter  are  rec- 
ognized by  his  brother.  McXally. 

With  Keyes  as  his  co-conspirator,  he  ar- 
ranges a  few  tentative  fights.  Chandler  is  a 
sensation,  a  champ  in  the  making.  But  in 
the  ring  he  is  possessed  of  an  unscrupulous 
fury  that  turns  the  crowd  against  him. 

Even  as  he  wins  bout  after  bout  he  re- 
mains unpopular  with  the  crowd.  He  is 
sensitive  enough  to  worry  about  the  boos, 
but  still  unable  to  restrain  himself.  After 
McXally  arranges  for  an  opponent  to  throw 
a  bout  Chandler  dismisses  his  as  manager, 
ties  up  with  Jim  Backus  whose  code  of 
ethics  eventually  penetrates.  In  fighting  Rock- 
Hudson.  Chandler's  best  friend,  he  gives 
the  boxing  performance  of  his  career,  clean 
all  the  way  through.  He  goes  down  to  de- 
feat, but  for  the  first  time  he's  cheered. 

JAMES 


Y    16,  1951 


17 


•THE  LAW  AND  THE  LADY'  DULL,  SPOTTY  COMEDY 


Rates  •  •  +  on  names;  less  in  subsequents 

Metro-Goldwyn-Mayer 
104  minutes 

Greer  Garson,  Michael  Wilding,  Fernando 
Lamas,  Marjorie  Main,  Hayden  Rorke,  Mar- 
galo  Gilmore,  Ralph  Dumke,  Rhys  Williams. 
Directed  by  Edwin  H.  Knopf. 

"The  Law  and  the  Lady"  is,  it  is  to  be 
hoped,  the  very  last  of  Mrs.  Cheyney,  if 
it  can't  be  better  than  this  version  of  the  lilt- 
ing Frederick  Londsdale  comedy  of  gay 
thievery  among  high  society.  It  would  seem 
to  be  one  plot  worthy  of  remaking,  if  such 
a  paucity  of  original  stories  exists  that  Holly- 
wood studios  must  continually  delve  into 
the  stockpile.  However,  as  in  many  "new 
versions,"  the  very  qualities  which  made 
the.  original  a  hit  are  thrown  out;  the  very 
opposite  becomes  the  approach.  Londsdale's 
sophistication  and  elegant  backgrounds  are 
missing,  while  Mrs.  Cheyney,  now  called 
Lady  Loverly,  plies  her  dubious  trade  on 
San  Francisco's  Nob  Hill  and  in  the  rancho 
of  one  of  its  wealthier  and  coarser  inhabit- 
ants.   The   victim,    broadly   and  effectively 


and  action  spots 

played  by  Marjorie  Main,  is  a  constant  de- 
light, but  she  is  much  more  at  home  in 
the  "Kettle"  films  than  in  a  story  like 
"Mrs.  Cheyney."  At  least,  though,  Miss 
Main's  rasping  diction  is  clearer  than  that 
of  Greer  Garson,  Michael  Wilding,  and 
Fernando  Lamas  —  all  of  whom  sound  as 
though  they  were  articulating  through  the 
fizz  of  an  alka  seltzer.  The  script  is  verbose; 
the  action,  uninteresting;  the  comedy,  only 
spottily  effective.  Early  runs  may  find  the 
names  a  factor  in  eking  out  fair  grosses, 
but  word-of-mouth  will  do  it  no  good  in 
the  subsequents.  Action  fans,  of  course, 
will  find  it  a  squirmer. 

Greer  Garson,  disguised  in  an  unbecom- 
ing black  wig,  plays  the  elegantly-mannered 
thief  with  the  poise  of  a  trouper  who  has 
just  read  the  closing  notice  —  correctly 
but  without  animation.  Michael  Wilding,  as 
her  conspirator,  is  rarely  understandable  as( 
he  totes  out  his  best  English  drawing  room 
manner  and  tries  unsuccessfully  to  make  it 
look  like  a  zcstful  performance.  Fernando 
Lamas  fits  into  the  picture  as  a  one-time 


Mexican  landowner  reduced  to  rancho-stylj 
peonage.  It's   a   pretty  grim  character; 

is  Mr.  Lamas. 

STORY:  Miss  Garson  is  a  lady's  mai| 
when  Wilding  meets  her.  Quick  to  sense  h 
unique  possibilities  as  a  thief  and  phone 
aristocrat  he  palms  her  off  as  a  lady  at 
they  set  forth  on  a  tour  of  the  world.  I 
each  city  they  are  invited  by  the  police 
leave.  In  San  Francisco  they  hit  gold  du 
in  the  person  of  Marjorie  Main,  raucot 
Nob  Hill  matron,  who  has  packed  away 
sizeable  fortune  in  property  and  jewels 
the  result  of  the  gold  rush.  One  diamor 
necklace  is  all  they  need  to  set  themselvi 
on  easy  street.  But  Miss  Main's  cordial! 
and  Greer's  growing  affection  for  Lami 
produce  qualms  in  the  lady's  conscienc 
After  her  exposure  and  a  "surprise"  arrivf 
of  a  Scotland  Yard  detective,  the  two 
back  to  England  to  face  a  rap,  imbued  wi 
the  determination  to  tread  the  straight  ai 
narrow  on  their  release. 

JAMES 


'ST.  BENNY  THE  DIP'  NOVEL 

RATES  •  •  as  dualler  in  family  houses 

United  Artists  (Danzigers) 
80  minutes 

Dick  Haymes,   Nina  Foch,  Roland  Young, 
Lionel  Stander,  Freddie  Bartholomew. 
Directed  by  Edgar  Ulmer. 

The  initial  promite  of  successful  comedy 
contained  in  the  basic  premise  of  "St.  Benny 
the  Dip"  fails  to  materialize  and  the  result 
is  a  peculiar  hybrid  of  a  film  that  misses 
fire  on  all  counts.  Produced  by  Edward  J. 
and  Harry  Lee  Danziger  from  an  original 
by  George  Auerbach,  it  tells  of  three  con- 
fidence men  who  don  clerical  garb  while 
escaping  from  the  cops,  and,  compelled  to 
conduct  a  mission  for  down -and  outers  on 
New  York's  lower  East  Side,  find  their 
regeneration.  Wobbling  between  fantasy  and 
romance,   sentimentality    and   slapstick,  the 


COMEDY  MISSES  FIRE 


best  that  can  be  whipped  up  by  director 
Edgar  Ulmer  from  the  hodge-podge  are  a 
few  laughs  and  some  whimsical  situations. 
Most  audiences  will  feel  the  disappointment 
over  dissipation  of  the  early  promise,  and 
are  most  likely  to  take  unkindly  to  the 
mediocre  medley  that  follows.  Only  spot 
for  this  is  the  dual  slot  in  family  houses. 

Why  vocally  talented  Dick  Haymes,  as 
Benny,  should  have  been  used  in  the  film  is 
a  mystery.  His  voice  is  wasted  on  one  in- 
different tune.  Nina  Foch,  as  the  femme  lead, 
has  nothing  to  do  and  less  to  say,  but  man- 
ages a  few  gestures  satisfactorily.  Roland 
Young  and  Lionel  Stander  are  the  other  tw© 
crooks,  and  Freddie  Bartholomew  plays  the 
part  of  a  simpering  curate  in  suitably  irritat- 
ing manner.  Edgar  Ulmer's  direction  keeps 


the  story  from  slowing  down  too  oftt 
though  not  effortlessly. 

STORY:  Confidence  men  Dick  Haym< 
Roland  Young  and  Lionel  Stander,  surpris 
by  the  police  as  they  are  about  to  clai 
another  victim,  escape  into  a  nearby  churc 
steal  clerical  clothes,  and  take  refuge  in 
Bowery  cellar  once  used  as  a  tabernac 
Discovered  there  by  police  sergeant  W 
Lee,  they  are  compelled  to  be  the  answ 
to  the  prophecy  that  the  mission  one  d 
would  be  re-established  and  are  pressed  in 
immediate  service.  In  the  course  of  thi 
masquerade,  Haymes  falls  in  love  with  Ni 
Foch,  daughter  of  a  reclaimed  sot;  Standi 
determines  to  go  back  to  his  wife  and  t\ 
kids  and  Young  decides  to  continue 
mission  work  alone.  YOP 


NEVER  TRUST  A  GAMBLER1  ACTIONLESS  MURDER  YARN 

Rates  •  •  —  as  bottom  dualler  in  action  houses,  less  elsewhere 

sion  is  more  amusing  than  dramatic.  Lack- 
ing top  names,  the  Columbia  release  is 
hardly  worthy  of  anything  but  secondary 
position  on  the  average  action  house  double 
bill. 


Columbia 
79  minutes 

Dane  Clark,  Cathy  O'Donnell,  Tom  Drake, 
Jeff  Corey,  Myrna  Dell,  Rhys  Williams. 
Directed  by  Ralph  Murphy. 

"Never  Trust  A  Gambler"  is  a  lifeless, 
would-be  action  exhibit  whose  tedious  79 
minutes  of  runnnig  time  consists  largely 
of  dialogue  and  more  dialogue  backgrounded 
by  trite  and  familiar  situations.  The  story 
of  this  uneven  production  by  Louis  B.  Ap- 
pleton  and  Monty  Shaff  is  the  ancient  tale 
of  the  no  good  gambler  who  takes  advantage 
of  an  innocent  girl  who  loves  him  in  order 
to  cover  the  tracks  of  his  crimes.  As  directed 
by  Ralph  Murphy  at  a  snail  pace,  it  develops 
neither  elements  of  suspense  nor  action. 
And  the  finale  which  sends  the  heavy  scur- 
rying into  the  high  tower  of  a  huge  derrick 
to  fight  a  last  ditch  battle  with  law  and  or- 
der is  such  a  stock  device  that  the  impres- 


The  performances  are  nothing  to  write 
home  about.  Dane  Clark  plays  the  heel  in 
the  tense,  nervous  manner  that  is  standard 
motion  picture  procedure  for  such  charac- 
ters. Cathy  O'Donnell  seems  much  too  in- 
telligent to  be  hoodwinked  by  the  fellow, 
and  Tom  Drake  performs  the  duties  of  a 
bright  young  detective  as  though  he  were 
competing  for  all  the  Academy  Awards. 
Jeff  Corey  and  Myrna  Dell  figure  more 
legitimately  in  the  proceedings  with  their 
agreeable  performance.  Rhys  Williams,  mur- 
der victim  and  overweight  amorous  detective, 
overplays  shamefully. 

STORY:  Clark,  a  witness  to  a  San  Fran- 
CMCO    murder,  ducks   out   of  town  and  ar- 


rives in    Los  Angeles   where  he  hides 
the  bungalow  of  his  ex-wife,  school  teach 
Cathy  O'Donnell.   He  convinces  her  of 
flight  is    an  earnest    desire  to  protect 
regeneration,   insisting  the   reason  for 
friend   who  is   standing   trial  for   the  B 
City  crime.  The  girl  swallows  the  bait, 
accidental  meeting  with  detective  Rhys  W 
liams  produces  an  added  complication  wh 
he  follows  her  home,  makes  advances  and 
slugged  by  Clark.  In  the  foray  Williams 
killed.  O'Donnell  and  Clark  toss  the 
over  an    embankment  in  a   car,  expecti 
the  corpse  to  be  consumed  in  flames, 
stead  it  is  thrown  free,  and  the  police 
vestigation  invariably  leads  to  the  hide-o 
Drake,   frankly  attracted  to  the   girl,  tr 
to  make  her  come  clean,  but  she's  still  St 
on    Clark's  good  intentions.  Eventually 
reveals  his  duplicity  by  using  her  as  a  shi< 
in  a  getaway.  The  cops  trap  him,  of  cour 
HANNA  (Hollywc 


18 


FILM    B  U  L  L  E  Ti 


BOXOFFICE 
DYNAMITE 

hits  the 

NEW  YORK 

PARAMOUNT  THEATRE 

as  the  red-hot  impact  of 

JOHN  GARFIELD -SHELLEY  WINTERS 

hits  the  screen  in 


ALICE  IN  WONDERLAND'  DISNEY  FANTASY  ANOTHER  B.  O.  TRIUMPH 

RATES  •  •  •  generally,  more  in  family  spots. 

rella"   but  always  lovely  and  tasteful.  The 
animation  is  superb  and  numbers  like  the 
are  in  the  best  Dis- 


RKO-Radio  (Disney) 
76  minutes 

Talents:  .Kathryn  Beaumont,  .Ed  .  Wynn, 
Richard  Hayden,  Sterling  Holloway,  Jerry 
Colonna,  Verna  Felton,  Pat  O'Malley,  Bill 
Thompson,  Heather  Angel,  Joseph  Kearns. 
Directed  by  Clyde  Geronimi,  Mamilton  Lus- 
ke,  Wilfred  Jaxon. 

Now  that  Walt  Disney  is  back  in  the  busi- 
ness of  transcribing  immortal  fairy  tales 
to  celluloid,  the  exhibitor  is  due  for  another 
helping  of  boxoffice  meat.  "Cinderella"  set 
a  successful  pace  last  year,  and  "Alice  In 
Wonderland"  seems  destined  to  do  likewise, 
't  is  a  visually  stunning  production  of  the 
Lewis  Carroll  classis  —  not  quite  as  charm- 
ing, as  tuneful  or  as  chucklesome  as  "Cinde- 


"  March  of  the  Cards" 
ney  tradition  —  colorful,  imaginative,  beauti- 
ful to  watch.  The  story  is  followed  rather 
faithfully,  but  the  familiar  characters'  con- 
ception is  quite  different  than  the  illustrations 
of  the  book  —  change  that  will  hardly  both- 
er today's  youngsters,  anyhow.  It  brings 
the  Disney  touch  to  the  picture,  a  factor  that 
is  its  own  artistic  and  commercial  level. 
Returns  will  be  good  generally,  excellent  in 
family  houses. 

Giving  credit  where  credit  is  due  in  a 
Disney  production  is  a  well  nigh  impossible 
task  —  so  many  talents  are  involved.  The 
production  is  offered  in  an  easy-to-take, 
speedy    76  minutes,  and  the  direction  and 


'SILVER  CANYON1  GOOD  AUTRY  WESTERN 

Rates 


•  •  -f-  for  action,  western  houses 

vantage  of  the  large  number  of  extras  em- 
ployed —  the  supers  appear  in  fragmentary 
scenes  as  background  instead  of  taking  part  in 
expected  large  scale  action  sequences.  John 
English  puts  the  actors  efficiently  through  their 
paces  and  succeeds  in  holding  the  comedy  to  the 
level  of  the  story  and  not  as  the  usual  after- 
thought. The  film  should  fit  snugly  and  satis- 
factorily into  its  usual  slot  in  action  and  West- 
ern houses. 


Columbia 
70  minutes 

Gene  Autry,  Pat  Buttram,  Gail  David,  Jim 
Davis,  Bob  Steele,  Edgar  Dearing. 
Directed  by  John  English. 

Familiar  but  sure-fire  Western  elements,  as- 
sembled in  a  superior  physical  production,  con- 
tribute toward  making  "Silver  Canyon" 
an  outstanding  entry  in  the  current  Autry  series. 
Producer  Armand  Schaefer  utilizes  an  interest- 
ing story  idea  adroitly,  pointing  it  to  achieve 
entertaining  action  and  suspense  values.  He  dis- 
appoints in  his  failure  to  take  the  fullest  ad- 


Gene  Autry  works  in  his  casual  style  and  sings 
the  songs  quietly  and  persuasively.  Pat  But- 
tram's  characterization  is  humorous,  and  his  an- 


editing  serve  to  implement  this  emphasis 
on  tempo.  Young  Kathryn  Beaumont's  voice, 
with  its  restrained  English  accent,  is  charm- 
ing as  Alice.  Ed  Wynn's  Mad  Hatter  almost 
makes  you  see  "the  perfect  fool."  Sterling 
Holloway  and  Jerry  Colonna  are  among 
the  other  principal  '"voices".  Favorites  are 
bound  to  strike  each  fancy  differently  —  thi 
reviewer's  happents  to  be  the  caterpillar 
of  Richard  Haydn.  They're  delightful  Dis 
ney  folk  —  witty,  charming,  amusing. 

In  its  specialized  bracket  "Alice"  offers  the 
theatreman  an  opportunity  to  test  his  ex- 
ploitation resourcefulness  with  showmanship 
to  attract  more  than  the  juvenile  and  family 
groups  at  which  the  film  is  aimed. 

ANGEL 


tics  fit  logically  and  believably  into  the  narra- 
tive. Jim  Davis,  playing  a  most  gentlemanly 
heavy,  is  splendid.  Gail  Davis  pleases  in  the 
slight  feminine  lead. 

STORY:  Autry,  a  Union  scout,  sets  out  to 
trap  Jim  Davis,  a  Confederate  guerilla  whose 
activities  have  been  repudiated  by  Lee.  Davis 
and  his  cohorts  have  been  interfering  with 
Union  supply  lines.  As  their  most  ambitious 
raid  they  plan  the  seizure  and  destruction  of  a 
whole  town.  Autry  arrives  too  late  to  prevent 
the  plunder  but  eventually  he  locates  the  heavies 
and  battles  it  out  to  the  finish.  JAMES. 


MASK  OF  THE  AVENGER*  ROUTINE  TECHNICOLOR  COSTUME  ADVENTURE 


Rates  •  •    in  action  houses 

Columbia 
83  minutes 

John   Derek,  Anthony  Quinn,   Jody  Law- 
rence, Arnold  Moss,  Eugene  Iglesias. 
Directed  by  Phil  Karlson. 

"Mask  Of  The  Avenger"  is  a  swashbuckl- 
ing saga  in  Technicolor  that  takes  up  the 
familiar  Monte  Cristo  legend  in  routine 
style.  The  story  makes  no  pretense  at 
originality  as  it  follows  the  tried  and  true 
course  of  picturing  the  hero  as  a  masquerader 
who  does  good  for  his  people  while  living, 
under  another  identity,  in  the  headquarters 
of  the  heavy.  The  dialogue  is  florid,  and  so 
are  the  performances.  But  it  adds    up  to 


fair  diversion  for  adventure  fance  and  the 
dwindling  group  of  undiscriminating  movie 
goers.  Hunt  Stromberg's  production  mounts 
the  show  handsomely,  and  Phil  Karlson  di- 
rects with  a  speedy,  if  loose  hand. 

John  Derek's  cloak-and-dagger  portrayal 
is  competent,  and  Anthony  Quinn  swaggers 
through  the  role  of  the  heavy  writh  appropri- 
ate bravado.  Jody  Lawrance,  given  more  of 
a  part  than  the  usual  beautiful  lady  of  these 
affairs,  is  excellent.  Arnold  Moss,  the  inevit- 
able sinister  side-kick  of  the  top  heavy,  does 
a  workmanlike  job  of  adding  to  the  suspense. 
Supporting  players  are  well  suited  to  their 
assignments. 

STORY:  Derek,  a  soldier,  returns  to  his 


Italian  village,  finds  his  father  dead,  the 
family  estate  occupied  by  Military  Governor 
Quinn  and  his  henchmen.  Derek's  father,  it 
appears,  has  been  killed  as  a  traitor.  Derek 
doubts  the  truth  of  the  accusation.  Feigning 
a  wounded  leg  and  anxiety  about  his  posi- 
tion as  the  son  of  an  evil  man,  he  stays  in 
the  castle.  At  night  he  roams  the  country- 
side, carrying  the  sword  of  Monte  Cristo, 
righting  some  of  Quinn's  injustices.  Derek 
obtains  proof  that  Quinn  is  selling  out  to 
the  Austrian  enemy  for  a  large  sum  of  mon- 
ey and  leads  the  people  in  a  successful 
fight  against  an  invasion  that  Quinn's  dup- 
licity made  possible. 

JAMES 


GYPSY  FURY'  OLD-FASHIONED  LUDICROUS  SWEDISH  MELODRAMA 


\ates  •  as  dualler. 


Monogram  (Terrafilm) 
63  minu/es 

Viveca  Lindfors,  Christopher  Kent,  Rom- 
ney  Brent,  Johnny  Chambo/,  Lauritz  Falk. 
Directed  by  Christian  Jaque. 


"Gypsy  Fury"  can  be  catalogued  only  as 
a  "desperation  dualler."  The  Swedish  pro- 
duction with  dubbed-in  English  dialogue 
finds  its  story  basis  in  an  ancient  Scandinav- 
ian legend  —  the  saga  of  a  nobleman  who 
falls  in  love  with  a  princess.  Typical  fairy 
tale  skullduggery  involving  poison  potions, 
duels  to  the  death,  witch-like  spinsters  dot 

20 


the  proceedings.  To  the  eye  and  ear  of 
present  audiences,  it  is  more  ludicrous  than 
dramatic.  Whatever  laughs  there  are  come  at 
the  expense  of  the  situations  and  perform- 
ances, rather  than  stemming  from  deliberate 
comedy.  The  production  is  well  mounted 
and  some  of  the  scenery,  excellent.  But  the 
acting  and  direction  are  as  hokey  and  old 
fashioned  as  the  story.  This  is  n.  g.  even  as 
a  filler. 

Viveca  Lindfors,  an  excellent  actress,  plays 
the  gypsy  with  fire  and  verve,  but  her  per- 
formance lacks  depth  or  meaning.  Christo- 
pher Kent  is  handsome  as  the  nobleman, 
but  his  acting  is  of  a  type  one  might  ex- 


pect to  encounter  on  a  Fjord  show  boat. 
Supporting  members  of  the  company  also 
overplay. 

STORY:  Kent  meets  Lindfors  on  a  hunt- 
ing trip.  She  is  a  member  of  a  gypsy  band 
camping  on  the  vast  estates  of  his  family. 
At  an  age  when  all  good  noblemen  should 
marry.  Kent  is  pushed  by  his  family  into 
an  alliance  with  a  neighborhood  noblewoman. 
Being  smitten  by  the  gypsy  he  wrestles 
with  both  his  conscience  and  his  passion.  A 
complication  is  the  fact  that  the  male  mem- 
bers of  his  family  die  early  deaths,  and  he 
fears  he  can  look  forward  to  no  better  fate. 
Eventually  be  goes  balmy.  ANGEL. 

FILM  BULLETIN 


CHARLIE'S  GIANT 


Ever  since  Charles  Einfelcl  spawned  the 
•"junket"  plan  of  world  premieres  back  in 
the  thirties,  when  he  was  ballyhoo  boss  of 
Warners,  the  film  industry  has  regarded  the 
present  20th  Century-Fox  vice-president  in 
charge  of  advertising,  publicity  and  exploita- 
tion as  one  of  the  foremost  movie  hucksters 
in  the  business.  Time  and  again.  Einfeld  has 
reaffirmed  his  leadership  in  his  field,  coining 
new  angles  for  merchandising  movies,  modi- 
fying and  extending  the  tried  and  true,  mak- 
ing and  breaking  his  own  precedents  for  ex- 
ploiting films. 

The  famed  showmanship  meetings  initiat- 
ed by  Einfeld  in  the  past  couple  of  years 
were  a  shot  in  the  arm  to  an  industry  that 
badly  needed  a  pick-me-up.  Xot  only  did 
they  result  in  a  valuable  interchange  of 
showmanship  ideas  among  distributor  and 
exhibitor  leaders,  but  they  also  helped  ce- 
ment relations  that  had  become  increasingly 
strained.  The  emissaries  of  showmanship  re- 
turned to  the  grass  roots  carrying  the  gospel 
of  the  experts,  and  fired  the  localites  with 
a  new  fervor  for  exploiting  their  films. 

There  were  many  others  —  the  "No  Way 
Out"  ads  which  broke  away  from  the  tradi- 
tional movie  ad  format  and  were  provocative 
enough  to  win  an  advertising  award;  the  un- 
precedented commercial  tie-ups  and  merchan- 
dise exploitation  for  "The  Black  Rose"  and 
"Bird  of  Paradise;"  the  overseas  junket  for 
England's  Command  Performance  of  "The 
Mudlark",  and  the  "Down  to  the  Sea  in 
Ships."  "The  Frogmen",  and  "Slattery's  Hur- 
ricane" press  cavalcades  were  among  the 
more  recent  big-time  junkets  that  took  news- 
paper, magazine  and  radio  people  to  unusual 
and  ground-breaking  locations  and  resulted 
in  reams  of  invaluable  publicity  for  the  films. 

At  the  recent  20-Fox  sales  convention  in 
Los  Angeles,  the  merger  between  Al  Licht- 
man's  sales  and  Einfeld's  ad-publicity  forces 
was  forged  more  strongly  than  ever.  It  was 
Lichtman  who  announced  a  policy  of  "super- 
exploitation"  in  which  every  member  of  the 
sales  force  becomes  a  "teammate  in  exploita- 
tion" with  exhibitors.  He  made  it  mandatory 
for  division  managers  to  see  that  a  picture 
has  been  pre-sold  to  the  public  in  a  com- 
munity before  setting  a  playdate:  salesmen, 
he  noted,  are  not  to  stop  with  obtaining  a 
contract,  but  must  extend  their  work  to 
aid  the  exhibitor's  selling  job  on  a  picture. 

The  stress  on  showmanship  was  emphasiz- 
ed with  the  announcement  that  20th-Fox 
would  co-operate  in  every  first-run  situation 
in  the  country  where  the  exhibitor  will  go 
over  and  above  his  normal  budget.  The  com- 
pany also  announced  its  willingness  to  make 
the  same  deal  in  first  subsequent  runs  where 
exhibitors  in  an  area  will  get  together  for 
mutual  advertising  of  day-and-date  type  of 
advertising,  where  all  theatres  pool  their  re- 

JULV    16,  1951 


By  RICK  STARKER 


CxcluMe  $L  BULLETIN  ?«ttun 


sources  in  large  display  ads.  was  another  in- 
novation of  the  Einfeld  regime,  and  has 
proved  highly  effective  in  the  South,  West 
and  Midwest. 

This  year,  the  talents  of  Einfeld-''  and  his 
staff  will  have  a  chance  to  shine  most  bright- 
ly. The  varied  lineup  of  product  will  get  a 
ballyhoo  barrage  that  will  —  statistically,  at 
least  —  his  every  person  in  the  country 
many  times  over.  Biggest  of  the  campaigns 
will  be  the  one  and  a  quarter  million  dollar 


S.  CHARLES  EINFELD 


Showmen's  Showman 


ad-publicity  budget  for  the  Zanuck  biblical 
epic,  "David  and  Bathsheba."  During  the 
next  few  months  a  total  of  one  billion  adver- 
tising impressions  on  this  film  alone  will 
be  made  on  the  reading  public  in  the  U.  S. 
and  Canada  in  a  series  of  national,  fan.  re- 
ligion-, and  farm  magazine  ads  plus  the  Sun- 
day supplements  in  the  newspapers. 

The  colossus  of  the  campaign  will  be  the 
three-pronged  national  exploitation  tours  on 
behalf  of  the  film  designed  to  saturate  all 
age  groups  with  an  awareness  of  "David 
and  Bathsheba."  Walter  Talun,  who  is  seen 
as  Goliath  in  the  film,  is  currently  on  an  eye- 
popping  criss-country  jaunt  that  is  succeed- 
ing beyond  all  expectations  in  arousing  the 
kids  (of  all  ages)  to  hectic  curiosity.  Francis 
X.  Bushman.  King  Saul  in  the  picture,  will 
soon  begin  a  tour  aimed  at  the  over-35  age 
group.  The  third  spearhead,  originally  set  to 
consist  of  the  six  lovelies  who  play  King 
David's  wives  in  the  film,  has  been  converted 
into  a  tour  by  a  descendant  of  the  glamorous 
Bathsheba.  a  bona  fide  green-eyed  lineal 
representative  of  the  biblical  lovers. 

The  Goliath  stunt  is  really  a  lulu.  Dressed 
in  full  armor,  brandishing  a  wicked  sword 
and  looking  every  yard  the  fearsome  Phili- 
stine he  represents,  the  bearded  giant  rides 
atop  the  cab  of  a  huge  Fruehauf  Trailer, 
circus-painted  red  and  yellow  and  labeled  ap- 
propriately. His  ride  through  the  streets, 
with  amplifiers  blaring,  has  been  responsible 
for  more  double  takes  than  Lady  Godiva's 
Coventry  caper,  and  by  the  time  he  has  com- 
pleted a  backbreaking  round  of  appearances 
on  radio,  TV,  in  newspaper  offices,  charit- 
able agencies  and  sundry  points  of  commun- 
al interest,  the  whole  town's  talking  about 
the  giant. 

His  final  stop  is  usually  in  front  of  the 
town's  leading  theatre,  or  in  the  principal 
public  square,  where  he  plays  host  to  the 
curious  who  would  see  the  interior  of  the 
trailer.  This,  too.  is  a  stroke  of  genius.  For 
the  trailer's  innards  house  a  veritable  mu- 
seum of  items  from  the  picture  —  actual 
costumes  worn  by  stars  Gregory  Peck  and 
Susan  Hayward.  props  from  the  film,  blow- 
ups of  scenes  and,  to  top  it  off.  a  continu- 
ously running  trailer  incolor. 

This  procedure  is  being  repeated  in  some 
70  cities  and  towns  around  the  country.  And 
how  is  it  being  received?  In  Voungstown, 
Ohio,  a  line  four  blocks  long  and  three  a- 
breast  waited  to  enter  the  trailer.  Fully  4,653 
people  were  clocked  through  the  exhibit  from 
noon  till  5  p.  m.  During  the  first  two  weeks 
of  the  tour,  an  estimated  12.000.000  spectators 
in  14  key  cities  have  seen  Goliath  and  over 
45,000  visitors  have  thronged  through  the 
traveling  exhibit.  More  than  200,000  giveaway 

(Continued  on  Next  Page) 

21 


Walter  Tahiti,  Goliath  in  "David 
and  Bathsheba,"  is  working  harder  on 
his  current  tour  than  he  ever  did  in 
the  filming  of  the  picture.  The  back- 
breaking  chores,  zvhich  call  for  70 
cities  (and  points  between)  to  be  cov- 
ered in  less  than  two  months,  actually 
require  the  reserves  of  a  superman. 
At  left.  Talun  on  Times  Square,  ivhere 
he  had  even  the  blase  Broadwayites 
gaping.  Center,  in  Columbus,  Ohio,  a 
typical  scene  as  long  lines  of  young- 
sters queued  up  for  a  chance  to  see 
the  exhibit  and  gaze  at  Goliath.  At 
bottom,  the  giant  addresses  a  Kiwanis 
Club  meeting  in  Bethlehem,  Pa. 


Charlie's  Giant 


(Continued  from  Preceding  Page) 

folders  on  the  film  have  been  distributed  by 
the  giant  in  New  York,  Pennsylvania  and 
Ohio.  The  heavy  demand  has  necessitated 
an  extra  rush  printing  of  a  million  copies. 
By  the  time  the  trailer  reached  Columbus, 
it  had  seen  such  wear  and  tear  from  the 
crowds  and  the  rugged  itinerary,  it  had  to 
be  taken  to  a  Fruehauf  branch  for  refur- 
bishing. Even  this  was  part  of  the  campaign. 
A  tie-in  with  Fruehauf  and  the  Ford  com- 
pany has  resulted  in  full  cooperation  of  the 
4500  Ford  dealers  and  600  Fruehauf  dealers 
in  arranging  promotions,  stunts,  and  publi- 
city for  the  giant.  Towns  in  Goliath's  path 
arc  thus  set  up  for  the  big  boy  to  knock 
over. 

Crackerjack  publicists  Blake  McVeigh  and 
Leo  Pillot  have  been  handling  the  advance 
publicity  and  on-the-spot  chores,  respectively. 
From  the  results  thus  far,  they're  doing  a 
bang-up  job. 

The  Bushman  tour  is  scheduled  for  a 
much  more  subdued  and  dignified  approach, 
in  keeping  with  his  prospective  audiences.  He 
will  make  his  impact  on  the  religious,  cul- 
tural and  historical  groups,  speaking  before 
teachers'  organizations,  schools,  women's 
clubs  and  other  gatherings  with  special  in- 
terest in  that  aspect  of  the  picture.  The  more 
mature  audience  he  will  face,  while  smaller 
in  number  than  that  garnered  by  the  import- 
ant on  two  counts:  (1)  they  will  be  opinion 
leaders  and  moulders  whose  influence  will  be 
multiplied  many  times,  and  (2)  this  group 
includes  a  great  bulk  of  non-moviegoers  who 
will  be  attracted  to  the  film. 

The  third  project,  the  Bathsheba  des- 
cendant tour,  might  seem  at  first  blush  a 
rather  far-fetched  stunt  and  one  subject  to 
skepticism  as  to  authenticity.  On  closer  in- 
spection, however,  it  takes  on  promise  of  a 
novel  and  unorthodox  piece  of  publicity  that 


could  garner  a  surprising  response.  A  Bir- 
mingham belle,  Carol  Woods,  has  been  es- 
tablished by  Facts,  Inc.,  famous  New  York 
research  clearing  house,  as  one  of  six  women 
discovered  to  be  direct  descendants  of  the 
Old  Testament  lovers  featured  in  the  picture. 
The  modern  Bathsheba,  an  emerald-eyed, 
brown-haired  lovely,  should  gather  more 
than  passing  attention  in  the  two-score  key 
cities  from  Boston  to  San  Antonio  she  will 
visit.  Armed  with  special  art,  feature  stories 
and  research  material,  she  has  been  set  for 
a  busy  schedule  of  sessions  with  newspaper 
editors,  radio  and  TV  programs,  and  lecture 
audiences,  and  is  also  scheduled  to  confer 
with  field  forces  and  exhibitors  in  the  various 
exchanges  on  exploitation  and  publicity  plans 
something  theatremen  won't  find  hard  to 
take. 

With  "David  and  Bathsheba"  as  the  stand- 
ard bearer  for  20th-Fox's  "super-exploitation" 
program,  every  Fox  film  is  due  for  merchan- 
dising and  promotion  that  bids  fair  to  sur- 
pass anything  in  the  company's  history  for 
a  full  season's  product. 

Yes,  it  looks  like  Charlie  Einfeld  has  done 
it  again. 


22 


FILM  BULTETI 


MMETHING  NEW 
UD  TERRIFIC- 

tnplete  exhibitor  low-budget 
re  book  ad  campaign  on  a  high- 
JiDn  angle  -  designed  for  maximum 
:  >wer  on  a  limited  budget.  It's  getting 
» -results  with  FOX  WEST  COAST  CIRCUIT 
hit  Business!)  SALT  LAKE  CITY  (Best  UA 
ices  since  '47!)  PHILADELPHIA 
f(i  in  Mastbaum  Theatre  World  Premiere!) 
DDN  (Metropolitan  Theatre  Best  In  Years!) 
'ch  the  dates  and  the  dough  pour  in  after 
e  York,  Criterion;  Cleveland,  Palace; 
•  it,  Fox;  Hartford,  Allyn; 
(n  mati,  Palace;  Buffalo, 
b  nount! 


HO»iK>K  <*C'U»CS  t 


THE 


HEFLIN  EVELYN  KEYES » PROWLER 

m  S  P  EAGLE  production  m  JOHN  MAXWELL  KATHERINE  WARREN  EMERSON  TREACY 

Scrwnp..,  by  HUGO  BUTLER  •  f-om  an  o..g.n»i  s.or,  6,  ROBERT  TmOEREN  »nd  HANS  WUHtllJ 

Produced  by  b  P.  EAGLE  •  Directed  by  JOSEPH  LOSEY 


STUDIO  SIZ€-UPS 

Behind  the  Scenes  of  Film  Production 
Cxckti*       BULLETIN  ?«rfe* 


COLUMBIA  LIPPERT  PRODUCTIONS 

20  FILMS  SET  BY  COL.  LIPPERT-RANK  DEAL  MAY 

TO  END  PRODUCTION  SLUMP     LEAD  TO  NEW  RELEASING  PACT 


Although  Columbia  is  droning  along  with 
a  minimum  of  pictures  shooting  at  the 
present  time,  the  company  is  working  at  a 
feverish  pitch  to  complete  pre-production 
details  on  the  heavy  summer  slate  announced 
in  Studio  Sizeups  last  month.  As  a  matter 
of  fact,  the  July-to-September  schedule  has 
been  hypoed  still  further  since  that  announce- 
ment, bringing  to  20  the  total  number  of 
films  now  set  for  production  over  the  90- 
day  period. 

During  the  past  month,  three  pictures 
which  went  into  production  early  in  June 
have  been  completed,  two  more  have  started 
md  finished,  and  another  is  now  in  the 
second  week  of  filming.  Those  completed 
during  this  period  are:  "Purple  Heart  Diary" 
(Frances  Langford-Tony  Pomano),  ( irected 
by  Richard  Quine  for  producer  Sam  Katz- 
man  and  filmed  in  18  days,  "California  Con- 
quest" (Cornel  Wilde-Teresa  Wright),  shot 
in  color,  with  Lew  Landers  directing  for 
producer  Katzman;  the  Gene  Autry  produc- 
tion, "Valley  of  Fire,"  which  director  John 
English  and  producer  Armand  Schaefer 
wrapped  up  in  a  li'tlc  less  than  three  weeks; 
and  the  two  quickies  whipped  out  on  7  t~> 
14  day  schedules,  "Corky  of  Gasoline  Alley" 
(Scotty  Beckett-Jimmy  LydoiO,  and  "Chain 
of  Circumstance"  ("Margaret  hield).  The  only 
strictly  Class  A  production  to  roll  was 
"Boots  Malone"  (William  Holden),  directed 
by  William  Dieterle  for  producer  Milton 
Holmer. 

The  latter  went  before  t'1f'  cameras  four 
weeks  ago,  and  was  the  sole  picture  shoot- 
ing at  Columbia  during  fne  first  half  of 
July. 

The  only  production  definitely  set  for  the 
remainder  of  this  month  is  the  Charles  Star- 
rett-Smilcy  Burnett  sagebrusher,  "Smoky 
Canyon,"  which  is  due  to  get  underway  to- 
day (July  16).  Fred  Sears  directs  for  pro- 
ducer Colbert  Clark. 

Santana  Productions,  the  Humphrey  Bo- 
gart-Robert  Lord  company,  is  expected  to 
ink  a  new  releasing  deal  almost  any  day 
now,  calling  for  a  single  picture,  "Quiet 
Harbor."  which  will  c6-star  Bogart  with 
his  wife,  Lauren  Bacall. 

"The  Clouded  Yellow,"  an  English  film 
in  which  Jean  Simmons  and  Trevor  Howard 
co-star,  has  also  been  laken  over  by  Colum- 
bia for  U.  S.  distribution  —  marking  the  first 
Foreign  picture  the  Lower  street  company 
has  released  since  "TL   i      at  Manhunt." 

24 


Robert  L.  Lippert  has  expanded  his  dis- 
tribution activities  still  further  during  the 
past  month  by  closing  a  deal  with  the  J. 
Arthur  Rank  organization  for  the  American 
release  of  "The  Adventurer"  filmed  in  South 
Africa.  Although  this  is  the  first  Rank  pic- 
ture in  many  years  to  be  distributed  in  this 
country  by  an  American  releasing  company 
other  than  Lhiiversal-International  and  Eag- 
le-Lion, if  current  negotiations  materialize,  it 
will  not  be  the  last.  Lippert  leaves  for  Eur- 
ope in  a  few  weeks  to  set  a  deal  for  a 
rumored  half-dozen  more  Rank  pictures. 

"F.B.I.  Girl"  (George  Brent-Cesar-Rom- 
ero-Audrey Totter-Tom  Drake)  the  lone  fea- 
ture shooting  here  during  the  past  three 
weeks,  is  being  produced  on  a  higher  budget 
and  on  a  longer  shooting  schedule  that  the 
majority  of  Lippert  productions.  The  pic- 
ture went  before  the  cameras  on  June  15, 
and  was  not  ready  for  the  cutting  rooms 
until  July  12. 

"The  Last  Page"  (George  Brent-Margue- 
rite Chapman),  first  of  the  British-American 
productions  which  Lippert  has  signed  to 
make  on  a  co-op  basis  is  slated  to  get  away 
around  mid-month  in  London,  with  Terence 
Fisher  directing  for  Lippert  and  his  British 
partner,  James  Carreras. 

Charles  Marquis  Warren,  director-writer 
of  Lippert's  "Little  Big  Horn,"  which  is 
topping  "Steel  Helmet"  in  many  of  the  cities 
where  it  has  been  shown,  is  setting  up  his 
own  independent  unit  to  make  three  pictures 
for  release  by  the  Lippert  organization.  He 
will  function  as  writer-producer-director. 
First  on  the  schedule  is  "Hellgate  Prison," 
dealing  with  the  catacombs  prisons  which 
held  both  Union  and  Confederate  prisoners 
during  the  Civil  War.  Lloyd  Bridges  has 
been  signed  for  a  starring  role. 


METRO-GOLDWYN-MAYER 

28  IN  CANS,  6  ROLLING, 
METRO  PLANS  MORE  MUSICALS 

With  a  backlog  of  28  films  —  the  largest 
in  the  company's  long  and  prosperous  his- 
tory —  and  an  additional  six  pictures  now 
before  the  cameras,  MGM  toppers  are  con- 
centrating on    finding  story  properties  for 

(Continued  on  Page  25) 


HOLLYWOOD  EDITORIAL 

CYCLE  EVIL 

Literary  agents  are  frantically  beating  the  I 
bushes  in  the  Holly-woods  to  uncover  stories 
along  the  line  of  RKO's  "the  Thing,"  and 
MGM's  "The  Great  Caruso,"  in  order  to 
meet  the  "demand"  for  films  of  that  ilk 
that  has  sprung  up  in  the  wake  of  the  great  1 
boxoffice  success  of  these  two  movies. 

There  is  hardly  an  independent  producer 
or  major  studio  that  isn't  planning  some  pro- 
duction patterned  after  one  or  both  of  the 
two  hits.  A  leading  agent  declares  that  he  j 
has  been   so  deluged  by  requests  for  such  | 
story  properties  that  he  can  sell  them  almost  , 
sight  unseen. 

In  other  words,  Hollywood  once  again 
has  come  to  the  erroneous  conclusion  that 
because  one  picture  is  a  success,  all  other 
pictures  of  a  like  nature  will  be  equally  en-  \ 
thusiastically  received  by  the  paying  custo- 
mers. 

Instead  of  concluding,  because  "The 
Thing"  made  money  when  other  films  were 
dying  on  the  vine,  that  the  public  wants 
to  see  horror  films,  or  deciding,  because 
"The  Great  Caruso"  is  breaking  records, 
that  operatic-type  opuses  are  the  thing,  it 
would  be  wise  to  examine  ALL  of  the  pic- 
tures which  have  earned  big  profits  during 
this  time  of  business  doldrums  and  set 
about  determining  one  important  fact.  What 
one  essential  trait  do  those  money-making 
pictures  have  in  common? 

The  answer  is  simple.  Every  big  money- 
maker of  the  past  few  years  —  even  one 
as  abysmally  bad  as  "The  Outlaw"  —  has  j 
been  or  promised  to  be,  different.  Each  has 
had  some  attribute  that  aroused  public  cur-  ' 
iosity  or  offered  an  especially  large  bounty 
of  entertainment.  An  unusual  theme  or  plot, 
once  done,  became  routine  and  lost  its 
lustre  for  the  public. 

Of  course  there  are  many  other  reasons  . 
which  have  contributed  to  the  withering  of 
movie  patronage.  The  increased  cost  of  liv- 
ing is  making  it  difficult  for  many  families; 
television  is  offering  sharp  competition;  many 
old-lne  stars  have  worn  out  their  welcome; 
too  much  movie  advertising  is  uninspired, 
copy-cat  stuff  that  has  become  meaningless. 
But  certainly  one  of  the  biggest  reasons  of 
oil,  is  the  public  boredom  with  routine, 
formula  plots  that  are  so  old  hat  anyone  in 
the  audience,  after  seeing  the  first  reel  of 
a  picture,  can  predict  all  the  subsequent  de- 
velopments. 

It   seems  almost  incredible,   but  the  vast 
majority  of  movie  producers  refuse  to  face 
that  very  apparent  fact.        JAY  ALLEN 
FILM  BULLETIN 


studio  sizeups 

(COntinucd  from  Page  24) 

the  family  trade  to  produce  during  the  re- 
mainder of  the  year.  Particular  emphasis 
will  be  placed  on  musicals  and  epics,  Dore 
Schary  says,  with  budgets  well  above  aver- 
age. 

The  production  chief  contends  that  the 
public  generally  is  in  a  mood  for  escapist 
entertainment  —  particularly  musicalss.  At 
the  present  time,  no  less  than  sixteen  of  the 
tunc  films  are  slated  for  summer  and  fall 
production,  with  a  half-dozen  more  expected 
to  be  added  to  that  list  within  the  next  30 
to  60  days. 

Policy-wise,  the  company  is  also  preparing 
to  expand  its  production  activities  in  Eng- 
land during  the  remainder  of  1951.  Whereas 
in  the  past,  an  average  of  only  one  film 
per  year  has  been  lensed  in  England,  the 
company  now  contemplates  an  annual  ave- 
rage of  two  to  four,  in  order  to  execute 
savings  in  cost,  through  the  utilization  of 
frozen  coin.  First  to  go  this  summer  is 
"Ivanhoe"  (Robert  Taylor-Elizabeth  Taylor- 
Joan  Fontaine-George  Sanders).  Pandro  Ber- 
man  produces  and  Richard  Thorpe  directs. 
It  is  expected  that  the  cameras  will  be  roll- 
ing on  the  picture  by  the  time  this  reaches 
print.  Within  the  past  30  days,  five  high- 
budget  films  have  been  completed  and  an 
additional  five  started,  maintaining  an  ave- 
rage of  six  pictures  shooting  simultaneously. 
The  one  feature  that  has  carried  over 
throughout  this  period  is  "Lone  Star"  (Clark 
Gable-Ava  Gardner),  which  Z.  Wayne  Grif- 
fin put  into  work  on  May  15.  The  new 
starters  are:  "Belle  of  New  York"  (Fred 
Astaire  and  Vera  Ellen),  Technicolor  musi- 
cal produced  by  Arthur  Freed  and  directed 
by  Chuck  Walters;  "Singin*  In  The  Rain" 
(Gene  Kelly-Donald  O'Connor-Debbie  Rey- 
nolds), another  Arthur  Freed  Technicolor 
musical,  jointly  directed  by  Stanley  Donen 
and  Kelly;  "Just  This  Once"  a  romantic 
comedy  (Janet  Leigh-Peter  Lawford).  dir- 
ected by  Don  Weis  and  produced  by  Henry 
Berman:  "The  North  Country"  (Stewart 
Granger-Wendell  Corey-  Cyd  Charisse,  in 
Ansco  color,  with  Andrew  Martson  directing 
for  producer  Stephen  Ames;  and  "County 
Line"  (Walter  Pidgeon-John  Hodiak),  dir- 
ected by  Gerald  Mayer  and  produced  by 
Nicholas  Nayfack. 

In  addition  to  "Ivanhoe",  mentioned  above, 
one  other  feature  is  set  for  a  July  start.  It 
is  When  In  Rome,"  produced  and  directed 
by  Clarence  Brown,  and  starring  Van  John- 
son and  Paul  Douglas.  It  will  be  filmed  in 
Italy. 


MONOGRAM  -  AA 

BOOM  YEAR  ON  HORIZON 
FOR  MONO-AA  WITH  21  SET 

Largely  due  to  the  number  of  drive-in 
theaters  now  purchasing  the  Monogram-Al- 
lied Artists  prodvict,  the  two  companies  are 

JULY    16,  1951 


headed  for  what  appear^  i<>  In-  their  biggest 
year,  even  including  the  war-time  period. 
As  a  result,  prexy  Steve  Broidy  ha>  green- 
lighted  a  big  production  boom,  with  21  pic- 
tures —  six  in  color  —  currently  being  pre- 
pared for  filming. 

Another  bright  spot  on  the  company's 
horizon  is  the  upcoming  slate  of  pictures 
to  be  made  by  Walter  Wander  under  terms 
of  a  newly-signed  contract.  The  pact  calls 
for  Wanger  to  produce  a  minimum  of  three 
pictures  annually  over  a  three-year  period. 
A  $5,000,000  revolving  fund  provided  by 
Allied  Artists  and  an  eastern  syldicate  head- 
ed by  Elliot  Hyman.  will  be  used  to  finance 
the  production  slate.  Although  there  is  a 
possibility  that  additional  films  may  be  an- 
nounced later  on,  it  is  understood  that  the 
$5,000,000  will  be  used  exclusively  for  the 
production  of  nine  films  over  the  three- 
year  period.  First  to  roll  will  be  "Flat  Top," 
to  be  filmed  in  color,  starting  around  the 
middle  of  August. 

Within  the  past  month,  three  films  have 
been  started  and  completed  for  release  under 
the  Monogram  aegis,  and  an  additional  three 
pictures  are  before  the  cameras  at  the  present 
time.  Those  started  and  completed  are:  "Joe 
Palooka  In  Hitch-Hike  Killer"  (Joe  Kirk- 
wood-Cathy  Downs-James  Gleason),  produc- 
ed by  Hal  E.  Chester  and  directed  by  Reg- 
inald LeBorg,  starting  June  25  and  com- 
pleted July  3;  "Vengeance  Trail"  (Wild  Hill 
Elliott-Peggy  Stewart).  Lewis  Collins  dir- 
ecting for  producer  Cincent  Fennelly,  start- 
ing June  26,  and  completed  July  5;  and  "The 
Longhom"  (Wild  Bill  Elliott-Phyllis  Coat- 
es),  starting  July  14,  and  also  completed  on 
a  seven  day  shooting  schedule. 

Currently  in  production  are:  Lindsley  Par- 
sons' "Blue  Fin"  (Wayne  Morris),  directed 
by  Frank  McDonald:  "Fort  Osage"  (Rod 
Cameron-Jane  Nigh),  directed  by  Lesley 
Selander  and  produced  by  Walter  Mirisch; 
and  "Elephant  Stampede"  (Johnny  Sheffield), 
produced  by  Walter  Mirisch.  The  first  two 
were  launched  on  July  5,  and  the  latter  on 
July  9. 

In  all,  five  films  will  roll  during  the  month 
of  July.  The  two  slated  to  start  later  in  the 
month  are:  "Rodeo  Roundup."  a  Whip  Wil- 
son sagebrusher  to  be  roduced  by  Vincent 
Fennelly.  starting  July  17,  and  Fennelly 's 
"Lone  Star  Lawman,"  Johnny  Mack  Brown 
starrer,  July  29. 

Ben  Schwalb  has  been  assigned  to  take 
over  the  Bowery  Boy  series,  which  Mono- 
gram purchased  from  Jan  Grippo,  prior  to 
his  checking  off  the  lot  early  this  month. 
Schwalb  will  also  handly  the  production 
reins  on  an  ambitious  Cinecolor  undertaking, 
"Aladdin  and  His  Lamp."  (Johnny  Sands- 
Patricia  Medina),  set  to  go  next  month.  He 
will  be  given  technical  advice  by  Walter 
Wanger. 

PARAMOUNT 

PAR  -  DIRECTORIAL  POLICY 
WILL  PARE  FILM  BUDGETS 

The  general  reaction  of  administrative  per- 
sonnel   to  the  annauncement  out   of  New 

(Continued  on  Page  27) 


starring  JEFF  EVELYN  STEPHEN 

CHANDLER  KEYES  McNALLY 

.  ROCK  HUDSON  •  JOYCE  HOLDEN 


Screenplay  by  GEORGE  ZUCKERMAN  and  BORDEN  CHASE  •  Based  on  the  story  k  William  R.  Burnett  m 
Directed  by  JOSEPH  PEVNEY  •  Produced  by  AARON  ROSENBERG  •  I  Univeisal-lnlernational  Picture  0 

\§{[  nates  *e  picture  with  the  Bu/OWN-PfcOFlTl 


OTUDIO  SIZ€-UPS 

■Kontinued  from  Page  25) 

fcfc'ork  that  Paramount  pictures  budgets  will 
>e  pared  from  the  present  average  of  $1,- 
500,000  to  approximately  $1,000,000.  while 
lit  the  same  time  maintaining  the  quality  of 
traduction,  appears  to  be:  "It  Can  Be  Done." 
B  Most  of  the  company's  directors  are  of 
Ihe  opinion  that  production  chief  Don  Hart- 
Inan's  new  policy  of  assigning  directorial 
fconsultants  will  serve  the  desired  purpose 
pf  reducing  budgets  through  the  expedient 
pf  shorter  shooting  schedules, 
r  Although  production  during  the  past  month 
tas  not  been  particularly  brisk.  Paramount 
[jnas  nevertheless  maintained  a  level  of  three 
[pictures  shooting  simultaneously  during  most 
pf  the  period.  Three  top-budget  films  have 
[been  completed  and  two  new  ones  have 
.moved  onto  the  soundstages.  A  sixth.  "War- 
bonnet,"  is  now  in  its  fifth  week  of  shooting. 
The  completed  films  are:  "My  Son  John" 
(Helen  Hayes-Van  Heflin-Robert  Walker), 
produced  and  directed  by  Leo  McCarey; 
ii"Aaron  Slick  From  Punkin'  Crick"  (Dinah 
Shore- Alan  Young-Robert  Merrill),  a  Perl- 
,,berg-Seaton  Technicolor  musical,  and  "Rage 
liof  the  Vulture"  (Alan  Ladd-Deborah  Kerr), 
produced  by  Everett  Riskin  and  directed 
'by  Charles  Vidor. 

I  New  entries  are:  "Anything  Can  Happen" 
i  (Jose  Ferrer-Kim  Hunter),  a  Perlberg-Sea- 
ton  production  launched  in  New  York  City 
Ion  June  21,  and  Nat  Holt's  "The  Denver 
he  Rio  Grande"  (Edmond  O'Brien-Sterling 
(Hayden-Dean  Jagger),  which  director  Byron 
jHaskin  started  shooting  in  Durango,  Colo- 
rado, on  June  26. 

I  One  additional  picture  is  slated  to  roll  ■ 
on  July  25.  the  technicolor  production, 
"Shane"  (Alan  Ladd-William  Holden-Jean 
Arthur),  to  be  directed  and  produced  by 
George  Stevens.  It  will  push  the  new  million 
dollar  budget  level  slightly,  although  it  is 
|hoped  that  the  shooting  level  may  be  kept 
(somewhat  below  the  average  for  top  produc- 
tions. 


REPUBLIC 

YATES  OKAYS  54  FILMS 
USE  OF  STUDIO  FOR  VIDEO 

Although  there  has  been  no  unusual  am- 
ount of  activity  around  the  sound  stages  at 
Republic  during  the  past  month,  the  period 
has,  nevertheless,  been  one  of  the  busiest  in 
company  history  insofar  as  front-office  pol- 
icy-making is  concerned.  As  a  matter  of  fact, 
the  entire  future  of  the  organization  appears 
to  be  taking  new  shape  as  a  result  of  some 
of  the  recent  executive  pronouncements. 

For  example,  Prexy  Herbert  Yates  has 
announced  that  he  will  throw  open  his 
studio's  facilities  to  outside  television  produc- 
tion firms,  while  launching  the  most  ambi- 
tious movie  production  program  his  com- 
pany has  ever  undertaken. 


Confirming  his  frequently  repeated  con- 
tention that  movies  are  due  for  a  substantial 
come-back,  Yates  has  greenlighted  a  slate 
of  34  features,  16  westerns  and  four  serials, 
all  set  for  production  and  release  during  the 
1951-52  period.  In  addition,  12  western  re- 
issues are  being  planned.  This  boosts  the 
total  number  of  releases  to  almost  20  more 
than  during  the  current  year. 

Of  the  34  features,  15  will  be  in  the  highesl 
budget  class,  with  top  story  properties  and 
stellar  talent  such  as  John  Wayne,  Errol 
Flynn.  Maureen  O'Hara.  James  Mason. 
Micheline  Prelle.  Harry  Fitzgerald,  Wendell 
Corey  and  June  Havoc. 

Further  boding  well  for  the  immediate 
future  is  the  announcement  that  the  current 
backlog  of  completed  pictures  is  the  highest 
in  the  company's  history.  There  are  21 
films  in  the  Republic  vaults,  among  them 
nine  high-budgeters. 

The  one  dark  spot,  insofar  as  studio  per- 
sonnel are  concerned,  is  the  imminence  of  a 
sizeable  layoff  during  the  next  several  weeks. 
It  appears  that  the  large  program  being 
planned  will  not  get  into  work  until  late 
summer  or  early  fall,  necessitating  the  paring 
down  of  the  current  payroll. 

During  the  past  month,  one  medium-bud- 
geted western  was  filmed,  and  the  top-budget 
John  Ford-Merrian  Cooper  film,  "The  Quiet 
Man."  was  launched  in  Ireland.  The  western 
was  "Desert  of  Lost  Men."  a  Rocky  Lane 
starrer,  produced  and  directed  by  Harry 
Keller,  on  a  9-day  schedule.  "The  Quiet 
Man,.  (John  Wayne-Maureen  O'Hara-Barry 
Fitzgerald),  got  underway  on  June  19.  with 
Ford  directing  and  Cooper  producing. 

Two  additional  entries  are  slated  for  later 
in  the  month,  "Wyoming  Saddle  Pals" 
(Michael  "Red"  Chapin-Eilene  "Judy"  Chap- 
in),  produced  by  Rudy  Ralston  and  direct- 
ed by  Fred  Bannon:  and  the  new  Judy 
Canova  feature,  "Oklahoma  Annie,"  which 
R.  G.  Springsteen  will  direct  for  associate 
producer  Sidney  Picker. 


RKO 

RKO  SHAKES  OFF  LETHARGY 
NINE  TO  ROLL  BY  MID-AUGUST 

Although  the  past  30  days  have  been  very 
slow  for  RKO.  production-wise,  a  hefty  up- 
surge is  currently  getting  underway.  Where- 
as between  mid-June  and  mid-July  only  one 
and  two  pictures  were  shooting  at  a  time  for 
RKO  release,  the  period  between  now  and 
mid-August  will  see  a  total  of  nine  films 
shooting,  most  of  them  at  about  the  same 
time. 

"The  Las  Vegas  Story"  (Jane  Russell-Vic- 
tor Mature),  which  director  Ralph  Stevenson 
and  producer  Robert  Sparks  had  launched 
on  April  19,  wound  up  on  June  20.  and  a 
low-budget  Tim  Holt  western.  "Overland 
Telegraph."  was  shot  through  in  seven  days, 
with  Lesley  Selander  directing  for  producer 
Henry  Schlom. 


During  the  same  period,  one  new  RKO 
film  and  a  Samuel  Goldwyn  production  for 
RKO  release  got  underway.  The  former 
is  a  light  comedy  starring  Groucho  Marx, 
Marie  Wilson.  William  Hcndix  and  Don  De 
Fore,  titled  "A  Girl  In  Every  Port,"  and  is 
being  directed  by  Chester  Erskine  for  pro- 
ducers Irwin  Allen  and  [rving  Cummings. 
Jr.  The  Goldwyn  entry  is  "I  Want  You." 
(Dana  Andrews-Dorothy  McGuire  -  Farley 
Granger-Peggy  Dow),  and  marks  the  first 
Goldwyn  picture  to  go  before  the  cameras 
in  18  months.  Mark  Robson  is  the  director. 

Coming  up  during  the  remainder  of  July 
are  :"3000  A.  D."  (Robert  Clarke),  a  Jack 
Pollexfen-Aubrey  Wisberg  production;  "Tar- 
zan  the  Hunted"  (Lex  Barker),  a  Sol  Lesser 
production;  "Private  Wives",  a  low-budget 
Leon  Errol  comedy  directed  by  Hal  Yates 
for  producer  George  Bilson;  Filmakers' 
"Way  Without  End"  (Ida  Lupino-Robert 
Ryan),  to  be  produced  by  Collier  Young  and 
directed  by  Harry  Horner:  and  two  Wald- 
Kra.na  features,  "High  Heels"  and  "Clash 
By  N  ight."  Both  pictures  w  ill  be  produced  by 
Harriet  Parsons,  with  cast  still  not  an- 
nounced. 

The  long-awaited  production  of  "Andro- 
cles  and  the  Lion"  is  now  set  for  a  August 
1  start,  with  Charles  Erskine  as  the  new 
director.  The  cast  now  includes  Jean  Sim- 
mons, Maurice  Evans,  Alan  Young.  Victor 
Mature  and  Robert  Newton.  Another  July 
starter  is  expected  to  be  "The  Korean 
Story"  -(Robert  Mitchum).  an  Edmund 
Grainger  production  to  be  directed  by  Tay 
Garnett. 

20th  CENTURY-FOX 

FOX  TOPPERS  FORM  NEW 
POLICIES  TO  AID  EXHIBS 

Important  policy  matters  are  currently 
being  instituted  by  Fox.  following  home 
office  huddles  and  the  recent  sales  conclase 
on  the  west  coast.  Steps  arc  being  made, 
for  example,  to  revive  the  full  use  of  coop- 
erative advertising  as  a  means  of  merchandis- 
ing the  company's  product  and.  at  the  same 
time,  to  give  a  helping  hand  to  hard-put 
exhibitors.  A  move  is  also  afoot  to  halt  the 
rapid  playoff  of  pictures  by  simultaneous 
wholesale  bookings  in  subsequent  run  theat- 
ers. Executives  of  the  organization  are  of  the 
belief  that  both  the  distributor  and  the  .ex- 
hibitor will  benefit  by  doing  away  with  this 
prevalent  trade  practive.  And  finally,  studio 
toppers  are  attempting  to  hold  fast  on  the 
recent  request  for  salary  cuts  among  upper 
strata  personnel,  even  in  the  face  of  stub- 
born resistance  on  the  part  of  the  various 
talent  guilds.  As  of  this  writing,  however,  it 
appears  that  only  a  miracle  can  forestall  the 
eventual  abandonment  of  the  plan. 

Production-wise,  the  studio  maintains  a 
healthy  tempo,  with  five  and  six  picture- 
shooting  simultaneously.  Only  one  feature 
has  wound  in  the  past  30  days,  and  that 
is  the  short-scheduled  (for  Fox  at  least) 
"Let's  Make  It  Legal"  (Claudette  Colbert- 

(Continued  on  Page  28) 


J  U  L  Y    16,  1951 


27 


mmo  size-ups 

(Continued  troin  Page  27) 
Wendell  Corey),  turned  out  in  a  near-record 
24  days  by  Charles  Brackett,  with  George 
Cukor  on  the  shouting  end  of  the  mega- 
phone. During  the  same  period,  three  new 
films  were  placed  in  production,  all  of  them 
in  color.  They  are:  "Lydia  Bailey"  (Dale 
Robertson-Anne  Francis-Charles  Korvin), 
directed  by  Jean  Negulesco  and  produced 
by  Jules  Schermer.  launched  on  June  11; 
"With  A  Song  In  My  Heart"  (Susan  Hay- 
ward-Rory  Calhoun-David  Wayne),  biogra- 
phy of  Jane  Froman  which  teed  of  on  June 
18,  with  Walter  Lang  and  Lamarr  Trotti 
handling  the  director-producer  chores  res- 
pectively; and  "Red  Skies  in  Montana" 
(Richard  Widmark-Constance  Smith),  which 
got  underway  July  2  on  location  in  Missoula, 
Montana,  with  Joseph  Newman  directing 
for  producer  Samuel  G.  Engel. 

Four  more  pictures  are  scheduled  to  start 
during  the  remainder  of  July.  These  are: 
"Elopement"  (Clifton  Webb)  which  Henry 
Koster  will  direct  for  produced  Fred  Kohl- 
niar;  "Old  Soldiers  Never  Die"  (Richard 
Basehart-Gary  Merrill),  Sam  Fuller  directing 
for  Jules  Buck;  "Five  Fingers",  Joseph  L. 
Manckiewicz  directing  and  Oscar  Lang  pro- 
ducing, and  a  cast  as  yet  unannounced;  and 
"Bend  of  the  Snake"  (Dan  Dailey).  directed 
by  H.  Jones  for  Jules  Schermer. 

A  deal  is  also  ready  for  signing,  whereby 
Fox  will  take  over  Hugo  Haas'  inde  produc- 
tion, "The  Bridge",  as  an  outright  purchase. 


UNITED  ARTISTS 

GOAL  OF  2  CLASS  RELEASES 
PER  MONTH  SET  BY  UA  HEADS 

United  Artists  execs  have  set  as  their 
goal  for  1952  the  release  of  two  class  pic- 
tures per  month,  to  be  augmented  by  pro- 
gram pictures. 

That  was  the  word  from  William  Heine- 
man,  company  sales  chief,  during  a  brief 
visit  to  Hollywood  early  this  month.  Heine- 
man  also  expressed  confidence  that  the  com- 
pany will  gross  $400,000  monthly  during 
July  and  August  on  the  basis  of  constantly 
growing  returns. 

Only  one  picture  definitely  set  for  UA  re- 
lease has  been  completed  during  the  past 
month,  and  one  new  one  has  gone  before 
the  cameras.  Ventura  Pictures'  "Fort  De- 
fiance" (Dane  Clark-Ben  Johnson  -  Peter 
Graves)  wound  on  June  27,  sixteen  days 
after  it  teed  off  on  location  in  New  Mexico. 
Frank  Mclford  produced  and  John  Rawlins 
directed.  The  sale  new  starter  is  "African 
Queen,"  high-budgeted  safari-type  picture 
filming  in  the  Bengian  Congo,  with  Kath- 
arine Hepburn  and  Humphrey  Bogart  starr- 
ed. John  Huston  directs  for  producer  Sam 
Spcigel. 

Meanwhile,  the  new  heads  of  the  company 
continue  for  future  releases.  pen  Pictures, 
an   inde  unit  set  up  several      ars  ago  by 

28 


Mark  Robson  and  Robert  Wise  but  which 
never  made  a  picture,  is  being  reactivated 
for  start  of  a  United  Artists  program.  Wise, 
whose  20th  Century-Fox  contract  permits  one 
outside  picture  per  year,  is  expected  to  al- 
ternate with  Robson  on  the  megging  assign- 
ments No  definite  pictures  have  as  yet  been 
announced. 

Bernhard  Glasser  and  Jack  Schwarzz  have 
also  paired  up  together  to  produce  a  slate  of 
pictures  for  UA.  Operating  under  the  aegis 
of  Keywest  Productions,  the  producers  plan 
to  make  three  pictures  in  this  country  and 
a  like  number  in  England.  First  to  go  will 
be  "Dark  Harbor,"  co-authored  by  Nat  Tan- 
chuck  and  Sam  Xeuman,  followed  by  "Don 
Michael,"  to  be  produced  in  Britain  late  this 
summer, 


UNIVERSAL-INTERNATIONAL 

HIGH  PROFITS  ENCOURAGE 
MORE  U-l  FAMILY  PRODUCT 

Company  toppers  are  reported}-  so  enthus- 
ed over  the  profits  which  are  rolling  up  on 
the  predominantly  family-type  product  which 
has  been  turned  out  here  during  the  past 
year,  that  they  are  planning  to  go  in  even 
heavier  than  before  for  the  simple,  unsophis- 
ticated, messageless  type  of  yarns. 

Certainly  the  executives  responsible  for 
shaping  the  company's  policy  need  no  more 
concrete  proof  to  back  up  their  arguments 
than  the  latest  financial  report,  which  shows 
an  increase  in  revenue,  during  the  past  six 
months,  of  126  per  cent. 

Only  one  picture  has  been  completed  since 
the  last  Studio  Sizeups  report,  and  that  is 
"The  Cimarron  Kid,"  filmed  in  Technicolor, 
and  starring  Audie  Murphy.  On  the  other 
hand,  four  new  pictures  have  gone  into  pro- 
duction, bringing  the  total  now  shooting  to 
five.  "The  Treasure  of  Franchard"  (William 
Powell-Julia  Adams),  which  is  being  filmed 
in  Technicolor  by  director  Ted  Tetzlaff  and 
producer  Leonard  Goldstein,  is  the  single 
carry-over  from  an  earlier  start.  The  new- 
comers are:  "Weekend  With  Father"  (Van 
Heflin-Patricia  Neal-Gigi  Perreau),  launched 
on  June  11,  by  director  Douglas  Sirk  and 
producer  Ted  Richmand;  "Battle  of  Apache 
Pass",  Technicolor  western  starring  John 
Lund  and  Jeff  Chandler,  which  went  before 
the  cameras  June  21,  with  George  Sherman 
directing  for  Leonard  Goldstein;  "Meet  Dan- 
ny Wilson"  (Frank  Sinatra-Shelley  Winters- 
Alex  Xicol),  directed  by  Joseph  Pevney  for 
producer  Goldstein,  June  22;  and  "Meet  the 
Nelsons"  (Ozzie  and  Harriet  Xclson),  an 
Aaron  Rosenberg  production  megged  by 
Frederick  de  Cordova,  June  26. 

Coming  up  later  this  month  are  two  other 
films:  "Bend  of  the  Snake",  starring  Jimmy 
Stewart  and  Arthur  Kennedy,  with  Arthur 
Mann  directing  for  Aaron  Rosenberg;  and 
"Son  of  AH  Baba"  (Tony  Curtis),  a  Techni- 
color extravaganza  to  be  directed  by  Bud 
Boetticher  for  producer  Leonard  Goldstein. 
Both  arc  tentatively  set  for  July  24. 


WARNER  BROTHERS 

WE  ACTIVITY  SURGES 
7  ROLLING  10  SET  TO  GO 

Jack  L.  Warner  has  lost  no  time  in  launcli 
ing  the  big  production  splurge  announced  ij 
Studio  Sizeups  a  month  ago.  No  less  thai 
seven  pictures  —  three  of  them  independent 
for  WB  release  —  are  before  the  camera 
at  the  present  time,  and  ten  more  will 
rolling  within  a  month.  Moreover,  there  a 
pears  to  be  no  stinting  insofar  as  productio 
values  are  concerned.  All  of  the  films  a 
being  shot  on  30  to  45  day  schedules;  t 
of  the  seven  now  before  the  cameras  a 
five  of  the  ten  coming  up  are  set  for  Tec 
nicolor  processing. 

For  example,  two  of  the  pictures  no 
shooting,  "Starlift"  (James  Cagney-Virgi 
Mayo),  and  "Come  Fill  the  Cup,"  in  wh 
Cagney  is  also  doing  stellar  honors,  ha 
both  been  shooting  for  two  months  and  stijl 
have  several  days  of  filming  ahead.  T« 
of  the  others,  Cagney  Productions'  "Bugl 
in  the  Afternoon"  (Ray  Milland-Helena  Ca 
ter),  and  "The  Tanks  Are  Coming"  (Ste1 
Cochran-Mari  Aldon),  started  in  early  Jul 
as  reported  earlier.  Those  starting  with 
the  past  month  are:  "The  Big  Trees,"  whii 
went  on  location  near  Eureka,  Califonv 
June  18,  and  "The  Crimson  Pirate,"  a  Norn 
Production  which  rolled  in  Italy.  July 
Both  are  in  Technicolor.  Felix  Feist  is  < 
recting  "Trees"  for  L.  F.  Edelman.  with 
cast  headed  by  Kirk  Douglas  and  Patri 
Wymore.  Robert  Siodmak  is  directing  "I 
rate"  for  Harold  Hecht,  with  Burt  Lancast 
starred. 

Two  additional  pictures  are  due  to  st;l 
today  (July  16).  They  are:  "Wish  I  Had 
Girl"    (  Doris   Day  -  Danny  Thomas  -  Fra 
Lovejoy),  a  Gus  Kahn  biopic  with  Mich;* 
Curtiz  directing  for  producer  Louis  Edelmi  • 
and  "Carson    City"    (Randolph  Scott-Rcj 
mond  Massey),  with  Andre  De  Toth  dire( 
ing  and  David  Weisbart  producing.  Excli 
ive   Productions,  Inc.  a1so  starts  this  wc 
on   the  filming  of  "Jack  in   the  Beanstal 
for  Warner  release.  It  stars  Abbott  and  C 
tello  with   Buddy  Baer.  and  is  directed 
Jean    Yarborough    and  produced   by  A 
Gottlieb.  "Where's  Charley?"  gets  underw 
July  .18  in   London,  with  Ray  Bolger,  A 
McLerie  and  Horace  Cooper  starred  mi 
the  direction  of  David  Butler.  "She's  Wo 
ing  Her  Way  Through   College,"  produ^H| 
by  William  Jacobs  will  roll  the  saincday,  Irm 
though    no  cast   has   yet    been    announcr  I 
Later  in   the    week,  Cary   Grant  and  Be'/ 1 
Drake  start  their  new  human  interest  cam 
edy,  "Room  For  One  More,"  to  be  produB  I 
by  Henry  Rlanke.  with  Norman  Taurog  1 1 
recting.  "Four  Chaplains,"   to  be  produ.pl 
by  Louis  F.  Edelman  and  directed  by  Gj-J 
don   Douglas  will   be  the  final  July  staril 
Hi  re  again,  the  cast  has  not  been  announ<l>#l 

Early  August  starters  will  be:  "Ab|t  I 
Face,"  a  musical,  with  William  Jacobs  \r  I 
ducing;  "The  Lion  and  the  Horse,"  Brfl  I 
Foy  producing  and  Louis  King  directik:  I 
and  "The  Will  Rogers  Story,"  with  Miclplf 
Curtiz  directing  and  Robert  Arthur  \r  I 
ducing.  i  1 

1-'  I  L  M     B  C  I.I.  1.  T \W 


NEW  FACES  IN  U-l  ADVENTURE  FILV 


EXPLOITATION  PICTURE 


Colorful  Thriller  Stars  Laurie,  Curtis 


NEW  ROMANTIC  TEAM 

Piper  Laurie,  Tony  Curtis 


personal  appearances  resulted  in  an  amaz- 
ing response  from  the  young  people,  who 
literally  mobbed  the  dark-haired  player 
on  his  recent  nationwide  tour.  Miss  Laurie, 
too.  has  received  an  ingratiating  reaction 
on  her  p.a."s  and  TV  appearances  garner- 
ing a  fistful  of  valuable  feature  breaks 
in  each  city's  movie  pages.  The  fan  mail 
from  "teen-agers  since  their  return  seems 
to  have  justified  their  star  status  in  this 
film. 

Thus,  the  theatreman"s  campaign  should 
consider  every  possible  channel  to  reach 
the  eyes  and  ears  of  the  youth  in  the  com- 
munity. Teen-age  radio  or  TV  programs 
should  be  hooked  in  with  a  combination 
Laurie-Curtis  personal  interview,  recorded 
by  U-I  and  available  on  request.  Reviews 
ot  the  film  by  the  young  people,  possibly 
alter  a  special  screening,  the  best  to  be 
carried  on  the  amusement  page  alongside 
the  regular  review,  is  also  suggested. 


DASHING  ADVENTURE 

Peggie  Castle,  Curtis 


A  pair  of  bright  new  faces,  swashbuck- 
ling action,  torrid  romance,  an  Arabian 
Nights  tale  from  Theodore  Dreiser's  ex- 
pert pen  and  Techicolor  are  all  combined 
to  make  Universal  -  International's  "The 
Prince  Who  Was  A  Thief"  prime  exploita- 
tion material. 

First  and  foremost  in  this  direction  are 
the  new  darlings  of  the  Universal  lot, 
Tony  Curtis  and  Piper  Laurie.  The  long 
overdue  need  for  fresh  young  stars  to  re- 
ward moviegoers  with  the  thrill  of  dis- 
covery and  give  them  something  to  talk 
about  is  met  head  on  by  U-I  with  the  cast- 
ing of  these  youngsters  in  the  top  roles. 
Both  handsome  Curtis  and  the  pert  Piper 
have  been  given  an  elaborate  build-up  in 
a  specially  designed  campaign  that  has 
garnered  reams  of  publicity  and  picture 
breaks  in  the  newspapers  and  national 
magazines.  Curtis  has  already  been  accord- 
ed a  solid  niche  among  the  "teen-agers.  His 


INTRIGUE 

Curtis,  Everett  Sloane 


The  pure,  escapist  entertainment  that 
exhibitors  have  been  crying  for  is  tvpified 
in  the  tale,  set  in  the  fairy-story  Orient, 
of  a  young  Prince,  sheltered  by  a  hired 
assassin,  who  grows  up  a  Fairbanks-type 
thief  and  eventually  displaces  the  usurper 
to  his  throne.  From  these  elements  stem 
more  ballyhoo  angles:  a  Prince-for-a-Dav 
contest  for  teenagers;  costume  jewelry 
tie-ups;  eye-catching  window  displays,  in- 
cluding one  that  should  be  a  lulu,  a  live 
shadow  dancer  stunt  described  fully  in 
the  press  book. 

Another  good  stunt  is  the  "treasure 
chest."'  This  is  filled  with  merchandise 
promoted  from  merchants  tied  in  to  the 
deal,  who  announce  in  ads  and  window 
displays  that  the  locked  treasure  chest  of 
"The  Prince  Who  Was  a  Thief"  will  be 
on  display  in  the  theatre  lobbv  and  the 
secret  contents  presented- as  gifts  on  open- 
ing night.  Variations  and  addenda  to  this 
idea  are  also  suggested. 


The  newspaper  ads  shown  above  featifl 
the  two  new  stars  and  bills  them  as  "ThJ 
Year's  Sensational  New  Young  Star  Dis 
coveries."  The  "Arabian  Nights""  f  lav  oil 
of  the  story,  the  action  and  the  dancina 
slave  girls  form  striking  backgrounds.  I 

Universal  also  has  available  withouj 
charge  to  exhibitors  a  one-minute  teasel 
trailer  to  be  used  in  advance  of  the  regu 
lar  trailer.  This  can  be  ordered  from  did 
local  U-I  exchange. 


The  young  prince-thief  and  his  followers  storm  the  palace  gates  to  unseat  the  despotic  usurper. 


THE  PRINCE  WHO  WAS  A  THIEF 


Famous  novelist  Theodore  Dreiser  is  responsible  for  the 
urce  from  which  this  Universal-International  Technicolor 
imantic  adventure  film  was  chosen  to  star  the  newest  U-l 
ellar  team,  Tony  Curtis  and  Piper  Laurie.  Set  in  Tangiers  of 
hg  ago,  the  tale  has  young  Curtis  as  a  Prince,  who  escapes 
isassination  in  infancy  when  the  thief.  Everett  Sloane,  hired 
r  usurper  Donald  Randolph  to  kill  the  baby,  fakes  the.  mur- 
'r  and  keeps  the  child  as  his  own.  Growing  up  in  his  foster 
ther's  footsteps,  the  young  Prince  becomes  involved  in  the 
der's  affairs  when  a  fabulous  gift  pearl  to  the  ruler's 
lughter  is  stolen  by  a  thieving  street  entertainer,  Piper 


Laurie,  who  joins  his  band.  His  land  threatened  with  war  if 
the  pearl  is  not  found.  Curtis  walks  into  a  trap  as  he  at- 
tempts to  return  the  gem  to  the  Princess.  In  the  ensuing  fire- 
works, the  royal  identity  of  Curtis  is  unveiled  and  he  assumes 
his  true  role  as  monarch  of  Tangiers.  taking  the  fair  Piper  as 
his  bride.  In  other  important  roles  in  the  film  are  Jeff  Corev 
as  the  usurper's  villainous  henchman.  Betty  Garde  as  the 
Prince's  foster  mother,  Peggie  Castle  as  the  treacherous  Prin- 
cess  and    Milada    Mladova   as   a    slave   girl  dancer. 

Rudolph  Mate  directed  the  Gerald  Drayson  Adams-  Aeneas 
MacKenzie  screenplay  for  producer  Leonard  Goldstein. 


Stuart  Subjects 


By  BARh' 


JHE  MAD  antics  of  Lewis  Carroll's  char- 
acters in  "Alice  in  Wonderland"  are  being 
matched  in  reel  (sic)  life  these  days.  Seems 
that  there  are  two  films;  one,  Disney's  car- 
toon feature;  the  other.  Lou  Bunin's  puppet 
and  live  action  picture,  made  in  France  and 
being  distributed  by  Souvaine  Selective  Pic- 
tures here. 

The  hassle  got  down  to  brass  tacks  when 
Disnej  and  distributor  RK< )  filed  suit  to 
re  train  distribution  of  the  Runin  version  for 
at  least  IS  months,  after  which  the  latter 
film  must  carry  advice  that  it  has  no  con- 
nection with  the  Disney  production.  Ramifi- 
cations thence  popped  up  like  mushrooms. 
The  action  also  listed  Harry  Brandt  and 
Picto,  operator  of  New  York's  Mayfair 
Theatre,  as  defendants  in  the  Disney-RKO 
charge  that  Brandt  used  the  Bunin  "Alice" 
as  a  club  for  te-ms  on  the  Disney  "Alice." 
It  was  alleged  that  when  RKO  refused  to 
modify  its  terms  for  the  latter,  Brandt  ar- 
ranged for  the  French  film  to  go  into  the 
Mayfair  a  week  befor  the  Disney  "Alice" 
opens  at  the  Criterion  on  Aug.  1.  Bunin  and 
Souvaine  board  chairman  William  C.  Mac- 
Millen,  Jr..  announcing  their  delight  with 
the  Disney-RKO  suit,  took  the  occasion 
to  make  some  charges  of  their  own:  that 
Disney  representatives  have  been  steadily 
threatening  Bunin  since  he  began  his  initial 
plans  for  "Alice"  in  1945. 

In  language  as  colorful  as  the  film,  Souv- 
aine welcomed  the  opportunity  for  a  law 
court  "to  determine  the  legality  or  illegality 
of  Mr.  Disney's  efforts  over  many  years  to 
destroy  Mr.  Bunin's  property.  Mr.  Disney 
evidently  believes  that  he  has  some  inalien- 
able and  exclusive  right  to  the  entire  field 
of  literary  fantasies.  In  fact,  Mr.  Disney 
ha<  registered  so  many  titles  with  the  Motion 
Picture  Protective  Association  that  he  would 
have  to  reach  the  age  of  Methuselah  to  put 
the  entire  list  into  actual  production.  In  the 
meantime,  what  of  the  dozens  of  other  young 
brilliant  American  talents  in  the  same  or  al- 
lied fields?  Are  they  to  be  stopped  using  all 
of  the  children's  classics  that  are  in  the 
public  domain,  or,  must  their  ambitions  be 
subject  t«  approval  or  disapproval  by  the 
Disney  Organization?" 

The  volley  also  included  allegations  that 
"Mr.  Disney's  people"  have  circulated  to 
newspapers  and  trade  press  French  news- 
paper pans  of  a  version  released  in  Paris 
tun  years  ago.  "This  is  a  new  low  in  motion 
picture  ethics",  Souvaine  said  ".There  were 
also  rave  reviews.  But  good  or  bad,  these 
Parisian  reviews  have  nothing  to  do  with 
Mr.  Bunin's  basic  production  in  English 
which  is  now  completed  for  the  first  time. 

Next  round. 

A  PARAMOUNT  publicity  notice  advises 
that  200  movie  critics,  columnists  and 
drama  editors  in  80  cities  are  going  to  re- 
ceive full  course  Chinese  meals  by  air  ex- 
press. American  Airlines  will  fly  an  esti- 
mated 18.3,400  air  miles  to  make  the  deliver- 
ies of  Egg  Too  Yong,  Sweet  and  Sour 
pork,  pork  <"!i  iw  Mein  and  fried  rice,  so 
that  the  critics  and  newsmen  will  become 
32 


MOREY  GOLDSTEIN 

Disc  Jockey  Deluge 


"acutely  aware"  of  Hal  Wallis'  "Peking  Ex- 
press." This  could  start  a  whole  new  fend. 
"Branded",  for  instance,  could  mean  a  filet 
mignon  with  all  the  trimmin's;  for  the  jour- 
nalists; "Mr.  Drake's  Duck"  might  be  roasted 
and  served  under  glass;  "Magnificent  Yank- 
ee" would  be  good  for  a  boiled  beef  dinner; 
"Hollywood  Story"  might  elicit  a  succulent 
ham  platter,  and  so  on  ad  infinitum.  The 
one  due  to  make  the  boys  most  "acutely 
aware",  it  might  be  surmised,  would  be 
"Come  Fill  the  Cup." 

|F  ANY  more  arguments  are  needed  on 
the  value  of  Hollywood  movies  as  an  edu- 
cational and  wholesome  influence  on  the 
population,  be  it  known  that  the  national 
coordinating  council  of  home  economics 
groups  during  their  annual  meeting  chose  a 
pair  of  commercial  films  from  which  to 
make  eight  short  films  to  be  used  in  family 
life  and  human  relations  classes  for  element- 
ary and  high  school  students.  This  despite 
the  multitude  of  educational  films  available 
from  other  sources.  The  excerpts  were  culled 
from  "The  Human  Comedy"  and  "Our  Vines 
Have  Tender  Grapes"  by  the  committee  "for 
their  faithful  representation  of  the  kinds 
of  incidents  that  can  occur  in  normal  fam- 
ilies." The  shorts  will  be  used  as  topics  for 
discussion  by  the  students.  The  project  is 
being  carried  out  in  cooperation  with  the 
Motion  Picture  Association  of  America  and 
Teaching  Films  Custodian. 

THAT  FREE  24-shect  offer  by  20th  Cen- 
tury-Fox to  all  exhibitors  contracting  for 
billboard  space  on  any  Fox  film  has  un- 
leashed such  a  flood  of  requests  and  in- 
quiries that  the  company  has  assigned  a 
special  unit  to  handle  the  situations.  The 
response  to  the  offer  of  free  24-sheets,  made 
as  part  of  the  company's  "Greater  Show- 
manship" drive  which  includes  an  aid-ex- 
hibitors program,  indicates  that  •  there  are 
plenty  of  theatremen  who  will  snap  at  the 


opportunity  to  display  their  showmanshi 
if  the  distributor  will  meet  them  halfway. 


ALLIED  ARTISTS'  "Disc  Jockey  is  se 
for  the  biggest  AA  campaign  since  "Th 
Babe  Ruth  Story."  And  what  a  natural 
it  for  reaching  the  millions  who  listen  t 
the  radio  platter  spinners  each  day!  Up  unt 
August  23,  film's  release  date  set  by  sale 
topper  Morey  Goldstein  to  coincide  with  N« 
tional  Disc  Jockey  Week.  Aug.  20-26,  tlj 
nation's  record  twirlers  will  bombard  thei 
audiences  with  plugs  for  the  film.  The  2 
top  disc  jockeys  from  21  different  citie 
featured  in  the  picture  are  enough  to  assui] 
a  huge  segment  of  the  population  as  a  pc 
tential  movie  audience;  since  they  are  hittin 
the  younger  element,  biggest  faction  of  mm 
iegoers,  the  result  is  even  more  promising 
AA  is  going  all  out  to  co-sponsor  Nat 
Disc  Jockey  Week,  set  up  by  a  committed 
of  the  country's  head  record  spinners,  tc 
gether  with  reps  of  recording  and  broa 
casting  outfits  and  music  publishers.  Irv 
Yates,  named  by  Goldstein  to  act  as  AA 
special  promotional  representative  on  tl 
Week,  is  currently  in  New  York  for  confat 
on  a  tour  he  will  make  contacting  exhibitor 
disc  jockeys  and  newspapers  for  the  ca 
paign,  a  feature  of  which  will  be  a  nati 
wide  talent  hunt  to  be  conducted  by 
jockeys  to  discover  two  new  singers,  a  b 
and  a  girl,  who  will  be  featured  in  record 
sessions  of  Russ  Morgan's  and  Turn 
Dorsey's  bands. 


AF  MEN  AND  THINGS:  Milton  Silve 
"  formerly  executive  assistant  ad-publicif 
director   at  Republic,  has   joined  Souvairi 
Selective  Pictures,  Inc.,  in  a  special  capacit; 
in  the  advertising-publicity  department.  Soun 
aine   is   the  outfit  currently   hassling  wil 
Disney  and  RKO  over  the   release  of  tl 
two  "Alice  in  Wonderlands"  —  William 
Clark,   executive  vice-president  of  Nation] 
Film  Service,  is  taking  leave  of  absence 
treatment  of  a  back  ailment.  In  the  interir 
Chester  M.  Ross,  an  executive  of  Bond(j 
Film  Storage  Co.  and  an  Executive  Cor 
mittee   member  of    NFS,    will  assume 
duties  —  Paramount's  ad-publicity-exploit j 
tion  chief  Jerry  Pickman  has  shuffled  at 
augmented  his  field  exploitation  force,  wij 
Bob   Bixler,  formerly  of  Interstate  Circui 
for   the   Dallas   and    Okla.    City  terrifor! 
Ralph  Buring,  the  Cincinnati  Pittsburgh  aij 
Indianapolis  area;  and  Gabe  Sumner,  fori 
erly  with  Schine  Chain,  to  cover  major 
cuits  and  indies  booked  out  of  New  Yc 
as  the   new    additions.    Shifted  around 
Milton    Hale,    formerly  Cleveland-Detr 
now  on  a  roving  assignment;  Art  Lcazfc 
to  the   former  post:  Mike  Weiss   to  cov 
Philadelphia    and    Washington,  instead 
Philly-Pittsburgh,   and    E.    G.  Fitzgibl: 
dropping  Indianapolis  to  concentrate  on 
cago,  Milwaukee  and  Minneapolis  —  Jo| 
Bachman,   formerly  United  Artists  Atlati 
branch  manager,   succeeds    Hal   H.  Jord 
as  Monogram  Charlotte  branch  head.  Jorda 
also  an  exhibitor,  has  resigned  to  ti'ke  0\ 
active  management  of  his  theatre. 

FILM    BULLET  l| 


MYERS  BIDS  EXHIB  CAUTION 
ON  THEATRE  TV  INSTALLATION 

In  Ihc  midst  of  tlic  enthusiasm  which  has 
surrounded  exclusive  theatre  television  and  lias 
caused  it  to  lie  rated  with  the  advent  of  sound 
in  importance  to  the  industry,  came  the  warning 
voice  of  A.  F.  Myers,  Allied  general  counsel. 

Pause  and  consider  all  the  angles.  Myers  ad- 
vised theatre  owners,  before  joining  the  "stam- 
pede towards  large-screen  television.  The  cost 
of  installation  of  equipment,  the  lack  of  top 
boxing  attractions,  the  uncrystallized  attitude  of 
Other  sports  toward  exclusive  theatre  telecast- 
ing, the  ultimate  effect  on  regular  movie  attend- 
ance and  "the  same  old  uncertainties  as  regards 
systems  and  channels",  were  all  brought  up  by 
■yers  as  factors  to  cr  nsider. 

Citing  the  unruly  crowd  in  Washington's 
Keith's  Theatre  for  the  Murphy-LaMotta  fight, 
Myers  declared :  "One  cannot  escape  wondering 
what  typical  movie-goers  —  sav  parents,  persons 
of  refinement  and  children  —  will  think  of  such 
goings  on.  Certainly  that  was  not  the  atmos- 
phere thc-y  are  accustomed  to.  Will  they  be  will- 
ing to  space  their  movie-going  so  as  to  avoid 
these  brawls,  or  will  the  theatre  lost  caste  in 
their  estimation.  The  experience  would  hardly 
endear  the  theatre  to  them  as  a  place  of  polite 

Myers  also  called  attention  to  the  "rush  for 
the  exits"  following  the  fight  which  "leaves  the 
theatre  empty  and  exposes  motion  pictures  to 
an  unwarranted  humiliation." 

As  to  the  advisability  of  a  special  show  for 
the  fight  only,  Myers  questioned  the  audience's 
willingness  to  pay  a  stiff  price"  and  then 
"wham!  bang!  a  knockout  in  one  minute  and 
fifteen  seconds  of  the  first  round."  He  suggest- 
ed, cost  permitting,  an  all-fight  program  on  the 
nights  when  a  feature  bout  is  to  be  held.  "It 
would  avoid  mixing  prize  fighting  and  motion 
pictures  to  the  degradation  of  the  latter.  It 
would  prevent  movie  fans  from  straying  into 
the  theatres  on  fight  nights  in  the  forlorn  hope 
of  enjoying  a  picture." 

Expansion  of  exclusive  theatre  TV  to  take 
in  other  sports  normally  shown  on  home  sets, 
leaves  the  possibility  open  that  home  set  own- 
ers, or  "suckers"  as  Myers  calls  them,  will  put 
pressure  on  the  FCC  to  ban  the  theatre  show- 
ings on  an  exclusive  basis. 


BULLETIN 

Vol.  19,  No.  15  J„l>  16,  1951 

and 
Opinion 


A.  F.  MYERS 

Will  TV  Humiliate  Theatres? 


20  PERCENI  INCREASE  IN 
MOVIE  THEATRES  SINCE  1948 

Anyone  who  thinks  television  is  cli  sing  down 
theatres  can  take  a  look  at  some  interesting 
statistics,  notes  Arthur  L.  Mayer  executive 
vice-president  of  COMPO.  "Son~e  1948."  he  re- 
veals, "when  television  first  became  a  factor 
in  the  entertainment  industry,  the  number  of 
picture  theatres,  far  from  declining,  has  in- 
creased more  than  20  percent." 

Quoting  Commerce  Dept.  figures.  Mayer  cited 
an  increase  of  4,026  over  the  19,094  operating 
in  1948.  with  an  increase  during  the  period  of 
4,368,078  seats  to  bring  the  total  seating  capa- 
city to  14,684,150. 

Those  theatres  that  have  closed,  th  •  COMPO 
executive  declared,  were  'small,  marginal  opera- 
tions", and  TV  was  "only  one  of  several  fac- 
tors" that  combined  to  make  them  business  cas- 
ualties. 

Biggest  increase,  of  course,  has  been  in  the 
drivc-in  theatres  —  743  in  1948,  3323  this  year, 
or  a  step-up  of  347  percent.  The  conventional 
four-wallers,  however,  have  also  shown  a  size- 
able rise,  1,446,  or  eight  percent,  to  19,797. 


LOEWS  40-WEEK  NET  DISP, 
BUT  LAST  QUARTER  UP  BIG 

A  dip  of  about  $450,(XHI  in  net  income  was 
repotted  by  Loew's,  Inc.  for  40  weeks  ended 
June  7,  1951.  as  compared  with  the  correspond- 
ing period  in  1950.  For  the  12  weeks  ended  June 
7,  1951,  however,  an  increase  of  more  than 
$500,000  was  shown  over  the  same  |>enon!  in 
1950. 

For  the  current  40  weeks,  the  net  profit  total- 
led $5,567,619,  with  grosses  amounting  to  $132,- 
833,000,  as  against  an  income  of  $6,019,441  for 
the  same  period  last  year  from  grosses  total- 
ling $135,077,000. 

The  11951  12-week  figure  was  $1,341,754  net 
income.  $38,933,000  grosses;  compared  to  a 
net  of  $1,032,478  from  grosses  totalling  $39,- 
389,000  for  the  corresponding  period  in  1950. 

REPUBLIC  26-WEEK  NET  IN 
$300,000  DIP  TO  $27,000 

The  Republic  profit  picture  was  not  Ux>  bright 
as  the  company's  statement  for  the  26  weeks 
ended  April  28,  1951.  showed  a  decrease  in  net 
profit,  after  taxes,  of  almost  $300,000  as  com- 
pared with  the  same  period  ended  April  29, 
1950. 

The  repori  listed  a  net  profit,  before  the  Fed- 
eral tax  provision,  of  $771,830.36  for  the  1951 
period,  with  an  estimated  $345.00:)  for  taxes, 
leaving  a  net  of  $426,830,36.  For  the  corres- 
ponding period  in  1950,  the  net  profit  was 
$1,168,589.96  before  taxes,  which  were  estimated 
at  $465,000.  or  a  net  profit  of  $703,589.96. 

SIMPP  URGES  FCC  SPEED 
SUBSCRIPTION  TV  LICENSES 

It  looked  like  the  beginning  of  a  dangerous 
flirtation  that  could  cause  a  serious  rift  in  the 
film  industry  family's  domestic  relations.  Pat- 
ently disregarding  the  threat  of  a  break  with 
exhibitors,  the  Society  of  Independent  Motion 
Picture  Producers  urged  the  Federal  Communi- 
cations Commission  "to  speedily  license  worthy 
systems  of  subscription  television." 

The  move  was  seen  by  many  industryites  as 
an  indication  that  independent  producers  feared 
they  might  be  squeezed  out  of  the  increasingly 
selective  theatre  film  market,  either  because  of 
lack  of  quality  product,  or  because,  as  SIMPP 
president  Ellis  Arnall  charged,  the  slow'  pro- 
cess of  divorcement  still  permitted  discrimina- 
tion by  affiliated  theatres  in  favor  of  the  majors' 
product.  Arnall  decried  the  Justice  Department's 
"gentle  pillow  fight"  with  the  majors,  which 
he  charged,  was  dissipating  the  fruits  of  the 
anti-monopoly  victory. 

In  a  resolution  passed  at  its  annual  meeting 
for  transmission  to  the  FCC.  the  Society  urged 
that  the  public  should  be  "afforded  the  greatest 
possible  access  to  quality  feature  length  motion 
picture*  and  educational  and  cultural  programs 
in  addition  to  those  presently  available  through 
existing  facilities,  means  and  methods." 

The  "subscription  systems"  currently  in  pros- 
l»ect  all  are  based  on  reception  in  homes  and 

(Continued  on  Xcxt  Page) 


'CARUSO'  SETS  NEW 
MUSBC  HALL  RECORD 

M-G-M's  "The  Great  Caruso"  broke 
the  Radio  City  Music  Hall's  gross  take 
high  as  it  ended  its  ninth  week  with 
$1,275,003.  Previous  record  at  the  famed 
house  had  been  set  by  "Bells  of  St. 
Mary's",  which  had  racked  up  $1,200,000 
for  a  ten-week  run.  "Caruso"  is  expected 
to  come  close  to  the  one  and  a  half  mil- 
lion mark  before  it  leaves  the  Music 
Hall. 


JULY    16,  1951 


33 


News  and  Opinion 


{Continued  from  Preceding  Page) 
non-theatrical  sources.  In  reply  to  ; 


to  whether  the  So 
room   boxoffices  to 


.11111 


idvoc; 
with 


motion  picture  theatres,  S1MPP  executive  sec- 
retary Marin  L.  Faris  added  that  "some  of 
these     (subscription    TV)     systems  revolve 


around  tl 
what  the} 
also  cove 
Communii 
quired." 


■  noted  th 
television 


did  not  specify 
it  the  "resolution 

in  case  Federal 
ipproval  (is)  re- 


ELLIS  ARNALL 

'Greatest  Possible  Acce 


NINE  CHICAGO  DRIVE-INS 
INDICTED  FOR  PRICE-FIXING 

The  drive-ins  felt  a  taste  of  anti-trust  medi- 
cine when  a  Chicago  Federal  Grand  Jury  re- 
turned indictments  against  nine  outdoor  opera- 
tors. The  charge  was  conspiracy,  in  violation 
of  the  Sherman  Act,  to  fix  admission  prices, 
as  well  as  not  accepting  fixed  tariffs  for  auto- 
mobile loads. 

According  to  the  indictment,  it  is  alleged  that 
fni  March  9  the  defendants,  all  of  whom  operate 
drive-ins  in  the  Chicago  area,  held  a  meeting 
designed  to  fix  the  admission  price  each  theatre 
would  charge.  They  also  agreed,  it  was  charged 
to  retrain  from  charging  a  group  admission 
price  based  on  a  fixed  charge  per  car. 

Named  as  defendants  were  the  ARC,  Starlite, 
Double,  Illinois.  Oaklawn.  and  North  Avenue 
drive-ins;  Essaness  Theatre  Corp.,  operating 
the  Four  Screen  and  Harlem  Avenue  drive-ins; 
Frank-  Fink  and  Irving  Gandel,  p..cers  of  the 
latter  two  drive-ins;  and  Louis  F.  Jelinek,  op- 
erator of  the  Skihigh  Outdoor  Theatre. 

The  suit  was  termed  by  the  Justice  Depart- 
ment the  first  film  action  brought  by  the  Gov- 
ernment conrcrned  only  with  admission  price- 
fixing.  Assistant  Attorney  General  H.  Graham 
Morison,  also  served  notice  that  "all  forms  of 
price-fixing,  whether  carried  on  by  a  few 
large  elements  in  an  industry  or  many,  small 
ones    (will)    be  promptly  prosecuted." 

34  _  • 


'MARCH  OF  TIME'  FILMS 
DROPPED,  SWITCHES  TO  TV 

,"The  March  of  Time",  news  two-reeler  that 
has  been  produced  regularly  since  1935,  will 
bow  out  of  the  film  industry  following  the  Aug- 
ust release  on  Formosa,  according  to  Roy  F. 
Larsen,  president  of  Time,  Inc. 

The  reason  given  by  Larsen  for  discontinuing 
the  series  was  the  rising  cost  of  production  and 
the  company's  wish  to  use  the  "creative  faci- 
lities" of  March  of  Time  for  television  and  spe- 
cial theatrical  films. 

The  popular  news  series  has  bsen  distributed 
by  20th  Tentury-Fox  since  1942,  and  has  been 
produced  and  directed  by  Richard  de  Roche- 
mont,  who  in  the  past  year  made  a  series  of  26 
half-hour  TV  films  based  on  General  Dwight 
Fisenhower's  book,  "Crusade  in  Europe."  Prior 
to  its  Fox  release,  it  had  been  distributed  by 
RKO. 


COLOSSEUM  DROPS  UNFAIR 
LABOR  CHARGE  VS.  DISTRIBS 

The  Collosseum  of  Motion  Picture  Salesmen 
withdrew  its  charges  of  unfair  labor  practices 
filed  against  the  major  distributors  at  the  elev- 
enth hour.  Just  as  the  film  company  representa- 
tives were  getting  set  to  meet  with  the  Sational 
Labor  Relations  Board  to  reply  to  the  charges, 
field  examiner  Howard  Gamser  received  a  wire 
from  Colosseum  general  counsel  David  Beznor 
withdrawing  the  complaint.  No  reason  was  re- 
vealed for  the  withdrawal. 

Original  charges  were  filed  at  the  Chicago 
NLRB  office  several  weeks  ago  after  wage  ne- 
gotiations between  the  salesmen's  organization 
and  the  distributors  were  called  off  following  a 
stalemate.  Colosseum  demands  included  a  10 
per  cent  wage  increase;  distributors  offered  a 
four  dollar  boost  and  refused  to  allow  exam- 
ination of  their  records  to  verify  their  claim 
that  business  conditions  limited  the  increase  to 
that  amount,  whereupon  tlie  unfair  labor  charg- 
es were  filed  by  Beznor. 

RCA'SFOLSOM  SAYS  AT  TEST 
COLOR  TV  STILL  FAR  OFF 

Although  last  week's  experimental  tests  of 
the  Radio  Corporation  of  America  color  tele- 
vision method  showed  considerable  improvement 
over  earlier  trials,  company  president  Frank  M. 
Folsom  announced  that  commercial  color  TV 
is  still  a  long  way  off. 

In  addition  to  demonstrating  that  the  RCA 
system  can  transmit  color  images  which  com- 
pare favorably  with  the  Federal  Communica- 
tions Commission  -  approved  Columbia  Broad- 
casting System's  color,  the  tests  again  proved 
RCA's  "compatibility"  by  bringing  a  clear 
black-and-white  picture  to  present  sets  without 


the  use  of  any  adaptor.  The  CBS  method, 
which  is  now  being  shown  on  a  commercial 
basis,  cannot  be  seen  on  black-and-white  sets 
without  an  adaptor. 

Although  Folsom  refused  to  estimate  what 
the  cost  of  a  color-adapted  receiver  might  be, 
he  had  said  previously  that  the  new  price  might 
be  "roughly"  about  half-again  the  cost  of  pres- 
ent black-and-white  sets. 


COLE  of  TEXAS 

With  O'Donnell,  a  Great  Team 


COLE  -  O'DONNELL  TEXAS  B.  0. 
DRIVE  HAILED  BY  TRADE 

"They  aught  make  strange  bedfellows,  those 
two  great  Texans  Col.  Cole  and  Bob  O'Don- 
nell. but  harnessed  together  they  make  a  great 
working  team." 

The  words  were  those  of  Allied's  A.  F. 
Myers,  and  referred  to  the  state-wide  boxoffice 
drive  initiated  by  the  two  Texas  exhibitor  lead- 
ers well  in  advance  of  the  ponderously  slow- 
moving  COMPO  plan. 

O'Donnell  and  Cole  traveled  to  New  York 
to  enlist  the  aid  of  all  distributors'  in  prosecu- 
tion of  the  drive  which  will  be  integrated  with 
the  COMPO  campaign  when  that  drive  gets 
under  way.  If  it  should  be  delayed,  the  Texa 
will  go  ahead  on  their  own.  Their  action 
taking  the  bit  in  their  teeth  and  pressing  for- 
ward instead  of  waiting  was  hailed  throughout 
the  industry. 

At  a  luncheon  attended  by  sales  and  ad  heads 
of  all  the  major  companies,  the  distributors  gave 
Cole  and  O'Donnell  assurance  that  each  of  the 
60  film  salesmen  covering  the  Texas  territory 
shall  visit  25  theatres,  giving  his  exclusive  time 
for  two  weeks  beginning  August  15.  kickofl 
date  for  the  Texas  drive,  to  enlist  cooperation 
of  all  1500  Texas  exhibitors. 

Charles  Carden  of  Fort  Worth  has  been  en- 
gaged for  three  months  as  executive  directoij 
of  the  drive. 

FILM  BULLETI 


6XHIBITORS  FORUfTl 

Opinions  Culled  Irom  Organization  Bulletins 


DEAL  FOR  PLAYDATES 

ATO  of  Indium: 

When  a  war  time  emergency  forced  a  re- 
pletion in  the  number  of  prints,  the  distri- 
butors found  that  exhibitors  —  who  could 
not  afford  to  leave  out  much  product  and 
still  keep  their  theatres  open  —  necessarily 
had  to  accept  the  resultingly  late  availabil- 
ity. Being  able  to  liquidate  the  same  or  a 
greater  number  of  contracts  with  fewer 
print-,  they  were  reluctant  to  restore  the 
previous  quota.  However,  we  did  succeed  in 
having  each  company  allocate  one  additional 
print  to  Indianapolis. 

While  ATOI  and  National  Allied  will 
keep  pressing  this  matter.  I  recommend  that 
in  the  meantime  you  try  to  make  your  play- 
dates  a  part  of  the  negotiations  for  each 
picture  in  the  same  manner  as  you  do  film 
rentals.  In  other  words,  now  that  you  buy 
pictures  individually,  you  would  pass  up  a 
picture  if  the  terms  were  inequitable.  Try  to 
use  the  same  selection  based  on  available 
dates  when  negotiating  with  your  salesman. 
I  realize  fully  that  passing  a  picture  is  a 
very  unsatisfactory  answer  to  your  problem 
but  a  constant  pressure  must  be  applied  if 
this  unfair  condition  is  to  be  alleviated. 

AN  ORCHID 

North  Central  Allied 
The  news  is  a  little  stale  now.  but  it  is 
never  too  late  to  say  a  good  word  for  the 
tine  approach  of  Hill  Rodgers  to  the  cur- 
rent difficulties  of  the  industry  when  he 
stated  that  he  has  instructed  his  sales  force 
to  go  all  out  in  helping  problem  theatres 
to  stay  open.  Of  course,  this  doesn't  mean 
that  everyone  can  line  up  for  a  free  ride 
and  chisel  hell  out  of  Metro,  hut  any  exhibi- 
tor in  real  trouble  can  get  some  help  from 
the  company.  You  will  recall  that  a  year 
or  so  after  some  disastrous  floods  Metro,  un- 
solicited, came  through  and  gave  many  flood- 
ed theatres  thirty  days  of  free  film.  Things 
like  that  and  this  new  promise  of  help  by 
Mr.  Rodgers  make  one  feel  really  good. 

PRODUCT  POOL 

Allied  of  Indiana 

One  of  the  discussions  at  the  recent  20th 
Century- Fox  Sale-  convention  was  the  pres- 
ent extent  of  multiple  day  and  date  book- 
ings. We  have  never  talked  to  anybody  that 
did  not  agree  that  the  limited  choice  of  film 
fare  resulting  from  these  day  and  date  ex- 
hibitions discouraged  many  potential  patrons 
from  going  to  the  movies.  Another  cause 
for  loss  of  patronage  embodied  in  too  many 
simultaneous  runs  is  that  a  picture  is  not 
kept  continuously  enough  in  front  of  the 
public  eye.  If  we  miss  a  picture  in  the  first 
run  and  decide  to  see  it  in  the  neighborhoods 
it  frequently  comes  and  goes  so  fast  it's 
gone  by  the  boards  before  we  realize  it. 
Still  a  third  cause  is  that  fewer  runs  do 
not  give  word  of  mouth  advertising  an  op- 
portunity to  build  up.  If  a  greater  number 
of  runs  —  but  not  necessarily  slower  liqui- 
dation —  would  increase  the  total  amount 
of  business  done  in  an  area  it  must  be  true 


that  theatres  individually  would  profit. 

But  exhibitor  opposition  come-  from  those 
who  fear  that  although  theatres  generally 
would  benefit,  their  particular  situation  might 
lose  some  advantage.  It  U  understandable 
that  no  one  will  willingly  relinqui  h  a  run 
To  us  it  looks  difficult  for  one  film  company 
to  solve  this  problem.  Fox  proposes  to 
divide,  fur  example.  16  house-  now  playing 
day  and  date  and  have  8  play  picture  A  while 
the  other  8  were  playing  picture  I!  and  then 
have  the  first  8  play  picture  I'-  while  the 
second  8  are  playing  picture  A.  But  how 
often  will  one  distributor  have  two  consecu- 
tive releases  of  e<pial  box  office  value.  And 
if  the  pictures  do  not  have  equal  potentiali- 
ties then  all  16  theatres  would  want  to  be 
among  the  8  that  played  the  strong  picture 
first  and  the  weaker  picture  second.  This 
difficulty  could  be  overcome  if  the  product 
of  all  distributors  was  thrown  into  the  pool 
and  pictures  of  agreed  equal  box  office  value 
thrown  into  the  pool  regardless  of  whether 
they  were  from  Fox.  Metro,  Paramount, 
Warners  or  any  one  else. 

REMEMBER  THE  LADIES 

Allied  of  6'////  Slates 
All  the  theories  about  the  reasons  for 
motion-picture's  lost  audiences  have  covered 
just  everything  from  economics  and  televi- 
sion to  the  over  30-age  group's  indifference 
and  the  progress  of  intellectuality  which 
can't  seem  to  cope  with  Hollywood's  story 
treatments  and  miscasting.  Hut.  Jerry  Wald 
of  RKO  seems  to  think  the  blame  should 
be  put  on  the  fact  of  overlooking  Maine 
the  woman  who  controls  a  major  part  of 
the  box-office  intake  by  her  influence  over 
her  husband  and  children.  Wald  says  most 
of  our  movies  are  made  for  men  and  ado- 
lescents and  in  Hollywood's  over-anxiety 
the  target  for  production  has  been  the  cul- 
ture-vultures and  sophisticates  who  don't 
see  the  movies  anyway.  Wald  claims  the 
answer  to  our  current  decline  lies  in  the 
realignment  of  story  selectivity  which  must 
never  underestimate  the  power  of  women. 
More  concentration  on  stories  appealing  to 
the  Mrs.  Joneses,  the  Mrs.  Browns,  and  the 
Mrs.  Harrises,  says  Wald! 
It's  a  thought,  alright! 

ILL  FATED  ALLIANCE 

North  Central  Allied 

The  recent  Republic  decision  to  sell  pic- 
tures to  television  wi'l  certainly  prove  to  be 
a  sorry  thing  for  this  industry.  At  a  time 
when  theatres  are  competing  with  many 
other  attractions  for  the  amusement  dollar, 
a  company  which  has  come  to  prosperity 
through  the  support  of  the  independent  ex- 
hibitor, turns  it  back  on  these  good  custo- 
mers of  other  days  and  goes  to  bed  with 
that  competitor.  Republic  is  probably  making 
a  fast  buck,  but  if  the  writer  knows  the  tem- 
per of  independent  exhibitors.  Republic  may 
find  that  it  has  sold  itself  down  the  river,  as 
well  as  the  people  who  made  it  what  it  is. 

You,   Mr.  Exhibitor,  now  find  that  your 


customers  are  k'oing  t<>  see  Republic  pic- 
lures,  which  you  bought  and  paid  for,  free 
on  television. 

Tlu-  big  my  stery  is  why  Republic  is  stupid 
enough  to  believe  that  the  independent  ex- 
hibitor is  is'oing  to  continue  to  support  it. 
<  )nr  screens  have  built  up  Republic  stars 
such  as  Autry.  Roger  ,  Allen  and  many 
others,  and  now  these  same  stars  are  in 
competition  with  us  tor  the  amusement  dol- 
lar 

Before  you  buy  your  next  Republic  pic- 
ture, you  owe  it  to  yourself  to  ask  yourself 
if  you  are  not  paying  good  money  to  build  up 
a  competitor.  Republic's  desire  to  make  a 
profit  is  under  laudable,  but  sometimes  what 
looks  like  good  business  turns  out  t<  be  bad 
business  and  that  is  most  likely  to  be  true 
when  the  good  business  consi  ts  of  lots  of 
bad  faith 

lllied  i, i  Michigan 

Allied  States  Association  through  Trueman 
T.  Rembuscb.  president,  and  Abram  F. 
Myers,  chairman  of  the  board  and  general 
counsel,  have  voiced  their  opinion  that  Re- 
public's action  provide  for  the  sale  of  its 
old  picture-  to  television  was  a  direct  "slap" 
at  exhibition  and  would  prov  ide  definite  com- 
petition for  theatres. 

According  to  the  arrangements  as  an- 
nounced, some  150  old  pictures  are  being 
edited  to  fit  tel.vis'on  time  and  will  be 
ready  within  a  month.  Republic  claims  that 
the  policy  would  be  to  protect  exhibitor  in- 
terests by  giving  to  television  only  films  of 
the  age  and  type  that  could  not  interfere 
with  the  drawing  power  of  current  product. 

We  are  in  complete  accord  with  Allied 
Theatre  Owners  of  Xew  Jersey  who  said, 
"no  film  company  can  be  foolish  enough  to 
believe  that  any  theatre  owners  will  continue 
to  support  it"  once  he  knows  its  product 
has  been  sold  to  television. 

QUALITY  VS.  QUANTITY 

Sorth  Central  Allied 
The  North  American   Newspaper  Alliance 
quotes  E.  J.  Hudson  of  Detroit  as  follows, 
on  TV: 

"A  theatre  audience  is  a  controlled  audi- 
ence. Patrons  are  not  interrupted  by  tele- 
phone calls,  the  doorbell  announcing  the  ar- 
rival of  unexpected  guests,  or  any  of  the 
commonplace  happenings  at  home.  They 
can  relax  and  let  the  characters  on  the 
screen  before  them  and  the  story  action 
bring  complete  forgetfulness  of  self. 

Television  programs  are  inescapably  a 
problem  of  providing  quantity.  Quality  in 
entertainment  never  has  been,  never  will  be, 
available  to  the  public  in  great  quantities. 
Our  motion  picture  entertainment  consists 
of  approximaely  400  new  feature  attractions 
a  year.  Compare  that  —  quantity  and  qual- 
ity —  to  the  24.900  separate  individual  pro- 
ductions, ranging  from  15  minutes  to  one 
hour,  that  must  be  pushed  into  living  rooms 
each  year  by  the  TV  producers.  Then  draw 
your  own  conclusions." 


JULY    16,  1951 


35 


QUOT6S 


What  the  Newspaper  Critics  Sag  About  New  Films 


"HE  RAN'  NOTICES  MIXED, 
LEAN  TOWARD  CREDIT  SIDE 

The  New  York  press  greeted  United  Artists' 
'"He  Ran  All  the  Way"  with  mixed  reactions 
ranging  from  highly  favorable  to  "middling." 
The  most  significant  criticism  came  from  the 
Post's  Archer  Winsten,  who  states  that,  "des- 
pite violence  and  action,  the  picture  will  not 
win  a  maximum  popularity." 

Summing  up  his  review.  Winsten  says  it 
"hovers  on  the  verge  of  a  fine  achievement" 
with  "much  more  going  for  it  than  against." 
Garfield's  portrait  of  the  killer,  he  adds,  "is 
the  best  work  he's  done  for  the  screen  in 
years." 

Seymour  Peck  also  praises  Garfield,  in  the 
Compass,  for  "a  dynamic  portrayal."  The  fam- 
iliar plot  is  described  by  Peck  as  looking  "mir- 
aculously fresh  and  alive  because  of  the  high 
talent  and  new  slants"  and  a  screenplay  that 
"never  becomes  sentimental  or  maudlin." 

"Put  this  one  on  your  worth-seeing  list," 
writes  Rose  Pelswick.  in  the  Journal-American, 
about  a  "melodrama  that  races  along  zvith 
breathtaking  speed."  packing  "every  one  of 
its  77  minutes  with  excitement." 

Less  enthusiastic  is  the  World-Telegram's 
Alton  Cook,  who  says  it  "has  nothing  in  mind 
except  scaring  the  -wits  out  of  everyone  in  the 
theatre."  The  film,  he  says,  "certainly  succeeds 
well  on  that  limited  objective." 

Otis  L.  Guernsey  and  Bosley  Crowther,  of 
the  Herald  Tribune  and  the  Times  respectively, 
were  unimpressed.  Guernsey  found  it  a  "middl- 
ing thriller."  a  tale  of  "leisurely  menace"  whi^h 
he  concludes  is  a  "mechanical  piece  of  movie 
stock-in-trade." 

To  Crowther.  it  is  "a  very  thin  thread  of 
plausibility  stretched  exceedingly  taut."  He 
finds  "shock  and  grim  excitement  in  this  studi- 
ously horrifying  film."  but  regrets  it  "soon  as- 
sumes the  look  of  sheer  theatrics  when  it  lays 
its  assumptions  on  the  line." 

SEALED  CARGO' 

RKO 

Adventure  —  with  a  minimum  of  excite- 
ment and  drama  —  An  unusual  story  cut 
down  to  ordinary  size  —  Paced  with  the  speed 
of  a  turtle  race."  — 

Peck.  X.  Y.  Compass. 

"Whoppingly  good  sea-adventure  yarn  —  If 
you  are  tired  of  looking  at  Westerns,  romances, 
murder-mysteries  and  phony  psychiatrics,  treat 
yourself  to  some  real  thrills  —  Has  just  what 
the  doctor  ordered." 

Pihodna.  X.  Y.  Herald  Tribune 

"Old-fashioned  melodrama  with  some  sur- 
prisingly effective  moments  —  One  of  those 
war  thrillers  in  which  everything  happens." 

Creelman,  X.  Y.  World  Telegram 

"Unassuming  little  melodrama  —  Suspense 
maintained  throughout  —  Fairly  exciting  pack- 
age for  action  fans,  but  hardly  a  superior  con- 
signment." 

A.  W.,  X.  Y.  Times 

THE  PRINCE  WHO  WAS  A 
THIEF 

UNIV  E  RSAL-1  NT  E  H  N  AT  I  ON  A I. 

"Smacks  more  of  a  Western  movie  —  Quite 
a  helping  of  skulduggery,  sword  play  and  flow- 

36 


ery  phraseology  —  Not  a  revelation." 

A.  W.,N.  Y.  Times 
"Standard  film  cut  to  a  standard  pattern  of 
innocuous  and  active  derring-do." 

O.L.G.,  X.  Y.  Herald  Tribunt 
"One  of  those  Hollywood  pipe  dreams  — 
Dialogue  mingles  fantasy  and  burlesque  and 
the  comic  strip." 

Winsten,  X.  Y.  Post 
"Entertaining  hot  weather  extravaganza  in 
Technicolor  —  Amusing  Melange." 

Pels-wick,  Ar.  Y.  Journal  American 

THE  PROWLER* 

UNITED  ARTISTS 

"Without  soaring  to  'sleeper'  heights  —  does 
set  itself  apart  and  up  several  notches." 

Winsten.  N.  Y.  Post 
'Impressive  drama  —   Unusual  and  some- 
times sordid  tale  —  spun  with  conviction  and 
mounting  force  —  Dignified  and  often  exciting, 
despite  its  unsavory  theme." 

A.  W.,  X.  Y.  Times 
"Grim,  unrelenting  melodrama  —  Absorbing 
film  fare  from  beginning  to  end  —  Rough  stuff, 
but  it's  mighty  well  done." 

Barstozc,  X.  Y.  Herald  Tribune 
"Hokum  masquerading  as  honest  drama." 

A.  P..  X.  Y.  Compass 

HARD,  FAST  AND 
BEAUTIFUL' 

RKO 

"For  those  who  like  to  look  at  tennis,  there 
may  be  some  virtue  in  this  film." 

Crowther,  N.  Y.  Times 
"An  earnest,  pedestrian  endeavor  equally  de- 
void of  bad  and  excellent  qualities." 

Winsten.  X.  Y.  Post. 
"Colorful,  entertaining  drama." 

Pelswick,  X.  Y.  Journal-American 
" Background  is  new,  the  story  familiar." 

Creelman,  X.  Y.  World-Telegram 

EXCUSE  MY  DUST' 

M-G-M 

"Fully  packed  with  all  fifty-seven  varieties  of 
entertainment,  handsomely  staged  and  smartly 
paced." 

Winsten,  X.  Y.  Post 
"Pretty  corny  film  comedy  —  But  the  corn 

is  good." 

Pollock,  X.  Y.  Compass 
"Technicolored  lawn  fete  brought  to  a  fast, 

rewarding  close." 

Crowther,  X.  Y.  Times 
"Has  the  texture  of  vanilla  ice  cream  in  an 
innocuous  and  reasonably  diverting  warm-weath- 
er show." 

Guernsey,  A7.  Y.  Herald  Tribune 
"Red  Skel ton's  movie  bosses  have  done,  right 
by   him  —  Diverting  hot  weather  entertain- 
ment." 

Pels-wick,  X.  Y.  Journal- American 

THE  LAST  OUTPOST' 

PARAMOUNT 

"Just  the  prescription  for  that  section  of 
the  movie  audience  which  does  not  care  what  it 
sees  so  long  as  the  picture  is' a  Western." 

Cook,  X.  Y.  World-Telegram 


"Seems  just  a  little  bit  far-fetched  —  Ele- 
mentary school  stuff." 

Crowther,  X.  Y.  Times 
"Has  just   about  everything   that  could  be 
wanted  in  an  outdoor  fabrication,  and  it  has 
it  in  color  —  Offers  an  irresistible  pattern  of 
adventure." 

Guernsey,  X.  Y.  Herald  Tribune 
"A  conspicuous  waste.  Those  who  would  de- 
fend the  industry  against  the  inroads  of  other 
media  can  have  little  to  say  at  this  point." 

Winsten,  X.  Y.  Post 

THE  MAN  WITH  MY  FACE' 

UNITED  ARTISTS 
"Bursts  with  a  spirit  that  we  shall  just  call 

artlessly  eager." 

Cook.  X.  Y.  World-Telegram 
"Tepid   tale  more  concerned   with  dialogue 

than  excitement." 

A.  W.,  X.  Y.  Times. 
"Ingeniously  contrived  melodrama  —  Lively 
little  puzzler." 

Pelswick,  X.  Y.  Journal- American 
"Mighty  hard  to  swallow." 

Winsten,  N.  Y.  Post 

THE  FROGMEN' 

20TH  CENTURY  FON 

"Usual  pattern  of  the  war  drama,  swept  clean 
of  women  and  their  soft  blandishments,  is  fresh 
ened  with  technical  revelations  —  Interesting 
it  is  exciting." 

Winsten,  X.  Y.  Post 
"Enormously  exciting  —  Has  more  suspense 
than  any  contrived  thriller  you  can  name." 

Penrwick,  X.  Y.  Journal- American 
"Something  new  —  An  engrossing  picture  — 
It  is  what  these  men  do  that  gives  the  picture 
novelty  and  excitement." 

Pollock,  X.  Y.  Compass 
"Fascinating  adventure    film   —  Fast-paced 
action  drama  —  Rates  a  position  close  to  the 
top  of  superior  movies  inspired  by  the  innova- 
tions and  heroics  of  World  War  II." 

T.  M.  P.,  X.  Y.  Times 
"Stirs  up  plenty  of  excitement  —  Fascinating 
screen  subjects  in  midst  of  a  routine  war  thrill- 
er —  Silent  but  intriguing  drama." 

O.L.G..  X.  Y.  Herald  Tribune 

ACE  IN  THE  HOLE' 

PARAMOUNT 

"Tense  and  taut  —  Grim  drama  —  sustains 
a  mood  of  mounting  menace." 

Pelstvick,  X.  Y.  Journal  American 
"If  it  isnt  quite  worth  its  length,  it  is  still  a 
fine  picture  —  Tough  tale,  none  of  its  edges 
softened,  a  credit  to  its  makers." 

A.  P.,  X.  Y.  Compass 
"Sordid  and  cynical  drama  —  Not  only  a  dis- 
tortion of  journalistic  practice  but  something 
of  a  dramatic  grotesque  —  Badly  weakened  by 
a  poorly  constructed  plot." 

Crowther,  X.  Y.  Times 
"Brilliantly  sardonic  —  First  class  blend  of 
artistries  —  Last  part  so  incredibly  specious 
that  it  will  anger  lovers  of  the  cinema  to  see 
so  fine  a  work  destroyed  so  carelessly." 

Guernsey,  X.  Y.  Herald  Triblune 
"Savagely  scathing  satire  —  Snake-charms 
its  audience  with  a  beady  spell  of  fascination." 

Cook,  X.  Y.  World  Telegram 

FILM  BULLETIN 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Date. 
"No."  is  the  release  Number-  "Rev."  is  the  issue  in  which  trve 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


1950-51 


Features 

Serials 

Westerns 


Completed 
Completed 
Completed 


(37) 
(  3) 
(12) 


Production  (  I  ) 
Production  (0) 
Production  (0) 


METRO-COLDWYN-MAYER 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel, 

Boats  Malone    _  _  _  _  _  _     W.  Holden-S.  Clements 

COMPLETED 

Big  Gusher,  The  Morris-Foster   

Born  Yesterday  ...      Crawford-Holiday  I 

Brave  Bulls,  The  (107)    Ferrer-Quinn 

Corky  of  Gasoline  Alley  S.  Beckett-J.  Lydon 

China  Corsair  1781  Hall-Farraday 

Congo  Bill  McGuire-Moore  

tfcain  of  Circumstance  M.  Feld-R.  Grayson   

Criminal  Lawyer    O' Brien-Wyatt  

Dark  Page  .   Crawford-Derek  _  _ 

Dick  Turpin's  Ride  Hayward-Medina  

Firefighters,  The  Williams-Reynolds    

Five  1931    S.  Douqlas-W.  Phipps 

Flying  Missle,  The  Ford-Lindfors  I 

Fort  Savage  Raiders  Starrett-Burnette    

Fury  of  the  Congo  Weismuller-Talbot 

Harlem  Globetrotters,  The  Gomez-Dandridge   

Her  First  Romance  (73)  O'Brien-Martin 

Her  Wonderful  Lie    —Kiepura-Eggerth 

Hurricane  Island  (C)    Hall-Windsor   ... 

Jungle  Jim  in  the  Forbidden  Land  Weissmuller-Ryan   

Jungle    Safari   Weissmuller-Greene 

Lorna  Doone  (T)  Hale-Greene   

M  1*01  Wayne-DaSilva   

Magic  Carpet  Ball-Agar    

Man  In  the  Saddle      Scott-Leslie 

My  True  Story  (68)  Parker-Walker 

Operation  X  (78)        .   Robinson-Cummins   

Praire  Roundup     Starrett-Burnette 

Purple  Heart  Diary  F.  Langford-T.  Romano 

Revenue  Agent    __   _  Kennedy-Willes 

Ridin'  the  Outlaw  Trail  Starrett-Burnette 

Riders  of  the  Whistling  Pines   Autry-White 

Sante  Fe  (T)    (87)   Scott-Carter 

Saturday's  Here  _  Derek-DaRe  _  . 

Secret.  The  Derek-Cobb 

Silver  Canyon     Autry-Davis 

Sirocco  1981  Bogart-Loran 

Small  Wonder    _  .  Cummings-Hale 

Son  of  Dr.  Jekyll  Hayward-Knox 

Su«ny  Side  of  the  Street         _    _  Lane-Daniels 

Ten  Tall  Men  IT)    Lancaster-Lawrence 

Texas  Rangers  .  .    _     .       Geo.  Montgomery 

Valentino    IT)    103)   Parker-Dexter 

Valley  of  Fire   Autry-Burnette 

War  Cry    Montgomery-Long 

Wh.n  the  Redskins  Rode  (C)    178)  Hall-Castl3 

Whirlwind  Autry-Burnette   

Yank  in  Korea.  A  (73)    ..McAllister-Phillips 


LIPPERT 

1950-51 

Completed  (22) 

In  Production  (0) 

COMPLETED 

TITLE — Running  Time 

Bandit  Queen  

Danger  Zone   

FBI  Girl   

Fingerprints  Don't  Lie   Z 

G.I.  Jane    

Home  Town  Bov  

Kentucky  Jubilee   

Leave  It  To  the  Marines  

Urne  Big  Horn  

Lost  Continent 


RELEASE  CHART 

—  1950-51  — 


1950-51   Features        Completed   (61)       In  Production  (6) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

Belle  of  New  York   IT)  Astaire-Vera-Ellen  _ 

Singin'   In  The  Rain  IT)  .  Kelly-O'Connor 
Just  This  Once  Leigh-Lawford 
The   North  Country  (C)  Granger-Corey 
County   Line  Pidgeon-Hodiak 
When  In  Rome  Johnson-Douglas 

COMPLETED 

Across  the  Wide  Missouri  IT)  195)  Gante-Hodiak 

American  in  Paris  (T)  Kelly-Caron  

Angels  and  the  Pirates  Douglas-Leigh 

Bannerline  Forrest-Braselle 

Callaway  Went  Thataway  MacMurray-McGuire 

Calling   Bulldoq  Drummond   1791  Pidgeon-Leighton 

Cause  for  Alarm  175)  Young-Sullivan   

Excuse  My  Dust  IT)  182)  Skelton-Forrest 

Father's  Little  Dividend  (82)   Tracy-Taylor  

Go  For  Broke  192)  Johnson-Anderson  _ 

Great  Caruso.  The  ITI  (1091  Lania-Blyth  

Grounds  For  Marriage  191)   Johnson-Grayson 

Home  Town  Story  161)  Crisp-Reynolds 

Inside  Straight  (90)  Brian-Dahl  _ 

It's  A  Big  Country        .    All  Star 

Kim  (T)  (112)  Flynn-Stockwell  

Kind  Ladv  1781  .  _  Barry  more- Evans  _ 

Law  and  the  Ladv.  The  11041  Garson-Wliding 

Light  Touch,  The  Grainger-Angeli  — _ 

Lone  Star    Gable-Gardner  _ 

Love  Is  Better  Than  Ever  Taylor-Parks  — 

Magnificient  Yankee  189)   Calhern-Harding   

Man  With  A  Cloak    _    Cotten-Stanwyck  _ 

Night  Into  Morninq  (841   Milland-Hodiak  

Mr.  Imperium  (T)  (87)   Turner-Pima 

No  Questions  Asked  181)  Sullivan-Dahl 

North  Country  (A)    Granger-Corey 

Painted  Hills.  The  IT]   148)       .  Williams-Keel 
Pandora  and  the  Flying  Dutchman 

IT)   (123)  Mason-Gardner   

People  Against  OHara  (1031  Tracy-O'Brien 

Quo  Vadis  IT)  Taylor-Kerr  _  

Rain  Rain,  Go  Away  Whitmore-Oavis 
Red  Badge  of  Courage  181)  Murphy-Mauldin 
Rich,  Younq  and  Pretty  ITI   (951  Powell-Damone 

Royal  Weddin*  (Tl  (92)  Astaire-Powell  — 

Show  Boat  (Tl  (1081  _Gardner-Keel  — 

Soldier's  Three   192)         _  Granger-Pilgeon 
Strictly  Dishonorable  1951  Pmia-Legih 

Strip    The   Rooney-Forrest  

Tall  Target.  The   Powell-Raymond  _. 

Teresa   (1051   Angell-Enckson   

Texas  Carnival  IT)  Williams-Skelton  _ 

Thin  Knife.  The  ......  Pidgeon-Harding 

Three  Guys  Named   Mike  190)  Wyman-Johnson 

Too  Young  To  Kiss  .  Ailyson-Johnson  — 

Two  Weeks  with  Love  (T)  (92)  Powell-Montaiban 
Vengenance  Valley  (T)    [831  ...   .  Lancaster-Walker 

Watch  the  Birdie    (70)  Skelton-Britton 

Westward  the  Women  Taylor-Darcel  _ 


July 
Aug 
Sep 


Feb 


June 
Apr 
May 
Apr 
Jan 
May 


2-12 

4  4 
2-24 

4-9 
4-23 
12-18 

5  7 


115  12-18 
134  7-2 

13*  


June 
Sep 
June 


130  6  4 

131  4-4 

132  4  18 


Sep 


Aug 
Mar 

July 
Apr 
July 
Aug 
Aug 
July 

July 
Mar 
Sep 
Nov 
Feb 
Jan 


121 
135 
I2( 


lt-23 
117  2  12 
113  12-4 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (26) 
Completed   (  8) 


In  Production  (3) 
In  Production  (0) 


Present  Arms 
Roaring  City 
Savage  Drums 
Sky  High 


Steel  Helmet,  The 
Stop  That  Cab 
3  Desperate  Men 
Varieties  On  Parade 
'es  Sir,  Mr.  Bones 


Cast 

Britton-Parker  

Beaumont-Travis  _ 
C.  Romero-G.  Evans 
Travis-Ryan 
Porter-Neal 
H.  Lloyd.  Jr 

Colonna-Porter   

S.  Melton 

Ireland-Bridges   

Romero-Brooke 

Travis-Ryan 

Beaumont-Savage  ... 

J.  Sawyer 
..Beaumont-Travis   

Sabu-Baron 

S.  Melton-M.  Lynn 
.  Edwards-Brodie    _  _ 

-Melton-Adrian   

.Foster-Davis  

Rose-Carroll  

.  F.  Miller 


7-4 
8-17 

5-  18 

8-  24 

6-  18 

7-  27 
3-17 

5-  11. 

9-  14 
2-2 

6-  22 
9-21 

2-2 


Cast 
Morris-O'Flynn 
Cameron-Nigh 
Sheffield  


3-31 
1-5 
7-20 
7-13 


No        Rev  RELEASE  CHART 

5SI0  _  1950-51  — 

t00ol  IN  PRODUCTION 

5015    TITLE — Running  Time 

- 1241  «««  Fi"   

5°l2.  Fort  Osage   

S005    Elephant  Stampede   

iISmI  completed 

5013         ...  According  to  Mrs.  Hoyle  160) 

_50I8   Blazing  Bullets  —  

.  5023   Bowery  Batalion  

-5016   Casa  Manana  .  .-  

.5001  .  _   .  .  Cavalry  Scout  (C)    (78)   _ 

.  5024  Counterfeit  

5004     .    1-29  Disc  Jockev  .  

 501   Father  Takes  The  Air  

,5009  Father  s  Wild  Game  141)  

5020  Ghost  Chasers  (69)   

_50l»   Gvpsv  Fury  


Byington-Chandler 

Brown-Hall   

Gorcey-Hall 
Forbes-O'Herlihy 
Cameron-Long 
DeFoe-King 
Simms-O'Shea 
Walburn-Gray 
Walburn-Gray 
Gorcey-Hall  _ 
.  Viveca-Lindfors 


5122 


5-20 
5-4 
1-21 

4-  10 

5-  13  5111 


7-22 


12-3  5I2S  

4-29  5112  5-21 
3-18   .  5192  


JULY  16 


19  5  1 


37 


Highwayman 
Joe  Palooka 
Joe  Palooka 

143)  

Disc  Jockey 
Longhorn,  The 
Lion  Hunters.  The  1471 
Man  From  Sonora  154) 
Mexican  Silver 
Modern  Marriage,  A  U 
Navy  Bound 
Nevada  Badman 
Rhythm  Inn 
Sierra  Passage 
Stagecoach  Driver 
Trail  Dust 

Vengeance  Trail   

Vicious  Years,  The  17?) 
Wild  Horse  Prairie 
Witness,  The 


i  IC)   H 

Hitch-Hike  Killer  Ki 
the   Squared  CircleKi 


:ndrix-Coburn 
rkwood-Downs  ... 
kwood-Gleason 


Babe  Ruth  Story.  The 

Lefs  Go  Navy  

Yukon  Manhunt 
I  Was  An  American  Spy  185) 
It  Happened  On  Fifth  Avenue 

Southside  1-1000  (73)   

Short  Grass 


G.  Simms-M.  O'Shea 

Elliott-Coates 

Sheffield-Whitfield 

Brown-Hall 

Wilson-Clyde 

Clarke-Field   

Neal-Toomey   

Wilson-Knight   

Fraiee-Grant  - 

...  Morris-Hale   

Wilson-Knight   

Albriqht-Winters   

Elliott-Stewart  

 _  Cook-Moore 

Wilson-Knight   

 Kirkwood-Gleason   

ALLIED  ARTISTS 

Bendw-Trevor 

 H.  Hall-G.  Gorcev 

Grant-Davis  .. 

Dvorak-Evans   

De  Fore- Storm  

DeFore-King   

Rod  Cameron  


5199 
5120 
5152 


4-  18 

5—  21 


Figntinq  Coast  Guard   _. 

Donlevy-Tucker  

4-1 

5010  

5-7 

Flight  From  Fury  

Fugitive  Ladv 

Edwards-Clark       ...  _. 
Paige  Barnes 

501  1 

4-18 

Havana  Rose 

Rogers- Rodgriguez 

5-15 

5043 

Heart  of  the  Rockies    

Honeychile  ITr.)   

Rogers-Edwards  .    

Canova-Foy.  Jr  

3-30 

5042 

In  Old  Amarillo  147)  

Rogers-Rodriguez   

.   S-f  5 ... 

5043 

4-4 

Insurance  Investigator  140)   

Lady  Possessed 

Denning-Long   

Mason-Havoc 

...5-23.. 

.5024 

4-0 

Lost  Planet  Airmen   (Reissue)  .  . 

Coffin-Clarke 

7-25 

5031 

Million  Dollar  Pursuit  140)  

Missing  Woman  140)  

Night  Raiders  of  Montana  140) 

bdwards-riagg 

Edwards-MuJican   

Lane 

Cameron-Tucker 
Rogers-Evans 

5-30 
 2-23 

2-  28 

3-  10 

5028 
5025 
5059 
5008  

3-12 
3-2* 

Oh.  Susannal  ITrl  190)  

Pals  of  the  Golden  West  

Pride  of  Maryland  

Clemens-Stewart  

1-20 

5023 

1-29 

Quiet  Man,  The  

Rodeo  King  and  the  Senorita   

Rough  Riders  of  Durango    

Sea  Hornet.  The  ...  

J.  Wayne-M.  O'Hara 

...  Allen-Kay   

Lane-Towers  

_  Cameron-Booth  

7-15 
.  1-30 

5053 
5058 

Secrets  of  Monte  Carlo  

Silver  City  Bonanza    

South  of  Caliente   

.  Douglas-Hall  

 Allen-Ebsen  

 Rogers-Evans   

"  4^20 

 3-1 .... 

...  June 

5030  . 
5051  

Spoilers  of  the  Plains  144)    

Thunder  in  God's  Country  

Utah  Wagon  Trail  

Rogers-Edwards  

 Rex-Allen   

R.  Allen-P.  Edwards 

2-5 

 4-8 

'..  504  r 
.5052  

3-12 

Wings  Across  the  Pacific  

Wells  Fargo  Gunmaster   

Corey-Ralston  

Lane-Chapm 

5-15 

5041 

PARAMOUNT 


1950-51   Features        Completed   (46)       In  Production  (3) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Warbonnet  (T)   

Anything  Can  Happen   

The  Denver   S  Rio  Grande  (T) 

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT) 
Ace  in  The  Hole  1 112)  .. 
Appointment  With  Danger  (89) 

At  War  with  the  Army  (93)    

Branded  (T)  (1031 

Carrie    

Crosswinds  (T) 

Darling,  How  Could  You!  (94) 
Dear  Brat  (82) 

Detective  Story,  The  

Flaming  Feather  (T) 
Great  Missouri  Raid,  The  (T)  (85) 

Greatest  Show  On  Earth  IT)   

Here  Comes  the  Groom  (114)   

Hong  Konq  (Tl 
Last  Outpost.  The  IT) 

Lemon  Drop  Kid.  The  (91)  

Mating  Season,  The 
Molly  (83) 

Rev.  under  title:  The  Goldbergs 

My  Favorite  Spy   

My  Son  John 
Passage  West  IT)  180) 
Peking   Express  1851 
Place   in  The  Sun.  A  1122) 

Quebec  IT)    (85)  _  

Rage  of  the  Vulture,  The 
Redhead  and  the  Cowboy  (82) 
Red  Mountain  (T) 
Rhubarb 

Samson  and  Delilah  (T)  (128) 
September  Affair  (104) 
Silver  City  (Tl 
Something  To  Live  For 
Stooge.  The 
Submarine  Command 
That's  My  Boy  (98) 
Trio  191) 
Warpath  IT) 

When  Worlds  Collide  (T) 


Cast 

Rel. 

No. 

Rev. 

Heston-Hanson   

Ferrer-Hunter  

O'Brien-Havden 

Douglas-Sterling 

7-51 

5023 

7-2 

Douglas-Sterling  ... 

7-51 

5023 

Ladd-Calvert   

Martin-Lewis  

Ladd-  Freeman   

Olivier-Jones 
Payne-Fleming  

.  5-51 
1-51 
1-51 

5014 
5009 

4-23 
12-18 
12-18 

10-51 

5104 

Fontaine-Lund 
Freeman-Arnold 

1  1-51 
4  51 

5108 
5021 

Douglas-Parkes   

S.  Hayden-G.  Russell 
Corey-Carey  

1  1-51 
2-51 

51  1  1 
5013 

Stewart-Hutton 

Crosby-Wyman 
Reagan-Fleming 
Reagan-Fleming 
Hope-Maxwell 

9-51 
12-51 
5-51 
4-51 

5101 
510? 
5020 
5018 

3-25 

Tierney-Lund 
Berg-Loeb 

Hope-Lamarr 
Hayes-Heflin 

3-51 
4  51 

12-51 

5014 
501 1 

5110 

1-29 
12-4 

Payne-O'Keefe  

Cotten-Calvet 
Clift-Winters 

7-51 
8-51 
951 

5022 
5024 

4-4 

 7-2 

Barrymore,  Jr.-Calvet 

4-51 

5017  . 

Ladd-Kerr 

Ford-Fleming  

3-51 

5015 

Ladd-Kennedy 
Milland-Sterling   

9-51 

5103 

Lamarr-Mature 

3-51 

5010 

11-21 

Fontaine-Cotton 

DeCarlo-O'Brien   

Fontaine-Milland 

2-51 

5012 

1-15 

10-51 

Martin-Lewis 

Holden-Olson 

Martin-Lewis 

Simmons-Rennie 

O'Brien-Jagger 

10-51 
8-51 
....  4-51  ... 
8-51 

5107 

5024 
5025 

'""'.'.7-2 
11-4 
4-18 

Derr-Rush 

1  1-51 

5104 

RKO  RADIO 


1950-51   Features       Completed   (52)       In  Production  (I) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Girl  in   Every  Port,  A   

COMPLETED 

Alice  In  Wonderland  (T)   

Behave  Yourself 

Best  of  the  Badmen  (Tl  (84) 

Blue  Veil,  The 

Company  She  Keeps  (83) 

Crack  Down 

Cry  Danqer  179)  

Flyinq   Leathernecks  (T)   

Footlight  Varieties  141)  

Gambling  House  (80)  

Gun  Notches   .... 

Gun  Thunder  .  

Happy  Go  Lovely 

Half-Breed,  The   

Hard.  Fast  and  Beautiful  (74) 
His   Kind  of  Woman 

It's  Only  Money   

Jet  Pilot  (Tl 

Jungle    Headhunted    (T)  145) 

Kon-riki  1731   

Las  Vegas  Story.  The   

Macao 

On  Dangerous  Ground   

Whip  Hand.  The   

My  Forbidden  Past  (70)  

On  The  Loose  

Overland  Telegraph   

Payment  on  Demand  (901  

Pistol  Harvest  1401  

Racket.  The   

Roadblock  

Hustler's  Range  -     .  ._ 

Saddle  Leqion  (411  

Sealed  Carqo  (89)  ... 

Sons  of  the  Musketeers  (T)  

Target  

Tarzan's  Peril  (79)    

Texas  Triggerman  ., 

Thing,  The  (87)  

Tokyo  File  212  (84)  

Two  Tickets  to  Broadway  (T) 


Cast 

Marx-Wilson 


Disney  Cartoon   

Winters-Granger 

Ryan-Trevor   

Wyman-Carlson  , 

Greer-O'Keefe   

Williams- Armstrong 

Powell-Fleming 

Wayne-Ryan 

Pear-Buttons 

Bendix-Mature 

Holt-Martin   

HolY-Martin 

D.  Niven-Vera  Ellen 

Young-Carter   

Trevor-Forrest   

Russell-Mitchum   

Sinatra-Russell  

Wayne-Leigh  

.  Travel   

Travel  

Russell-Mature 

Russell-Mitchum   

Ryan-Lupino  

Reid-Tuttle 

Gardner-Mitchum 

Evans-Earl   

Holt-Martin   

Davis-Sullivan 

Holt-Martin 
_Mitchum-Scott 

McGraw-Dixon 

Holt-Martin  ............ 

Holt-Martin 

Andrews-Rains 

Wilde-O'Hara 

McGraw-White 

Barker-Huston 

Holt-Martin 

Tobey-Sheridan   

Marly-Peyton  

Leigh-Martin   


8-  51 
.  8-51 

4-51 

9-  51 
1-51 


7-51 
I  1-51 

4-  51 
7-51 

10-51 
12-51 

5-  24 
5-51 ... 

I  1-51 
4-51 

4-51 
7-51 

2-51 

9-51 


5-7 
1-15 


4- 


20th  CENTURY-FOX 


REPUBLIC 


1951  Features 


Completed   (39)       In  Production  (41 


1950-51 


Features 

Serials 

Westerns 


Completed  (20) 
Completed  (  I  ) 
Completed  (II) 


In  Production 
In  Production 
In  Production 


(0) 
(0) 


RELEASE  CHART 

IN  PRODUCTION 

—  1950-51  — 

TITLE — Running 

Time  Cast 

Rel. 

No. 

Rev. 

Quiet  Man.  The 

Wayne-O  Hara  ... 

COMPLETED 

Arizona  Manhun* 
Belle  Le  Grand 

Chapin-Janssen  ... 

Ralston-Carroll 

Chapin-Janssen 

8-15 

Buckaroo  Sheriff  of  'erti 

1-27 
5-1 

5004 
5044 

Bullfighter  end  the  Ledy 
Cuban  Firebell 
Dakota  Kid.  The  140) 
Desert  of   Lost  M 
Don  Daredevil  Rldos  Age 

Stack-Page' 

Esteltta-Vincent 

Ciiapin-Janssen 

  Lane  _„  r....„„.^„,i 

n   Curtli-Towne    

5-15 

-  3-5 
7-1 

4-1 

5009 
5007 
5047 

5084 

5-7 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

Lydia  Bailey  (T)    Robertson-Francis 

With  A  Song  In   My  Heart  ...  Hayward-Calhoun 
Red   Skies  of  Montana  (T)  ...  Widmark-Smith 
Viva  Zapata  M.  Brando-J.  Peters 

Marriage  Broker,  The   J.  Crain-T.  Ritter 

Golden  Girl.  The    (Tl  Day-Gaynor 

COMPLETED 

A  WAC  in  His  Life  

Anne  of  the  Indies  ITI 
As  Young  As  You  Feel  (77) 
Bird  of  Paradise  (Tl   1 1001 
Call  Me  Mister  ITI  (95) 
David  and  Bethsheba  IT) 
Day  The  Earth  Stood  Still.  The 
Decision  Before  Dawn 

Desert  Fox.  The    

People  Will  Talk 
Follow  the  Sun  190) 
Fourteen  Hours  (91) 
Friendly  Island  (T) 


Haver-Lundigan 

Jordan-Paget 

Woolley-Ritter 

Jordan-Paget 

Grable-Dailey 

Peck-Hayward 

Rennie-Neal 

Merrill-Basehart 

Mason-Young 

Grant-Crain 

Ford-Baxter 

Douglas-Basehart 

Lundigan-Greer 


38 


F I  L  M  BULLET 


Frogmen  - 

Widmark- Andrews 

7-51 

122 

Golden  Goose.  The 

Guv  Who  Came  Back.  The  (91)  

Half  Angel   ITl  (801 

MacMurray-Parker 
Douglas-Darnell 

.  .  7-SI 

118 

Young-Cotten 

6-51 

116 

Halls  of  Montezuma.  The  (T)  (1131 

Wfdmark-Gardner 

1-51 

103 

12 

-18 

House  on  Telegraph  Hill  (93)   

Cortesa-Lundlgan 

6-51 

117. 

House  On  the  Square 

Power-Smith 

1  Can  Get  It  For  you  Wholesale  (91 ) 

Dailey-Hayward 

4-5l 

Ill 

1-9 

I'd  Climb  the   Highest  Mountain 
IT)  1881  

Hayward-Lundigan 

2-51 

105 

 | 

2  9 

Kangaroo  IT) 

Kefauver  Crime  Investigation 

O'Hara-Lawford 
News  Feature 

4-51 

Let  s  Make  It  Legal 
Lucky  Nick  Cain  187) 

Colbert-Carey   

Ratt-Gray 

3-51 

Z3 

12 

Man  Who  Cheated  Himself,  The  181) 
Meet  Me  After  The  Show  (T) 

Cobb-Dall 
Grable-Carey 

 1-51 

102 

-IS 

Mr.  Belvedere  Rings  The  Bell   

Webb-Dru 

8-51 

124 

Mudlark  1991 

Dunne-Guiness 

1-51 

101 

12- 

18 

No  Highway  In  The  Sky 

Stewart-Dietrich 

8-51 

121 

Of  Men  and  Music  185) 

Concert  Feature 

3  51 

On  the  Riviera   IT)  (90)   

Kaye-Tierney 

5-51 

115 

4- 

23 

Rawhide  1861 

Power-Hayward 

5-51 

113 

23 

Secret  of  Convict  Lake 

Ford-Tiernev 

8-51 

123 

Sword  of  Monte  Cristo.    ISC)    1 80 1  Montgomery-Corday 
Tjk.  Care  of  Mv  Little  Girl  IT)   193)  Crain-Peters 

3-51 
7-51 

106 
119 

71*3- 

26 

Thirteenth  Letter.  The  185)   

Darnell-Boyer 

2-51 

107 

2- 

12 

You're  in  the  Navy  Nok  193) 

Cooper-Albert 

4-51 

1  10 

3 

12 

jnder  title:  U.S.S.  Teakettle 


Finders  Keepers 
Flame  of  Araby  (T) 
Frenchi*  ITl 

Francis  Goes  to  the  Races  II 

Golden  H.^rge    The  ITl 

Groom  Wo.  *  Spurs  180) 

Harvey  HOI) 

Hollywood   Story  (761 

Iron  Man,  The 

Katie  Did  It  1811 

Lady  from  Texas  ITl 

Lady  Pays  Off.  The 

Little  Egypt  ITl 

Ma  and  Pa  Kettle  at  the  Fai 

Ma  and  Pa  Kettle  Back  on  th 

Magnet.  The  178) 

Mark  of  the  Renegade  ITl 

One   Never  Knows 

Operation  Disaster  1100) 

Pool  of  London 

Prince  Who  Was  A  Thief.  I 

Raging  Tide,  The 

Reunion   In  Reno 

Smuggler  s  Island   IT)  (751 

Target  Unknown  1901 

Thunder  On  the  Hill 

Tomahawk  IT)  1821 

Treasure  of  Franchard  IT) 

Under  the  Gun  (84) 

Up  Front  19?) 


Ewell-Adams 

Chandler-OHara 

McCrea-Winters 

Jan 

108 

I  O'Connor-Laurie 

July 

125 

6  4 

Blythe-Farrer 

Kogers-Carion 
Stewart-Hull 

Mar 

Jan 

1  14 

107 

7  26 
10-2  3 

Conte-Adams 

124 

5  21 

Keyes-Chandler 

Blythe-Stevens 
Hull-Duff 

May 

122 

5-21 

Carnell-McNally 

Fleming-Stevens 

M.,;nK,lhriH. 

Farm  Maln-Kilbride 

Apr 

117 

4  9 

Murray-Walsh 
Montalban-Charisse 

Feb. 

iei 

3  26 

'owell-Dow 

vlills-Cherry 
Colleano-Shew 
1851  Curtis-Laurie 
Winters-Conte 

Jan 

113 

1-29 

July 

126 

6  18 

Stevens-Dow 

Keyes-Chandler 

Stevens-Nicol 

Colbert-Blylh 

May 
Feb. 

121 
1  1  1 

S-Z 

Heflin-DeCarlo 

W    Powell-J  Adams 

Feb 

no 

1  29 

Totter-Cont* 
WayneEwell 

Jan 
Apr 

109 
118 

l-l 
3  12 

UNITED  ARTISTS 


1950-51   Features       Completed   (40)       In  Production  (4) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

African  Oueen    Bogart-Hepburn 

Another  Man's   Poison  Davis-Merrill 

Chicago  Calling  Duryea-Anderson 

Saturday  Island  Linda  Darnell 

Big  Night,  The  J.  Barrymore-P.  Foster 

COMPLETED 


Bad  Man's  Gold 
Blue  Lamp  184) 
Cairo  Road 

Circle  of  Danger  186) 
I  Cloudburst 

Cyrano  De  Bergerac  1 1  121 

Fabiola   

'First  Legion 
i  Fort  Defiance 

Four  In  A  Jeep  (971 

He  Ran  All  the  Way  (77) 

Hoodlum.  The  (63)   

Korea  Patrol  1571   

Long  Dark  Hall.  The  (86) 

Man  From  Planet  X  (70)  .. 

Man  With  My  Face  (75) 

Mr.  Drake's  Duck   

Mr.  Universe  (90) 

My  Outlaw  Brother  (82) 

Naughty  Ariette  (861   

New  Mexico  (Ans)   

Obsessed   

Odette   

Oliver  Twist  1105)   

Pardon  My  French 

'  Prowler,  The  (92)   

i  Queen  For  A  Day  ( 107) 

Scarf,  The  (931   

River.  The 

Second,  Woman,  The  191) 

Sklpalono  Rosenbloom 
i  So  Long  at  the  Fair  190) 
'  St.  Benny,  the  Dip  (80) 
j  Sun  Sets  at  Dawn.  The  171 

Thev  Were  Not  Divided 
■  Three  Steps  North 
i  Try  and  Get  Me  190) 

Two  Gals  and  a  Guy  . 
I  Underworld  Story 

Volcano   1 1  10) 
|  Well.  The 

Wicked  City  176) 

When  I  Gi>,w  Up  (90) 


Carpenter- Lock  wood 
Warner-Hanley 
Eric  Portman 
Milland-Roc 
Preston-Sellars   .  .. 

Ferrer-Powers   

Michele  Morgan 

Boyer-Bettger 

D.  Clark-B.  Johnson 

yndfors-Meeker 
arfield-Winters 
Tierney-Roberts 
Emory-Fong 
Harrison-Palmer 
Clark-Field 
Nelson-Matthews  ... 
.  Fairbanks-Donlan 
Carson-Paige 
Rooney-Hendrix 
Tettenng- Williams 
Roses-Maxwell 
Farrar-Fitigerald 
Neagle-Howard 
Newton-Guinness  . 
Oberon-Henreid  . 

Heflin-Keyes  

Avery-McGavin 

Ireland-McCambridge 

American-Indian 

Young-Drake 

Baer-Coogan 

Simmons-Bogarde 

Foch-Haymes 

Parr-Shawn 

Underdown-Clanton 

Bridges-Pada  von! 

Love|oy-Ryan 

Paige-Alda 

Duryea-Storm 

Magnani-Braui 

D.  Fairbanks 

Montei-Aumont 

Preston-Scott 


8-24 
7-13 
6-15 


8-10 
I  —  1 0 

2-27 

3-  9 
5-18 
8-17 
5-15 

4-  17 
7-27 

5-  25 
4-13 
4-6 
9  14 

2-51 

4-  3 
3-29 

  6-22 

1-22 
  .2-1... 

6-  15 

5-  4 

6-  29 

7-  21 


Sirk 
Reb 


G-C 
Ren 
Pop 


C-E 
Pop 


6-4 
4-9 
3-26 


1-  29 

2-  12 


WARNER  BROTHERS 


1950-51   Features        Completed   (38)       In  Production  (6) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Starlift 

Tanks  Are  Coming,  The 
Come  Fill  the  Cup 
Bugles  in  the  Afternoon  IT) 
Big  Trees,   The  (T) 
Crimson  Pirate,  The 

COMPLETED 


Cast 

V.  Mayo-J.  Cagney 
S.  Cochran-E.  Miller 
J.  Cagney-P  Thaxter 
R.  Milland-H.  Carter 
Cochran-Aldon 
B.  Lancaster 


Along  the  Great  Divide  188) 

Douglas-Mayo 

_  6-2 

025 

7  2 

Close  To  Mv  Heart 

Milland-Tierney 

Captain  Horatio  Hornblower  ITl 
Distant  Drums  ITl 

l07Peck-Mayo 
Cooper-Alden 

8-11 

030 

7  2 

Enforcer,  The  187) 

Bogart-Roberts 

2-24 

015 

2-06 

Force  of  Arms 

Holden-Olson 

Fort  Worth  IT)  (80) 
Goodbye,  My  Fancy  (107) 
Highway  301  1831 

Scott-Brian 
Crawford-Young 
»  Cochran-Andre 

7-14 
5-19 
1-13 

028 
024 
012 

2  06 
4-23 

1  Was  A  Communist  183) 

Loveiov-Hart 

5-S 

023 

5-7 

Inside  Walls  of  Folsom  Prison   187)  Brian-Cochran 

6-16 

026 

Jim  Thorpe.  All-American  11071 

Lancaster-Bickford 

6  18 

Lightning  Strikes  Twice  (911 

Roman-Todd 

3-10 

019 

2  26 

Lullaby  of  Broadway  IT)  192) 

Day-Nelson 

3-24 

020 

4  9 

On  Moonlight  Bay  (95) 
North  of  the  Rio  Grande 

MacKae-Day 

7-28 

029 

McCrea-Mayo 

Only  The  Valiant  (105) 
Operation  Pacific  ( 109) 
Painting  the  Clouds  with  Sunshine 

Peck-Payton 

4-21 

022 

3-12 

Wayne-Neal 

1-27 

013 

1-29 

Mayo-Morgan 

Raton  Pass  184) 

Morgan-Neal 

4-7 

021 

4-9 

Storm  Warning  191) 

Rogers-Reagan 

2-10 

014 

1-29 

Strangers  On  A  Train  (101) 

Walker-Roman 

6  30 

027 

6  18 

Streetcar  Named  Desire,  A 

Brando-Leigh 

Sugarfoot  (T)  180) 
Tomorrow  Is  Another  Day 

Scott-Jergens 
Roman-Cochran 

3-3 

016 

2-12 

Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l   Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


UNIVERSAL-INTERNATIONAL 


1950-51  Features        Completed  (44)      In  Production  (2) 


IN  PRODUCTION 

TITLE — Running  Time 
Weekend  With  Father 
Battle  of  Apache  Pass  (T) 
Meet  Danny  Wilson 
Here  Come  The  Nelsons 

COMPLETED 

Abbott  &  Costello  Meet  the 

Invisible  Man 
Air  Cadet 

Apache  Drums  IT)  (75) 
Bedtime  for  Bomo  183) 
Bright  Victory 
Cattle  Drive  ITl 
Cave.  The  IT) 
Cimarron  Kid,  The  (T) 
Comin'  Round  the  Mountain  (77 
Boor.  The 

Double  Crossbones  (T)  (751 
Pat  Man.  The  177) 

JULY     16.  1951 


RELEASE  CHART 

1950-51  — 


Cast 
Nea!-Heflin 
Chandler-Lund 
Sinatra-Winters 
Oiiie  and  Harriet 


Abbott  &  Costello 

McNally-Russell 

Grey-McNally 

Reagan-Lynn 

Dow-Kennedy 

McCrea-Stockwell 

Smith-Carey 

A.  Murphy-Y.  Dugay 

Abbott  &  Costello-Shay 

Laughton-Karloff 

O'Connor-Carter 

Smart-London 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236   N.  23rd   St.,  Phila.  3  —   1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


"patio  theatre 

now  showing 


to  J  cll  your 

.  ATTRACTIONS 
. SPECIAL  EVENTS 
. SERVICES 
.  COMFORTS 

OrtdU  $et  (fad  7V<U  l 

Your  own  screen  is  your  best  medium  for  ADVERTISING 
and  EXPLOITATION!  ...  and  Special  Trailers  are  the 
SHOWMAN'S  own  method  of  "talking"  to  patrons  . . .  and  Selling 
Attractions  .  .  .  Special  Events  .  .  .  Services  .  .  .  and  Comforts! 
.  .  Tell  'em  about  your  BIG  HITS!  .  .  .  Tell  'em  to  come  in  and 
! ,;       COOL  OFF !  .  .  .  Tell  'em  about  the  EXTRAS  that  your 
|         theatre  offers  them !  .  .  .  And  Tell  'em  with  those  beautifully- 
produced  .  .  .  delivered-in-a-hurry  .  .  .  NSS  SPECIAL 
TRAILERS!  .  .  .  The  Industry's  prize  Special-Exploitation  .  .  . 
that  Tells  'em  from  YOUR  SCREEN! 


Use  More 
DISPLAY  AW  AYS 
They're  the  new  eye-catching,  beauti- 
fully framed  and  footed  DISPLAYS  . . . 
that  sell  your  attractions  from  store 
windows  and  counters  .  .  .  hotel  lob- 
bies and  terminals . . .  wherever  there 
are  people  to  be  turned  into  PATRONS! 
Ask  your  NSS  Salesman  to  show  you 
Hit  FIVE  distinctly  different  styles! 


Ask  your  NSS  salesman  or 
write  to  your  nearest  NSS 
exchange  for  illustrated  bro- 
chures and  further  details! 


{JpmizfBairo 


SERVICE 

)  pmufMir  Of  me  inousmr 


BULLETIN 


25c  per  Copy 


JULY  30,  1951 


7ke  Pnducet-Cxkibitcr  found-Table 


OFF  ON  THE 
RIGHT  FOOT 


Editorial,  Page  3 


ALLIED  S  NEW  LOOK 

IS  OUR  INDUSTRY  FINALLY 
FINDING  PEACE  WITH  HONOR? 

Exclusive  Feature,  Page  5 


THAN  GREAT  CARUSO 


Tops  "Caruso"  with  best 
non-holiday  first  4  days  in 
Music  Hall  history. 


In  first  81  spots  "Show 
Boat"  tops  "Great  Caruso" 
by  22%. 


Philly  sets  new  all-time 
M-G-M  record  1st  week. 
Now  in  its  4th  week. 


Jamestown,  N.  Y.  new  11* 
time  M-G-M  1st  week.  )W 
in  2nd  week. 


Sensational  in  Nashville, 
almost  doubles  "Caruso" 
biz.  87%  higher. 


Terrific  in  Washington  D.  C. 
New  all-time  M-G-M  first 
week  record. 


Norfolk  is  M-G-M's  best  in 
9  years.  Great  news  from 
everywhere. 


Extended  runs  in  75  of 
82  dates.  HOLD  EXrM 
TIME! 


M-G-M!  It  just  keeps  rolling  along! 


BULLETIN 


ol.  19,  No.  16  July  30,  1951 

Page  Three 


THINK  IT  OVER 

SOCIABILITY 
ociety  is  no   comfort  to  one  not 
■triable." 

—SHAKESPEARE 


REVIEWS  in  This  Issue 


'lace  in  the  Sex    

Kind  of  Woman  _ 

cht  Victory    _. 

•:  Guy  Who  Came  Back  _. 

itive  Lady      

:  Frogmen    


no  As  Vol  Feel 

tle  Drive  

a  Manana  

ace  Drums   

Big  Gusher  _ 


FILM  BULLETIN  —  An  Independ- 
ent Morion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St.,  Philadelphia  7.  Pa., 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Taylor.  Pub- 
lication Manager:  Robert  Heath,  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave.,  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


The  found-Table  CcnfaenceA 


A   GOOD  START 


The  worthy  idea  of  coordinating  Hollywood's  production  plans  and  patterns 
with  the  wishes  and  wants  of  exhibition  was  off  to  a  promising  start  in  the  first 
series  of  production-exhibition  round-table  conferences  held  at  Beverly  Hills  last 
week.  Upper  echelon  studio  and  theatre  executives,  sitting  down  together  under 
the  auspices  of  COMPO,  chewed  over  many  of  the  problems  that  confront  the 
whole  industry  and  did  some  useful  spadework  in  search  of  solutions  for  them. 

Not  a  great  deal  could  reasonably  be  expected  to  evolve  from  a  first-shot 
three-day  meeting,  yet  considerable  area  was  covered.  Necessarily,  because  of  the 
wide  range  of  subjects  on  the  agenda,  most  of  the  work  was  of  a  preliminary 
nature,  but  the  most  immediate  problem  of  establishing  the  conferences  on  a 
permanent  basis  was  accomplished.  Upon  the  motion  of  Columbia's  Harry  Cohn. 
hearty  approval  was  given  the  proposal  that  the  round-tables  be  made  a  fixed  facet 
of  the  industry  structure  on  a  continuing,  bi-monthly  basis. 

Too  often,  it  takes  much  time  for  men  who  wield  wealth  and  power  to  com- 
prehend that  their  ultimate  well-being  is  inextricably  intertwined  with  the  welfare 
of  others.  Thus  it  has  taken  a  long  time  for  some  of  the  people  in  our  industry 
to  learn  that  the  thousands  of  "little  people"  in  the  exhibition  field,  collectively, 
are  a  power,  too.  Fortunately,  now  they  have  come  to  suspect  that  what  could  not 
be  accomplished  by  coercion  or  restraint  might  so  easily  be  attained  through  a 
free  exchange  of  opinion  and  a  forthright  attitude  of  mutual  respect.  Perhaps,  for 
some,  this  lesson  has  been  learned  the  hard  way,  but  let's  hope  it  has  been  learned 
in  time.  Certainly,  the  Hollywood  meetings  suggest  that  throughout  the  whole 
industry  there  is  growing  this  desirable  attitude  of  respect  for  the  other  fellow's 
views. 

Naught  but  good  can  come  from  such  round-table  interchange  of  ideas.  Far 
too  little  has  been  known  by  exhibitors  about  the  practical  phases  of  picture-making, 
and  far  too  little  thought  has  been  devoted  by  producers  to  the  problems  of  those 
who  present  movies  to  the  almighty  public.  Understanding  of  each  other's  thinking 
and  methods  is  bound  to  eliminate  some  of  the  carping  that  adds  fuel  to  the  fires 
constantly  being  lit  under  our  business  by  outsiders. 

At  this  point,  it  should  be  mentioned  that  in  this  realm  of  public  relations  the 
initial  conferences  were  immediately  productive.  The  closing  session  on  Thursday 
is  credited  with  authorship  of  a  very  interesting  idea  in  the  plan  for  a  monthly 
newsreel,  produced  cooperatively,  designed  to  counteract  slanders  against  the 
industry. 

But  better  public  relations  will  be  a  natural  by-product  of  better  intra-industry 
relations.  The  meshing  of  gears  for  smoother  functioning  of  the  industry's  com- 
ponent parts  is  a  prerequisite  for  a  happier,  more  prosperous  movie  business.  Let's 
hope  that  there  will  be  no  stinting  of  cooperation  on  any  side  in  furtherance  of  the 
splendid  aims  of  these  round-table  conferences.  They  can  succeed  only  if  accorded 
the  wholehearted  support — and  the  personal  attendance — of  the  industry's  TOP 
men.  MO  WAX. 


^'Excellent,  marquee 

strength!"     -M.  P.  HERALD 

ffFar  above  standard!^ 

-M.  P.  DAILY 


AVI  D  E.  ROSE 

presents 


with  Marius  Gorir 


Produced  by  JOAN  HARRISON  •  Directed  by  JACQUES  TOURNEUR 
lip  MacDonald  ■  A  Dovid  E.  Rose  Production 


Allied  stalwarts  at  the  founding  of  the  independent  exhibitor  national  body  December  17,  1928: 
Seated,  from  left,  Jim  Ritter,  Al  Steffes,  A.  F.  Myers,  H.  M.  Rickey,  H.  A.  Cole.  Standing, 
Sam  Neat,  Steve  Baiter,  Andy  Gutenberg,  Herman  Blum,  E.  P.  Smith,  Charles  Casanave. 


AIMS  "NEW  LOOK" 

Hate  the  J)n4e  CxhibitorJ  and  the  Jilm 
Companies  JinaUy  Jound  Peace  With  Honor? 


A.n  amazing  phenomenon  seems  to  have 
en  place  in  the  motion  picture  industry, 
"disrupters",  the  "Peck's  Bad  Boys", 
bolsheviks"  and  other  appelations  not 
he  so  savor}-  that  have  been  appended  by 
film  companies  to  the  leaders  of  Allied 
tes  Association  for  the  past  quarter  of  a 
ntury  are  no  longer  being  bandied  about, 
aura  of  amicability,  heretofore  never  vis- 
now  seems  to  suffuse  the  relations  be- 
een  the  distributors  and  the  guiding  lights 
the  national  independent  exhibitor  organi- 
tion,  like  a  rainbow  after  the  stormy  years 
intra-industry  strife. 

V'hat  has  happened  that  might  account  for 
s  miracle?  Is  it  a  softening  of  Allied  policy 
ward  their  former  arch-foes?  Is  it  a  sur- 
der  on  the  part  of  the  film  companies  now 
t  divorcement  is  fact?  Is  there  a  hint  of 
peasement  in  either  direction?  Or  is  it  the 
ginnings  of  an  honorable  peace  between 
strong  factions  who  have  gained  a 
althy,  honest  respect  for  each  other  by  their 
owess  on  the  battlefield  and  their  wisdom 
er  the  conference  table — like  nations  who 
lize  they  must  live  together  or  perish 
arately? 

To  get  to  any  reasonable  conclusion,  one 
ist  first  turn  back  the  turbulent  pages  of 
ustry  history  during  the  past  generation 
Allied's  inception,  and  its  cause  for  being, 
first  national  exhibitor  organization. 


By  BARNEY  STEIN 


Cxctu^e  $L  BULLETIN  9«*t»t 


back  in  1917,  was  formed  in  protest  against 
the  high  film  rentals — familiar? — exacted  by 
Famous  Players-Lasky  Corporation,  then  the 
principal  source  of  quality  class  product. 
Dubbed  Motion  Picture  Theatre  Owners  of 
America,  it  came  into  existence  just  as  a  new 
class  of  exhibitors  sprung  up — the  affiliated 
theatre  owners.  As  the  latter  infiltrated  the 
young  organization,  the  inevitable  split  oc- 
curred; warring  factions  were  spawned  and, 
during  this  unrest,  the  affiliated  theatremen 
grabbed  control. 

Independent  exhibitors  who  dissented  pull- 
ed out.  Giant  among  the  independents  was  a 
Minnesota  theatreman.  William  Alvin  Steff- 
es. His  training  for  the  job  of  bucking  the 
powers  that  be  was  garnered  from  an  inter- 
state College  of  Hard  Knocks  curriculum  that 
included  railroading,  harvesting,  mule-skin- 
ning, cow-punching,  logging,  mining  and  bar- 
tending— all  before  the  ripe  old  age  of  22, 
when  he  acquired  the  Northern  Theatre  in 
Minneapolis,  in  1911.  From  this  man  came 
the  fountainhead  of  aggressive  independence 
that  was  later  to  sprout  into  Allied  States  As- 
sociation. 

The  spark  was  ignited  when  an  artillery 


^lieutenant   colonel   from  Texas,    Harry  A. 

J  Cole,  another  restive  exhibitor,  and  Al  Steff- 
es met  in  New  York.  Together,  they  succeed- 
ed in  rallying  ten  state  organizations  into  a 
rebel  unit.  After  a  trying  series  of  in-again- 
out-again  sessions  with  M  PTOA,  the  tartars 
walked  out  for  good.  The  benign  providence 
that  watches  over  children,  fools  and  inno- 
cent exhibitors  led  them  to  a  man  who  had 
risen  brilliantly  through  the  Department  of 
Justice  to  head  the  Federal  Trade  Commis- 
sion, Abram  F.  Myers.  A  committee  com- 
posed of  Steffes,  Col.  Cole,  Glenn  Cross, 
James  C.  Ritter,  Herman  Blum  and  H.  M. 
Richey  (now  public  relations  director  at 
M-G-M),  approached  the  Commissioner  to 
accept  the  posts  of  President  and  General 
Counsel.  Each  laid  down  conditions,  all  of 
which  were  agreed  to  but  never  lived  up  to, 
to  this  day.  But  on  December  17,  1928,  Allied 
States  Association  was  formed  for  keeps,  and 
Abram  F.  Myers  is  still  the  General  Counsel. 

The  hardy  nucleus  immediately  set  out  on 
a  barnstorming  campaign  to  enlist  members, 
while  Myers  carried  on  in  Washington.  The 
General  Counsel  soon  demonstrated  his 
worth  by  successfully  defeating  a  move  by  the 
big  affiliates  to  keep  the  then-new  sound 
equipment  out  of  the  smaller  exhibitor's 
reach  by  limiting  use  of  sound  films  to  high- 
priced  "approved"  sound  machinery.  He  suc- 

(Continued  on  Page  20) 


L  Y     3  0 


19  5  1 


LET'S 


MM 


FACE 


i 


You're  going 
to  be  doing 
smash  business 
when  you 
play 

THE 

MAN 

WITH 

MY 

FACE 


EDWARD  F.  GARDNER  presents 

"THE  MAN  WITH  MY  FACE" 

starring  BARRY  NELSON  with  Lynn  Ainley 
James  Boles  •  John  Harvey  •  Jack  Warden 
Carole  Matthews  •  Screenplay  by 
Samuel  W.  Taylor,  T.  J.  McGowan,  Vincent 
Bogert  and  Edward  J.  Montaigne 
From  a  Novel  by  Samuel  W.  Taylor 

Directed  by  EDWARD  J.  MONTAIGNE 
produced  by  EDWARD  F.  GARDNER 

Released  thru  United  Artists 


r*  Unusual.  Builds  suspt 
speeds  to  wildly  excil 
climax.  Gripping  diet 

—  FILM 

"  Unusual  excitement, 
and  novel,  cleverly  pi 

-M.P. 

*fFine  performances,  e> 
one  long,  exciting  chc 

-M.P. 


RIGHT  "FACE''  FOR 
BRIGHT  BUSINESS 
th 


A  PLACE  IN  THE  SUN'  SUPERB  ADAPTATION  OF  DREISER  CLASSIC 


Rates  •  •  •  —  generally,  if  sold 

Paramount 
122  minutes 

Montgomery  Clift,  Elizabeth  Taylor,  Shelley 
Winters,  Anna  Revere,  Keefe  Brasselle,  Fred 
Clark,  Raymond  Burr,  Herbert  Heyes,  Shep- 
perd  Strudwick,  Frieda  Inescourt,  Kathryn 
Givney,  Walter  Sande,  Ted  de  Corsia,  John 
Ridgely,  Lois  Chartrand,  William  R.  Murphy, 
Douglas  Spencer,  Charles  Dayton,  Paul 
Frees. 

Directed  by  George  Stevens. 

Paramount  and  the  motion  picture  indus- 
ry  can  well  be  proud  of  George  Stevens' 
production  of  Theodore  Dreiser's  classic  "An 
\merican  Tragedy",  now  titled  "A  Place  in 
j  he  Sun."  As  producer-director,  Stevens  has 
infurled  a  mature,  intelligent,  sensitive  and 
gripping  film  that  is  bound  to  enthrall  both 
hiasses  and  classes  with  its  emotional  power 
ind  keep  them  engrossed  throughout  its  122 
ninutes  on  the  screen.  Superior  in  every 
lepartment — production,  direction  and  acting 
-the  film  has  the  added  boxoffice  incentive  of 
hree  of  the  most  popular  young  stars  in 
■plywood,  Montgomery  Clift.  Elizabeth 
Taylor  and  Shelley  Winters,  each  delivering 
ly  far  their  best  screen  work  thus  far,  under 
itevens'  manipulations.  The  producer-direct- 
I  has  lavished  his  adaptation  of  the  Dreiser 
ovel  with  affectionate  understanding.  He  has 
ept  the  plot,  presented  variously  on  the 
tage  and  screen  over  the  past  25  years,  mod- 
rn  and  daring,  yet  always  in  good  taste, 
nd  has  given  the  exhibitor  a  highly  exploit- 
ble  piece  of  screen  entertainment.  He  has 
lade  the  normally  long  running  time  seem 
ke  much  less.  The  two  hours  in  which  this 
tory  of  youthful  love,  passion  and  confusion 
folds,  speed  by  fascinatingly  and  exciting- 
I  The  peaks  are  superbly  realized  and  Stev- 
ns'  utter  lack  of  compromise  is  an  element 


that  further  preserves  the  impast  and  im- 
portance of  the  Dreiser  tale.  Properly  sold, 
"A  Place  in  the  Sun"  should  turn  out  to  be 
one  of  the  top  films  of  the  year,  very  pos- 
sibly the  winner  of  the  1951  Oscar  derby, 
certainly  one  of  the  nominees.  It  marks  a 
high  point  in  motion  picture  craftsmanship 
deserving  of  respect  and  interested  selling  by 
all  concerned. 

The  true  measure  of  Stevens'  artistry  may 
be  found  in  the  quality  of  the  performances 
rendered  by  the  three  young  stars.  To  Clift  as 
the  ill-starred  factory  worker  caught  in  the 
rip-tide  of  fate.  Miss  Taylor  as  the  lovely 
socialite  and  Miss  Winters  as  the  tragic,  "be- 
trayed" girl  fall  the  task  of  making  the 
story  stick,  and  they  do  it  magnificently. 
Clift's  shy  youth  is  warmly  sympathetic;  Miss 
Taylor,  heretofore  catalogued  primarly  as  a 


beauty,  proves  she  can  act  as  well  with  this 
vivid  and  charming  performance  of  a  society 
girl  thrust  into  a  sordid  situation  far  re- 
moved from  her  own  protected  life.  And 
Shelley,  tossing  make-up  and  glamour  aside, 
gives  the  performance  of  her  meteoric  career. 
The  others  in  the  large  company  perform 
what  amounts  to  bit  roles,  and  they're  all 
excellent,  notably  Keefe  Rrasselle.  as  Clift's 
obnoxious  rich  relative;  Raymond  Burr  as  the 
>adi>tic  district  attorney.  Anne  Revere  as  the 
boy's  mother,  and  Shepperd  Strudwick  and 
Frieda  Inescort  as  the  socialite's  parents. 

STORY:  The  adaptation  conforms  rigid- 
ly to  the  pattern  of  Dreiser's  story  except  in 
the  matter  of  period.  The  production  is  con- 
temporary, tracing  the  arrival  of  Clift  in 
Chicago  seeking  a  job  in  the  factory  of  his 
uncle.  Family  pride  insures  his  acceptance; 
the  position,  of  course,  is  humble.  The  boy 
is  warned  against  associating  with  the  girls 
who  comprise  the  larger  number  of  work- 
ers. A  chance  meeting  with  Shelley  Winters, 
an  employee  in  the  same  department  blos- 
soms into  love  of  a  sort.  However,  the  uncle 
embarks  on  a  program  of  developing  the  boy 
and  thrusts  him  into  the  social  whirl  of  the 
upper  crust.  Here  he  meets  Elizabeth  Taylor 
and  they  fall  deeply  in  love.  In  the  meantime 
Shelley  reveals  she  is  pregnant.  He  seeks 
time  before  marriage  but  she  will  have  none 
of  it,  forces  him  into  an  embarrassing  posi- 
tion in  the  presence  of  his  newly  found 
friends.  He  agrees  to  the  ceremony,  and 
when  a  day's  postponement  results  because  of 
a  holiday,  he  conjures  the  scheme  of  drown- 
ing her.  Although  he  changes  his  mind,  the 
boat  overturns  and  the  girl  is  lost  in  a  lake. 
This  is  the  curious  dilemma  he  must  present 
a  jury.  The  boy  fails  miserably  in  his  ex- 
planation. He  is  sentenced  to  the  electric 
chair.  H  A  B  A . 


HIS  KIND  OF  WOMAN*  PUNCHY  IF  IMPOSSIBLE  MELODRAMA 

lates  •  •  •  —  generally, 


*KO-Radio 
20  minutes  (tentative) 

Robert  Mitchum,  Jane  Russell,  Vincent  Price, 
pim  Holt,  Charles  McGraw,  Marjorie  Rey- 
nolds, Raymond  Burr,  Leslye  Banning,  Jim 
Sackus,  Philip  Van  Zandt,  John  Mylong, 
arleton  G.  Young,.  Erno  Verebes, .  Dan 
Vhite,  Richard  Beggren,  Stacy  Harris.  Rob- 
rt  Cornthwaite. 
Hrected  by  John  Farrow 


His  Kind  Of  Woman,"  the  first  picture 
:e  his  takeover  of  RKO  to  bear  the  im- 
nnt,  "presented  by  Howard  Hughes",  leaves 
doubts  as  to  the  identity  of  it  sponsor, 
wild  melodrama  of  intrigue  in  the  un- 
crworld  set  against  the  background  of  the 
lexican  coast  is  typical  Hughes.  The  story 
implausible,  but.  under  John  Farrow's  fast- 
aced  direction  the  characters  imbue  it  with 
itality  and  excitement.  And  the  action  se- 
juences  pack  vigorous  punch;  some  of  them 
re  actually  brutal.  As  previewed  at  the  stu- 
io,  the  subject  runs  120  minutes  but  addi- 
onal  cutting  of  the  last  five  reels  is  expec- 
:d  to  lop  off  about  30  minutes.  With  this 
ork  completed  and  the  planned  deletion  of 
:petitious  action  and  much  overdone  corne- 
al  the   Robert    Mitchum-Jane    Russell  ve- 


ore  in  action  spots 

hide  should  shape  into  a  fluid,  quick  moving 
action  drama  with  the  note  of  sultry  passion 
that  characterizes  their  co-starring  efforts 
under  Hughes'  auspices.  The  dialogue  is 
pungent:  frequently  amusing  in  a  cynical 
way.  The  production  of  Robert  Sparks  is  low 
key  throughout  —  neatly  designed  to  pro- 
duce a  brooding,  sinister  air  for  the  unlikely 
proceedings.  The  hot  starring  combo,  plus 
the  popular  blend  of  action  and  comedy  that 
makes  the  wild  tale  palatable,  should  result 
in  a  hefty  boxoffice  return  generally,  with 
action  spots  due  to  reap  an  especially  good 
b.  o.  harvest. 

Robert  Mitchum  is  the  gambler-hero  of  the 
saga,  and  the  handsome  actor  plays  the  part 
in  his  usual  casual,  tough-guy  style.  Jane 
Russell  is  spendid  as  the  girl  on  the  prowl 
for  a  quick  marriage,  and  Vincent  Price's 
ham  actor  has  some  very  amusing  moments 
but  the  character  is  allowed  to  go  way  over- 
board in  the  final  sequences.  Tim  Holt  fig- 
ures briefly  in  the  narrative  as  a  government 


man  who  warns  Mitchum  his  life  is  in  dan- 
ger. 

STORY:  The  obvious  parallel  of  the  nar- 
rative is  the  case  of  Lucky  Luciano.  In  this 
instance  the  deportee  wants  to  re-enter  the 
United  States  in  order  to  put  his  hands  on  his 
loot.  To  accomplish  this  purpose  his  cohorts 
seize  on  gambler  Robert  Mitchum  as  a  can- 
didate for  the  dubious  job  of  providing  the 
gangster  with  an  identity.  Mitchum  is  a  lone 
wolf  on  society's  outer  fringe,  a  man  witb 
no  family  or  entanglements.  They  promise 
him  a  huge  sum  of  money,  tell  him 
nothing  else,  and  send  him  to  Mexico.  At  a 
resort  hotel  along  the  lonely  coast  he  meets 
an  assortment  of  characters,  one  of  whom 
i-  Miss  Russell.  She  poses  as  a  rich  heiress 
but  actually  is  broke  and  looking  for  a  quick 
march  to  the  altar.  Holt's  arrival  and  subse- 
quent murder  unfolds  the  story  before  Mitch- 
urn's  eyes.  He  knows  that  as  soon  as  his 
usefulness  to  the  gang  is  concluded,  he  will 
be  murdered.  A  ship  arrives  in  the  harbor 
bearing  the  gang-ter,  Raymond  Burr.  Mitch- 
um fights  his  way  out  of  the  mess  with  the 
help  of  Russell  and  Vincent  Price,  a  movie 
actor  who  uses  the  occasion  to  sharpen  his 
prowess  as  a  crack  shot.  HAX.VA  (Holly- 
wood) 


ULY     30,  1951 


7 


BRIGHT  VICTORY'  POWERFUL  EMOTIONAL  DRAMA 


Rates  •  •  • 


in  deluxe,  metropolitan  first  runs,  less  elsewhere 


Universal-International 
97  minutes 

Arthur  Kennedy,  Peggy  Dow,  John  Hudson, 
James  Edwards,  Nana  Bryant,  Richard  Egan, 
Will  Geer,  Jim  Backus,  Julia  Adams,  Minor 
Watson,  Joan  Banks,  Marjorie  Crossland. 
Directed  by  Mark  Robson. 

"Bright  Victory"  is  the  story  of  a 
blinded  war  veteran,  a  drama  that  might 
have  been  a  number  of  things  from 
maudlin  to  embarrassing.  That  it  is 
none  of  these  but  instead  a  strong,  sensi- 
tive, warmly  human  film  is  to  the  enormous 
credit  of  its  director,  Mark  Robson.  Actually 
neither  the  script  nor  the  production  offer 
anything  particularly  unusual.  But  Robson's 
unerring  artistry,  the  deft  touches,  the  won- 
derful feeling  of  understatement — these  in- 
fuse it  with  vitality  and  tremendous  dramatic 
emphasis.  The  hospital  sequences,  though 
overlong,  do  pack  absorbing  informative  ma- 
terial in  recording  the  details  behind  the 
education  of  the  blind  to  life  without  eyes. 
Under  Robson,  Arthur  Kennedy  and  a  cast  of 
•.xtremely  talented  newcomers  give  beautiful 
performances  that  are  acting  delights.  Lack- 
ing top  names  and  limited  by  its  theme, 
"Bright  Victory"  won't  hit  the  jackpot  with- 
out selling.  But  critical  acclaim  and  enthusi- 
astic word-of-mouth  are  bulwarks  that  will 
make  the  best  efforts  of  the  exhibior  worh 
while.  Certainly  U-I  customers  are  going  to 
hail  this  as  one  of  he  best  pictures  to  issue 


20th  Century-Fox 
92  minutes 

Paul  Douglas,  Joan  Bennett,  Linda  Darnell, 
Don  DeFore,  Billy  Gray,  Zero  MosteL  Ed- 
mon  Ryan,  Ruth  McDevitt,  Walter  Burke. 
Directed  by  Joseph  Newman. 

Although  "The  Guy  Who  Came  Back" 
poses  an  interesting  and  unusual  movie  plot, 
its  formula  development  and  curious  mixture 
of  comedy  and  pathos  restrict  its  value  to 
the  exhibitor.  The  average  theatre  owner 
will  be  inclined  to  view  it  as  an  above  aver- 
age dualler  and  play  it  accordingly.  The 
Julian  Blaustein  production  is  well  cast  and 
played,  and  at  times  the  story  of  a  gridiron 
champ  who  is  incapable  of  meeting  the  re- 
sponsibilities of  maturity  carries  strong  dram- 
atic wallop.  But  the  yarn  plays  itself  out 


in  the  first  hour — the  last  32  minutes  become 
so  much  padding.  The  comedy  is  repetitious; 
the  finale,  contrived.  Joseph  Newman's  direc- 
tion infuses  a  measure  of  vitality  into  the 
long  dialogue  passages  and  the  final  gridiron 
sequences  played  in  a  heavy  snowfall  are 
highly  entertaining. 

Paul  Douglas  enacts  the  title  role  in  his 
usual  blustery,  good-natured  style,  and  Joan 
Bennett  is  attractive  as  the  wife  who  tries 
her  level  best  to  understand  her  infantile  hus- 
band. Linda  Darnell  is  the  other  woman, 
but  the  part  is  so  poorly  constructed  that 
the  voluptuous  actress  is  unable  to  get  inside 
it.  Don  DeFore  makes  up  the  fourth  side  of 
the  romantic  square  in  the  role  of  the  family 
friend  who  stands  by  and  secretly  loves  Miss 
Bennett  during  her  vicissitudes.  Billy  Gray 
is  a  likeable  moppet  in  the  spot  of  the  son. 


FUGITIVE  LADY'  FAIR  PROGRAM  MELLER 


Rates  •  •  as  dualler 


Republic 
78  minutes 

Janis  Paige,  Binnie  Barnes,  Masimo  Serato, 
Eduardo  Cianelli. 
Directed  by  Sidney  Salkow. 


"Fugitive  Lady,"  filmed  in  Italy  by  Mike 
Frankovitch,  holds  value  to  the  exhibitor  as  a 
somewhat  better  than  average  dualler.  Al- 
though the  narrative  is  presented  in  taut 
fashion,  the  story  is  wild  and  woolly  and  near- 
ly all  the  principals  come  to  untimely  ends. 
The  abundance  of  flashbacks  mar  smooth 


continuity,  but  the  performances  of  Sidney 
Salkow's  suspenseful  direction  hold  the  loose 
ends  together.  Frankovitch's  production,  util- 
izing the  natural  backgrounds  provided  by  the 
locale,  gives  the  impression  of  quality  rarely 
encountered  in  low  budget  efforts  on  this 
side  of  the  pond.  This  should  serve  fairly 
well  in  the  lower  dual  slot. 

Janis  Paige  gives  an  excellent  performance 
of  a  young  American  girl  driven  to  tragedy 
by  her  unhappy  marriage.  Binnie  Barnes  is 
typically  splendid  and  dominating  as  the 
foster-sister  of  a  murder  victim.  •  Eduardo 
Cianelli,  the   only   other  player  known  to 


L 


from  the  studio  in  the  last  10  years.  It's  a 
good  possibility  for  mention  in  the  Academy 
sweepstakes  and  the  other  awards  festivals. 

In  the  role  of  a  veteran  who  accomplishes 
his  own  rehabilitation  but  finds  his  family 
strangely  incapable  of  accepting  his  blindness, 
Arthur  Kennedy  gives  the  performance  that 
ought  finally  to  win  him  recognition  as  star 
material.  It's  a  brilliant  job,  always  believ- 
able, always  dominating.  Peggy  Dow,  the  girl 
who  stumbles  into  his  life  during  his  months 
at  the  Valley  Forge  hospital,  is  an  enchant- 

'THE  GUY  WHO  CAME  BACK'  SPOTTILY  ENTERTAINING 

Rates  •  •  -f-  generally 


ing  young  actress  whose  lack  of  artifice  ei 
dear  her  at  the  very  beginning.  John  Hudso 
is  splendid  as  another  blinded  soldier,  an 
James  Edwards  brings  dignity  to  his  forci 
ful  performance  of  the  Negro  in  the  war 
Nana  Bryant  and  Will  Geer,  portrayin 
Kennedy's  parents,  distinguish  themselvt 
with  thoughtful  character  performances 

STORY:  Kennedy,  hit  during  the  Norti 
African  campaign,  is  flown  to  the  U.  S.  an 
dispatched  to  Valley  Forge.  His  conditio 
is  diagnosed  as  total  blindness.  Reluctant  t 
accept  his  fate.  Kennedy  fights  the  metho 
of  treatment  until  it  begins  to  affect  hiii 
subconsciously.  Eventually  he  reaches  tl 
point  where  he  understands  his  condition, 
determined  to  make  the  best  of  it,  and  a( 
tually  takes  pleasure  in  day  by  day  progres 
After  returning  home,  however,  he  misst 
the  security  of  life  in  the  hospital  and  rea 
izes  that  people  must  be  conditioned  to  th 
presence  of  a  blind  person  around  then 
even  as  he  was  forced  to  condition  himse 
to  blindness.  His  family  and  friends  hara 
him  and  his  sweetheart,  Julia  Adams,  finall 
gives  him  up.  He  wants  to  be  accepted  fc 
himself,  to  make  his  own  way  and  name  i 
things  with  the  help  of  Peggy  Dow,  the  gi 
the  world.  He  realizes  he  can  do  thes 
with  whom  he  enjoyed  a  platonic  relatior 
ship  at  Valley  Forge.  Tentatively  he  make 
his  way  back,  discovers  happily  that  she  love 
him  now  just  as  she  always  has.  HANNi 
(Hollywood). 


STORY:  Douglas,  a  college  gridiron  sta 
turns  professional  and  for  several  years  er 
joys  a  successful  career.  The  team  fails 
pick  up  his  option  when  he  has  passed  hi 
peak;  instead  it  offers  him  a  job  as  coacr 
Douglas  refuses  but  can't  connect  elsewhere 
Prodded  by  Darnell  he  essays  an  embarrass 
ingly  unfunny  career  as  a  night  club  entei 
tainer.  Finally,  Bennett  separates  from  hin 
Douglas  dropsd  own  the  sports  ladder 
the  position  of  professional  wrestler.  Force 
to  choose  between  Bennett  and  Darnell 
tries  once  more  to  get  back  into  competi 
tion.  The  game,  in  which  he  shows  himse' 
very  much  the  champ,  proves  two  things 
that  he's  through  on  the  field  and  that  h 
has  no  alternative  but  to  resuume  his  famil 
life  and  meet  the  challenge  of  a  husband 
parent.  JAMES. 


American  audiences,  performs  the  role  of 
wealthy  Italian  merchant  with  his  usual  ex 
pertness.  The  Italian  actors  are  splendk 
bringing  warmth  and  vitality  to  their  variou 
minor  roles. 

STORY:  Janis  Paige  is  an  American  ghj 
married  to  Cianelli.  In  order  to  run  awa.j 
with  her  younger  lover,  she  kills  Cianelli.  ToJ 
late  she  realizes  her  husband  actually  love 
Miss  Barnes,  his  foster-sister.  This  disclosur 
brings  about  another  shooting  foray  in  whiclj 
the  over  is  disposed  of  and  her  own  suicide 
ANGElL 

FILM  BULLETH 


t 


'i 

2^3  4 


/A 


SEPTEMBER 


WED.  THURS. 


FRI. 


-  "T. 
I 

8 


PARAMOUNT 


16 


WEEK 


(J* 


***** 


ON  AN  ALL-TIME  RECORD  NUMBER  OF 
SCREENS  DURING  PARAMOUNT  WEEK 

with  features,  shorts  and  news  .  .  . 


Copra's  "HERE  COMES  THE  GROOM"  starring  Bing  Crosby -Jane  Wyman  •  Alexis  Smith 
ichot  Tone  •  James  Barton  •  with  Robert  Keith  •  and  introducing  Anna  Maria  Alberghetti 
^duced  and  Directed  by  Frank  Capra  •  Associate  Producer  Irving  Asher  •  Screenplay  by 
V)ina  Van  Upp,  Liam  O'Brien  and  Myles  Connolly  •  Story  by  Robert  Riskin  and  Liam  O'Brien 


'THE  FROGMEN1  DYNAMIC,  NOVEL  WAR  DRAMA 


Rates  •  •  •  —  where  exploited 


20th  Century-Fox 
96  minutes 

Richard    Widmark,   Dana    Andrews,  Gary 
Merrill,   Jeffrey   Hunter,   Warren  Stevens, 
Robert  Wagner,  Harvey  Lembeck,  Robert 
Rockwell,  Henry  Slate,  Robert  Adler. 
Directed  by  Lloyd  Bacon. 


"The  Frogmen"  ranks  among  the  top  war 
pictures  turned  out  in  the  last  five  years,  and 
has  the  added  advantage  of  tackling  a  little 
known  phase  of  the  American  effort  during 
World  War  II — the  incredibly  heroic  ac- 
tivities of  the  Navy  Demolition  Teams  which 
paved  the  way  for  our  landings  in  both  the 
Atlantic  and  Pacific  theatres.  Known  as 
"frogmen",  these  squads  were  composed  of 
superbly  trained  swimmers  and  technicians 
whose  underwater  surveys  of  enemy  instal- 
lations provided  information  on  which  the 
very  success  of  invasion  hinged.  In  some  in- 
stances, these  intrepid  sailors  actually  did 
the  destroying  themselves.  With  these  facts 


as  the  background,  producer  Samuel  G.  Engel 
weaves  an  arresting,  suspenseful  drama, 
somewhat  formula  in  its  personal  narrative 
but  never  to  the  point  that  it  standardizes  the 
picture.  The  emphasis  is  on  the  action  ma- 
terial, of  which  there  is  plenty.  And  the 
underwater  sequences  are  models  of  suspense 
and  excitement.  The  final  one  must  last  some 
IS  minutes,  and  during  every  one  the  on- 
looker is  glued  to  the  edge  of  his  seat.  The 
performances  by  the  all  male  cast  are  excep- 
tionally good,  and  Lloyd  Bacon's  direction 
shows  vigor,  understanding,  and  real  feeling 
for  his  subject.  Backed  by  exploitation,  for 
which  it  is  admirably  suited,  "The  Frogmen" 
should  pay  off  in  the  better  brackets. 

Richard  Widmark  plays  a  martinet  com- 
mander with  quiet  strength  and  dignity.  Dana 
Andrews  is  tops  as  his  aide,  and  Gary  Mer- 
rill's thoughtful  underplaying  of  the  skipper 
of  a  ship  on  which  the  Demolition  Team  is 
stationed  is  of  value  in  sustaining  the  dramat- 
ic conflict.  Jeffrey  Hunter,  Warren  Stevens, 


and  Robert  Wagner  stand  out  in  a  rathei 
large  cast  of  newcomers. 

STORY:  When  Richard  Widmark  takel 
over  command  of  a  Team,  he  is  in  the  difficul 
position  of  competing  with  the  memory  o 
the  previous  commander,  a  genial,  likeablJ 
officer  who  treated  his  men  as  equals  am 
partners  in  their  dangerous  work.  Widmark';il 
educated  background  is  another  black  mark 
Resentment  takes    noticeable  form  when  hi 
refuses  to  turn  back  and  save  part  of  th< 
squad,   reasoning    that   to   help   them  woulil 
endanger  the  lives  of  the  others.  He  threaten  |, 
demotion  to    Andrews  when  the   latter  pari 
ticipates  in  a  practical  joke  during  a  maneuve  I 
that  brings  injury  to  one  of  the  crew.  Wid] 
mark,  however,  shows  his  own  mettle  wheifr 
he  neutralizes  an  unexploded  torpedo  lodge! 
in  the  side  of  the  ship.  And  again  he  is  J 
hero  during  a  mission  that  brings  the  "frogl 
men"  right  to  the  shore  of  Japan.  The  asi] 
sociation  of  men  and  officer  teaches  each  I 
little,  and  at  their  parting  an  understandin  j 
has  been  reached.  HANNA  (Hollywood).  I 


PICKUP'  SORDID,  ARTY,  CHEAP  MELLER 


Rates  •  -f-  as  dualler 


Columbia 
80  minutes 

Hugo  Haas,  Beverly  Michaels,  Alan  Nixon, 
Howland  Chamberlin,  Jo  Carroll  Dennison, 
Mark  Lowell,  Art  Lewis,  Jack  Daly,  Bernard 
Gorcey. 

Directed  by  Hugo  Haas. 


"Pickup"  is  an  independent  production  of 
Hugo  Haas,  made  at  comparatively  low  cost, 
and  "picked  up"  by  Columbia  for  release.  The 
story  is  sordid  and  arty — a  European-style 
idea  with  little  of  interest  for  the  average 
American  movie  goer.  The  plot  of  a  foolish 
old  man  who  is  almost  bilked  by  a  trollop,  is 
unsavory,  and  its  development  is  largely  a 
matter  of  good  and  situation.  The  few  action 
sequences  involving  personal  conflict  among 
the  three  central  protaganists  are  distasteful 


because  the  struggles  are  unequal.  Working 
from  his  own  story  and  screenplay,  Haas 
shows  undeniable  talent  as  a  director.  And 
his  production  is  plainly  resourceful  in 
stretching  a  dollar  and  in  achieving  atmos- 
pheric values.  These  talents,  though,  arc- 
wasted  on  the  limited  value  of  the  story. 

As  the  old  railroad  worker  who  leans  the 
lonely  life  of  a  widower  and  looks  forward 
to  the  day  of  his  retirement,  Haas  gives  a 
sympathetic  performance.  Beverly  Michaels 
is  a  comely  miss  and  possibly  a  good  actress 
if  given  a  chance.  Alan  Nixon,  playing  her 
young  lover  is  okeh.  Howland  Chamberlin 
rather  overdoes  the  stereotyped  character  of 
the  tramp-philosopher. 

STORY:  Haas  makes  his  first  visit  to  the 
city  in  a  year  in  order  to  buy  a  dog;  his  has 
just  died.  Beverly  Michaels  picks  him  up  and 


provokes  his  interest.  When  she  discovei 
he  has  saved  $7,000  she  determines  to  marr! 
him.  Shortly  after  their  marriage  Haas  b<! 
comes  deaf.  On  the  very  day  he  is  to  1 
examined  by  the  company  doctors  his  hea] 
ing  is  restored.  However,  he  feigiu;  deafneJ 
in  order  to  get  his  pension,  thus  paving  til 
way  for  moving  to  the  city  and  what  ll 
hopes  will  be  a  happiei  life  with  his  younj 
wife.  A  few  weeks  must  elapse  before  tlj 
pension  is  granted.  During  this  time  Ha;| 
hears  his  wife's  low  opinion  of  him,  sej 
her  making  violent  advances  to  Nixon,  tlj 
young  man  who  takes  over  the  job  at  til 
siding.  Michaels  even  tries  to  persuade  Nil 
on  to  kill  the  old  man.  His  only  recourse  I 
to  tell  the  truth  to  the  company  and  dril 
Nichols  out  of  the  house.  He  prevents  Nil 
on  from  following  her  and  sends  the  lad  H 
into  the  arms  of  his  sweetheart.  JAMES.  J 


YOUNG  AS  YOU  FEEL'  FAIR  FAMILY  COMEDY 


Rates  •  •  +  in  family  spots 

20th  Century-Fox 
70  minutes 

Monty  Woolley,  Thelma  Ritter,  David 
Wayne,  Jean  Peters,  Constance  Bennett, 
Marilyn  Monroe,  Albert  Dekker,  Clinton 
Sundberg,  Minor  Watson,  Ludwig  Stossel, 
Renie  Riano,  Wally  Brown,  Rusty  Tamblyn, 
Roger  Moore,  Allyn  Joslyn. 
Directed  by  Harmon  Jones. 


'Young  As  You  Feel"  is  strictly  for  the 
family  trade,  a  quiet  comedy  of  an  oldster 
kicked  out  of  his  job  who  concocts  an  ingen- 
ious scheme  to  get  it  back  and  draw  attention 
to  the  huge  number  of  -killed  older  workers  re- 
tired prematurely.  As  produced  from  his  own 
screenplay  by  Lamar  Trotti,  the  story  suffers 
10 


from  the  unreality  of  the  complications.  How- 
ever, the  performances  are  good  and  Harmon 
Tones'  direction  does  much  to  bring  life  and 
freshness  to  the  long  dialogue  passages.  It's 
strictly  situation  stuff  —  funny  when  the  situa- 
tions supply  humor.rather  dull  when  they  don't. 

Monty  Woolley  plays  the  militant  old  print- 
er with  all  his  acid  verve,  and  Thelma  Ritter, 
the  nearest  thing  to  a  laughing  pill  in  exist- 
ence, scores  solidly  with  every  line  she  speaks. 
David  Wayne  is  rather  wasted  in  a  negligible 
romantic  role.  Jean  Peters  is  attractive  as 
Woolley's  grand-daughter.  Constance  Bennett, 
sleek  and  smart,  is  fine  as  a  matron  whose 
husband  has  been  neglecting  her. 

STORY:  When  W'ooley  learns  he's  through 
at  the  printing  plant  where  he  has  worked  for 
thirty-five  years,  he  determines  to  be  reinstated. 


He  discovers  the  company  is  the  subsidiary  J. 
a  holding  corporation  whose  president  is  I 
New  York  tycoon.  W'ooley  dyes  his  beard  al 
hair  black,  poses  as  the  president,  arrives  I 
a  tour  of  inspection.  He  insists  that  all  ol(H 
workers  be  given  back  their  jobs.  Pressed  ill 
an  appearance  before  the  local  Chamber  I 
Commerce  he  makes  a  speech  that  gets  fr! 
page  newspaper  attention.  The  real  president! 
in  the  embarrassing  position  of  not  know! 
whether  to  deny  words  that  have  captured  p 
attention  of  the  nation.  He  discovers  who  f 
impostor  is,  pays  him  a  visit,  sees  that  he  m 
his  job  hack.  Meanwhile.  Woolley  has  bp 
something  of  a  Mr.  Fix-it  himself,  straights' 
ing  out  the  romance  of  Wayne  and  Miss  Pelg 
and  giving  Miss  Bennett  new  confidence  in  W 
future.  ANGEL. 

FILM  BULLET* 


:ATTLE  DRIVE'  GOOD  TECHNICOLOR  WESTERN 

ates  •  •  •  in  action  houses,  good  dualler  elsewhere 


niversal- International 
minutes 

.el  McCreal,  Dean  Stockwell,  Chill  Wills. 
son  Ames,  Henry  Brandon,  Howard  Petrie, 
ob  Steele,  Griff  Barnett. 
irected  by  Kurt  Neumann. 

'Cattle  Drive"  is  a  top  grade  Western-action 
Le  that  veers  entertainingly  off  the  beaten 
rick,  an  attraction  that  will  have  particular 
[peal  for  action  and  juvenile  audiences.  The 
fcry  is  a  terse,  well-told  account  of  the  regen- 
»tion  of  a  spoiled  boy  when  he  falls  into  the 
finds  of  a  gang  of  likeable  cowhands.  It  is 
rprisingly  unexaggerated,  and  even  the  lone 


Heavy  is  a  real  person  instead  of  l lie  usual 
caricature.  Aaron  Rosenberg's  production  packs 
breathtaking  Technicolor  scenery  into  the  swift- 
ly paced  narrative,  and  Kurt  Neumann's  direc- 
tion shows  a  gift  for  making  characters  inte- 
resting and  in  blending  action  material  logically 
into  the  personal  story  thread.  "Cattle  Drive" 
is  one  of  the  better  attractions  tor  action  spots. 
It  should  be  a  good  dualler  generally. 

Clean-cut  Joel  McCrea  is  a  fine  choice  for  the 
role  of  the  quiet  cowpoke  who  influences  the 
lad.  and  Dean  Stockwell  plays  the  boy  with 
charm  and  taste.  Chill  Wills'  presence  in  tin 
comedy  lead  is  welcome.  Leon  Ames  plays  the 
boy's  father  excellently,  and  Henry  Brandon's 


:asa  MANANA'  low  caliber  secondary  musical 


ites  •  4-  as  du< 


onogram 
minutes 

>bert  Clarke,  Virginia  Welles,  Robert 
irnes.  Tony  Roux,  Carol  Brewster,  Paul 
axey,  Jean  Richey,  The  Rio  Brothers,  Ed- 
I  Le  Baron  and  his  orchestra,  Spade  Cooley, 
idira  Jiminez.  Zarco  &  D'Lores,  Mercer 
others,  Armando  &  Lita,  Betty  &  Beverly, 
ga  Perez,  Davis  &  Johnson, 
rected  by  Jean  Yarbrough. 


sa  Manana"  is  a  minor  musical  that 
go  to  the  bottom  of  the  class  for  its 
lack  of  entertainment  values  in  either 
or  specialty  divisions.  The  Monogram 
:tion  of  Lindsley  Parsons  follows  the 


overworked  formula  of  employing  a  cast  of 
tired  cabaret  artists  and  a  company  of  straight 
actors.  Both  teams  alternate  before  he  cam- 
era, and  the  result  is  a  hodge  podge  that  is 
more  reminiscent  of  a  hasty  TV  revue  than 
a  Hollywood  production.  Xeither  the  best 
efforts  of  the  players  nor  the  direction  of 
Jean  Yarbrough  succeeds  in  providing  the 
picture  with  a  vestige  of  camouflage. 

Robert  Clarke  walks  through  his  chores  of 
an  advertising  man  who  goes  into  the  night 
club  business.  Virginia  Welles  is  the  lady 
involved,  and  Robert  Karnes  performs  the 
duties  of  her  admirer.  In  the  roster  of 
specialty  artists  the  best  work  is  that  of 
Eddie  LeBaron's  orchestra  and  the  hoofing 
of  the  Mercer  Brothers.  The  Rio  Brothers 


meanie  grabs  attention. 

STORY:  Stockwell,  aboard  his  father's  pri- 
vate train,  misses  connections  after  a  stop.  Left 
alone  in  the  middle  of  the  Arizona  desert  he 
meets  McCrea  and  orders  him  to  take  him  back 
to  the  train,  promising  payment.  McCrea  count- 
ers with  an  offer  for  Stockwell  to  join  a  cattle 
drive  and  work  his  way  as  a  hand.  The  spoiled 
tenderfoot  is  furious  but  under  the  penalty  of 
heing  left  to  die  he  follows  along.  The  kid  is 
stubborn  but  Spunky,  soon  shows  himself  a  cap- 
abie  young  fellow.  After  some  vicissitudes  he  is 
returned  to  his  father,  much  the  better  for  his 
near-tragic  cx|>erience.  The  action  values  con- 
sist of  an  excellent  cattle  stampede  and  Mc- 
Crea's  efforts  to  catch  a  wild  horse  JAMES 


are  charged   with  the  comedy  chores. 

STORY:  When  Robert  Clarke  decides  to 
open  his  bistro  he  employs  Virginia  Welles 
as  his  vocalist.  Robert  Karnes,  another  ad- 
vertising man,  is  in  love  with  Miss  Welles 
but  is  opposed  to  her  aspirations  to  a  career 
in  show  business.  A  real  Casanova,  he  stops 
at  nothing  to  keep  her  from  singing  publicly 
and  contrives  an  elaborate  scheme  to  prevent 
Clarke  from  opening  the  Casa  Manana.  As 
you  might  expect  the  kitchen  workers,  wash 
room  attendents.  hat  check  girls,  etc.,  turn 
out  to  be  hugely  talented  performers  who 
play  the  show  and  establish  the  room  as  the 
hit  of  the  town.  Virginia  Welles  shows  up  in 
time  to  play  her  part  in  the  happy  ending. 
ANGEL. 


AVAGE  DRUMS'  ACTION  SALVAGES  IMPLAUSIBLE  PLOT 

ites  •  •  in  action  houses  as  dualler 


ppert 
minutes 

3bu,  Lita  Baron,  H.  B.  Warner.  Sid  Mel- 
i.  Steve  Geray,  Bob  Easton,  Margia  Dean, 
ancis  Pierlot.  Paul  Marion,  Ray  Kinney, 

,hn  Mansfield,  Edward  Clark,  Harold  Fong, 

Ick  Thompson. 

rected  by  William  Berke. 


Savage  Drums"  contains  enough  action  to 
mpensate  partialh-  for  its  implausible, 
newhat  ridiculous  story  line.  An  instance 

very  poor  taste  is  the  identification  of  the 
avies  as  easily  duped  Communists  who 
routed  bv  a  low  comedian  and  a  stench 


bomb.  The  story  line  is  wild  and  fanciful,  but 
William  Berke's  atmospheric  production  and 
swiftly  paced  direction  pull  it  together  and 
achieve  some  degree  of  coherence.  The  per- 
formances are  in  the  stylized  fashion  that 
appears  to  be  typical  of  South  Sea  Island 
adventures,  and  the  spirits  of  forefathers  are 
called  upon  frequently  in  the  flowery  dia- 
logue. "Savage  Drums''  is  pat  and  familiar, 
but  like  most  of  these  sagas,  entertaining  in 
spite  of  itself.  In  secondary  position  it  will 
get  by. 

Sabu  plays  the  part  of  a  young  ruler  with 
more  earnestness  than  is  really  necessary, 
and  Lita  Baron  figures  attractively  as  his 
home-island  girl  friend.  Old  reliable  H.  B. 


Warner,  an  old  hand  at  native  potentates,  is 
splendid.  Sid  Melton's  comedy  will  amuse 
the  kids.  Steve  Geray  is  a  fine  accented  heavy, 
and  Bob  Easton  also  renders  a  good  laugh 
performance  as  a  lanky  hillbilly. 

STORY:  Sabu  returns  to  his  island  after 
the  death  by  assassination  of  his  brother,  the 
king.  Sabu  sacrifices  a  career  as  a  boxer  in 
America  to  lead  his  people  against  a  fifth 
column  from  within  and  an  invasion  by  Red 
Orientals  from  without.  He  is  discredited  by 
the  enemy  but  by  fleeing  the  capitol  and  rous- 
ing the  people  of  the  hinterlands  to  march 
into  battle  with  him  the  lad  is  able  to  free 
his  people  and  make  a  treaty  with  Uncle 
Sam.  AXGEL. 


HE  BIG  GUSHER'  FAST  MOVING,  ROUTINE-PROGRAMMER 


ites  •  •  in  action  houses  as  second  dualler 

lumbia 
1  minutes 

ayne  Morris,  Preston  Foster,  Dorothy  Pat- 
k,  Paul  E.  Burns,  Emmett  Vogan,  Eddie 
rker,  Fred  F.  Sears, 
rected  by  Lew  Landers. 


Plot-wise.  "The  Big  Gusher"  is  routine 
'c — the  old  yarn  of  the  two  tough  guys 
io  battle  over  business  and  women.  How- 
er,  because  of  the  excellent  action  values 
ured  into  the  show  by  producer  Lew  Land- 
it  sparks   considerable  entertainment  for 

U  L  Y     3  0.     1  9  5  1 


the  juvenile  and  adventure  fans.  The  fisticuffs 
are  plentiful  and  rough.  The  dangers  of  oil 
drilling  are  dramatically  highlighted  and  the 
incorporation  of  excellent  stock  material 
showing  a  whole  oil  afield  ablaze  makes  for 
excitement.  Lew  Landers'  direction  is  rou- 
tinely brisk.  Satisfactory  for  lower  half  in 
action  spots. 

Wayne  Morris  and  Preston  Foster  are  fine 
as  the  tough  hombres.  and  Dorothy  Patrick- 
handles  her  leading  role  chores  with  skill. 
The  part  is  written  interestingly  as  a  legiti- 
mate foil  instead  of  being  the  usual  excuse  for 
a  romantic  thread.  Paul  E.  Burns  is  amus- 


ing as  the  sidekick,  and  Emmett  Vogan's 
heavy  is  splendid. 

STORY:  For  years  Foster  and  Morris 
save  their  earnings  as  drillers  in  order  to  buy 
their  own  land  and  wildcat.  During  a  spree 
Foster  buys  a  lease  that  the  owner  already 
has  sold  six  times.  On  another  spree  Foster 
loses  the  money  allotted  for  equipment.  This 
affords  Dorothy  Patrick  an  opportunity  to 
buy  in  as  a  third  partner.  At  first  in  the  em- 
ploy of  Vogan.  she  later  falls  in  love  with 
Foster  and  nips  Vogan's  scheme  to  take 
over  the  well  after  the  boys  have  done  most 
of  the  work.  AXGEL. 

11 


Short  Subjects 


By    B  A  R \ 


EROM  the  July  10th  Walter  Winchell  column : 
".  .  .  .  The  theatre  has  a  kind  of  suspended 
life  for  the  summer.  Not  the  movies,  though. 
Unlike  the  theatre,  the  movies  have  their  best 
pictures  opening  in  the  summer,  and  the  air 
conditioning  is  the  one  sure  relief  from  the 
heat  when  everything  else  fails." 

From  an  editorial  in  FILM  BULLETIN, 
March  12,  1951 :  "Squarely  facing  the  fact  that 
television  is  a  tremendous  competitive  force 
against  us,  we  urge  the  men  who  will  guide 
this  nationwide  showmanship  campaign  to  un- 
leash its  fullest  force  during  the  Spring  and 
Summer  months,  when  television  interest  tapers 
off  and  the  public  is  out  shopping  for  other  en- 
tertainment. Consider  the  merits  of  the  view 
that  with  the  release  of  some  of  the  stronger 
product  and  the  effects  of  the  concerted  bally- 
hoo, attendance  will  gain  a  momentum  during 
the  warm  seasons  that  might  well  keep  on  roll- 
ing when  the  big  TV  shows  return  in  the 
Fall.  This  could  be  the  crucial  time  to  win 
back  as  regular  moviegoers  the  multitudes  who 
have  gotten  into  the  livingroom  habit." 

From  an  article  in  FILM  BULLETIN, 
March  26th,  titled  "Must  We  'Die'  Every 
Summer?":  (Layman  speaking  to  film  sales- 
man about  movie  "traditions"),  "If  the  big 
men  in  the  movie  industry  open  their  eyes,  they 
will  realize  that  business  doesn't  have  to  die 
as  soon  as  the  warm  weather  sets  in.  As  a 
matter  of  fact,  that's  just  when  your  business 
should  start  living.  Talk  it  up,  George :  start 
'em  thinking.  They  might  very  well  discover 
that  the  Spring  and  Summer  will  be  the  BIG 
seasons  for  your  business  in  a  year  or  two." 


PK.HT  FANS,  both  the  veteran  boxing  ad- 
dict and  the  new  patrons  of  the  Queensberry 
quadrilles  created  by  theatre  television,  have 
been  flocking  to  theatres  to  take  a  gander  at 
Randy  Turpin,  the  British  boxer  who  dethroned 
Sugar  Ray  Robinson.  The  fight  film  of  the 
championship  match  gobbled  up  by  Herbert  J. 
Yates  for  exclusive  Republic  release,  has  been 
cleaning  up  in  its  initial  runs,  pushing  boxoffice 
well  above  normal  wherever  shown.  The  fight 
game  seems  to  have  received  a  real  hypo 
from  theatre  showings  and  publicity.  It's  un- 
doubtedly more  than  just  a  coincidence  that 
the  current  boxing  boom  was  kicked  oft"  with 
the  Joe  Louis  -  Lee  Savold  fight,  first  of  the 
theatre  TV  exclusives.  There  is  a  real  financial 
incentive  now  for  the  top  boxers  to  take  bouts 
with  each  other,  knowing  that  the  arenas  will 
be  crowded  with  fans  who  had  previously 
watched  the  matches  in  their  living  rooms  or 
for  the  price  of  a  few  beers,  while  a  mere 
hand  ful  turned  out  for  the  live  action.  On  the 
other  hand,  the  theatres  which  have  presented 
the  large-screen  telecasts  have  been  blessed 
with  busy  boxofflces,  too.  An  excellent  example 
of  one  band  washing  the  other. 

JERRY  WALD  and  Norman  Krasna  are  pre- 
*  paring  to  make  an  excursion  into  the  grass 
roots  area,  as  veil  as  the  large  metropolitan 
centers  of  th.  country  in  September  to  recap- 
ture the  con,  ,/  touch  so  easy  to  lose  in  Hol- 
lywood's ivorj  r  The  producers,  whose 
initial  independent  productions  for  RKO  'The 
Blue  Veil"  and  "Behave  Yourself!"  go  into  re- 

12 


JERRY  WALD 

Grass-Rooter 


lease  this  Fali,  will  combine  a  plugging  job 
for  the  films  with  a  series  of  tete-a-tetes  with 
exhibitors  and  distributors  to  determine  future 
production  plans.  The  trip,  Wald  declares, 
"will  provide  a  welcome  opportunity  to  dis- 
cuss with  exhibitors  the  current  problems  fac- 
ing the  industry.  It's  easy  to  become  detached 
from  exhibitor  problems  in  Hollywood"  — 
which  is  what  a  lot  of  exhibitors  have  been 
saying  for  years. 

EXPANDING  ITS  showmanship  campaign 
™  via  the  accessories  route,  inaugurated  with 
the  free  24-sheet  offer  to  exhibitors,  20th  Cen- 
tury-Fox has  announced  an  "experimental 
showmanship  test  involving  a  large  series  of 
novelty  accessories"  in  conjunction  with  Na- 
tional Screen  Service.  The  unusual  items  are 
being  offered  at  below  manufacturer's  cost, 
Fox  claims.  Kick-off  item  of  the  campaign  is 
a  special  "Belvedere   Bell"   hanger,  currently 


being  used  in  the  South  in  connection 
the  mass  saturation  run  of  "Mr.  Belvede 
Rings  the  bell."  For  "David  and  Bathsheba" 
special  package  of  six  20  x  60  door  panel 
each  carrying  a  highlight  scene  from  the  fill 
is  available  plus  a  striking  roto  herald  ai 
special  cut-out  counter  card  with  easel  for 
store  tie-ups.  On  'People  Will  Talk",  a  novel 
door-knob  hanger  is  being  prepared  in  larfl 
quantity.  All  of  the  novelty  accessories  are  ov 
and  above  the  regular  accessories  available  f( 
the  Fox  films. 

DKXAISSANCE  OF  the  regal  silken  bann 

is  being  planned  by  Paramount  for  its 
motion  campaign  for  "A  Place  in  the 
The  film,  which  has  the  company  sold 
mass  and  class  appeal,  and  which  seems 
headed  for  the  Oscar  derby,  will  revive 
10-fcot  two-color  silken  valances  and  30  x 
two  color  silken  bannerettes,  according 
vice  by  ad-publicity-exploitation  head  Je 
Pickman  wrote,  marks  the  revival  of  "very  in 
portant  promotion  instruments"  for  "addition; 
sound,  fine  merchandising"  in  the  back-t< 
showmanship  campaign. 


CTOCK  MARKET  TIP:  "We  visualize 
least  an  easing  of  both  the  internal  and 
ternal  problems  which  have  beset  the  (motio 
picture)  industry  in  the  past  few  years  —  a 
possibly,  a  definite  reversal  in  trend.  We 
encouraged  in  this  belief  by  the  fact  that  the 
have  been  at  least  negative  signs  of  impro 
meiit    in    box-office    trends    within  the 
month.  If  today's  promise  is  fulfilled,  it 
mean  that  1951  earnings  —  after  a  poor  fi 
half  start  —  will  come  close  to  last  year's 
suits,  while  1952  offers  an  interesting  potenti 
For  the  time  being,  therefore,  the  risk  of 
vidend  cuts  seems  to  have  been  minimized 
and  it  may  later  be  dispelled. 

"In  light  of  the  improving  background,  w 
believe  the  motion  picture  stocks  —  as  a  grou 
are  in  a  buying,  rather  than  selling,  area.  Cei 
tainly,  the  market  risks  as  such  are  relativel 
small  —  for  the  group  is  well  deflated  price 
wise  and  in  a  position  to  mirror  any  u| 
Even  if  the  full  improvement  potential  is 
to  be  realized,  there  should  at  least  be  a 
ket  breathing  spell  during  which  the  situati 
can  he  re-appraised.  This  is  the  time  of  yea 
when  a  seasonal  upturn  in  attendance  usual); 
begins;  and  no  one  has  yet  put  air  condition 
ing  in  television  sets."  From  an  analysis  o 
motion  picture  industry  stocks  by  S.  B.  Lurw 
in  a  bulletin  from  Paine,  Webber,  Jackson  8 
Curtis. 


iet' 

: 

p» 

/is 


WALTER  MIRISCH 

Mono- A  A  Studio  Head 


UfAl.TKR  MIRISCH.  newly  named  executn 
producer  for  Allied  Artists  and  Monogram 
is,  at  29,  one  of  the  youngest  production  chief 
in  the  history  of  the  industry.  The  studio 
per  boasts  a  wealth  of  both  book-larnin' 
practical    experience  in   the   industry,  despit 
his  youth.  A  graduate  of  the  University  of  Wis 
cousin  and  the  Harvard  Graduate  School  o 
Business  Administration,   Mirisch  has  been  ;  I 
member  of  the  industry  since   1943,  when  h* 
joined   the  Skouras  Theatres   Corp.,  and  th  | 
Oriental  Theatre  Corp.  He  started  producini 
for  Monogram-AA  in  1945,  proved  to  be  on 
of  the  most  active  and  creative  producers  en 
associated  with  the  companies. 

FILM     BULLET I 


ON  THE  ANNIVERSARY 
THAT  REFLECTS  CREDIT  UPON   ALL  ENGAGED  IN  THE 
CREATION  AND  EXHIBITION   OF  MOTION   PICTURES,  WARNER  BROS. 
WILL  ERECT  A  NEW  LANDMARK  TO   BE  LONG  CELEBRATED. 

LOOK  FORWARD,GO  FORWARD  -  NEXT  WEEK  THE  FIRST  SHOWINGS  OF 

GREGORYftCK  VlMMA  MAYO 
imiNHORATIO  HORN  BLOWER 


"V""  RAOUL  WALSH 


Screen  Play  by  Ivan  Goff  &  Ben  Roberts  and  Aeneas  MacKenzie 
From  the  Novel  by  C  S  Forester 


EXHIBITORS  fORUm 

Opinions  Culled  from  Organization  Bulletins 


FIGHT  DEFEATISM 

Allied  of  Mich. 

We  know  that  in  days  gone  by,  prior  to  the 
keen  competition  that  now  exists,  all  that  was 
necessary  to  do  business  (and  a  "lush"  busi- 
ness at  that)  was  to  place  film  in  the  projec- 
tion machines,  start  them  running  and  then  sit 
in  the  box  office  and  watch  the  nickels  and 
dimes  roll  in.  These  days  are  over  and  we  feel 
that  no  matter  how  high  the  quality  of  product, 
no  matter  how  acceptable  pictures  may  be,  it 
requires  the  concentrated  effort  on  the  part  of 
the  exhibitor  to  resell  the  public  on  the  idea 
that  motion  picturss  are  their  best  and  cheapest 
entertainment. 

Much  fine  talent  for  the  advancement  of  this 
business  lays  stagnant.  The  answer  to  our  prob- 
lems may  rest  in  the  mind  of  a  small  exhibitor 
in  a  small  town  or  in  the  mind  of  a  great  pro- 
ducer in  Hollywood.  These  ideas  can  be  brought 
out  as  the  result  of  organization,  whether  it  be 
one  of  the  exhibitor  organizations  or  one  of  the 
other  many  organizations  now  in  existence.  We 
should  set  our  minds  and  our  hearts  toward 
one  great  organization  which  has  as  its  sole 
objective  the  success  of  an  industry  that  has 
contributed  so  much  to  so  many  for  so  little. 
If  this  organization  be  COMPO  let  us  get  be- 
hind it.  If  it  need  be  some  other  type  of  or- 
ganization, let  us  find  it  immediately.  But  what 
ever  it  may  be,  let  us  organize  because  by  band- 
ing together  under  one  bond  of  service  we  can 
defeat  any  argument  that  the  movies  are  through, 

It  may  appear  to  be  prejudicial  but  we  believe 
that  Allied  States  Association  of  Motion  Pic- 
ture Exhibitors,  an  organization  founded  upon 
the  thinking  cf  men  of  vision  offers  everything 
in  organization  that  can  possibly  be  desired. 
We  hear  that  Allied  States  is  exclusively  an  ex- 
hibitor organization.  This  is  true,  however,  no 
organization  anywhere  is  as  anxious  to  stretch 
out  its  hand  in  the  spirit  of  friendliness  and 
in  the  spirit  of  cooperation  than  Allied.  We 
have  the  man  power,  we  have  the  knowhow,  we 
have  the  determination,  all  we  need  is  YOU ! 

PRINT  SHORTAGE 

North  Central  Allied 

The  so-called  "print  shortage"  has  been  an 
industry  bugaboo  for  longer  than  most  of  us  re- 
member. It  has  taken  on  new  meaning  with 
the  advent  of  TV.  TV  brings  fresh  entertain- 
ment into  people's  very  homes.  By  turning  on 
their  sets,  they  are  able  to  get  entertainment, 
news,  or  sports  events  that  are  going  on  at  the 
very  moment.  In  view  of  this  fact,  it  is  incum- 
bent upon  the  motion  picture  industry  to  ex- 
pedites the  presentation  of  its  product  to  the 
public  and  this  can  be  done  only  by  making  more 
prints  which  will  make  pictures  available  at  an 
earlier  date.  This  is  particularly  a  good  policy 
in  view  of  the  national  advertising  which  is  the 
distributors'  contribution  to  the  exhibition  side 
of  the  business. 

No  one  can  find  fault  with  the  type  of  adver- 
tising which  distributioi  provides  except  that  it 
fades  away  too  quickly  Although  the  greater 
part  of  film  revenue  r>  .1  from  a  top  feature 
is  garnered  from  the  runs,  the  "gravy"  is 
picked  up  from  subset]  p  rated,  in 

the  main,  by  small  exhib  Bui  if  that  ad- 

M 


vertising  were  supplemented  by  enough  prints 
and  more  current  showings,  it  would  help  a  lot. 
It  is  obvious  that  the  longer  an  exhibitor  is 
forced  to  wait  for  a  date,  the  less  valuable  the 
picture  is  to  him.  The  shortage  of  prints  in  thus 
reducing  the  value  of  the  picture,  should  be 
taken  into  consideration  by  the  distributor  and, 
when  a  picture  is  pulled  because  of  "no  print 
available,"  a  reduction  should  be  made  in  the 
film  rental.  Cooperation  between  distributors 
and  exhibitors  on  this  matter  will  benefit  both 
branches  of  the  industry. 

PRESERVE  THE  MOVIE  HABIT 

ATO  Gulf  States 

The  report  of  Industrial-Surveys  Co.  that  one 
out  of  every  three  families  with  children  under 
12  owns  a  television  set  is  serious  cause  for 
alarm.  Certainly,  such  news  justifies  the  in- 
dustry's theory  that  it  is  quite  possible  that  our 
all  important  youth  patronage  can  eventually  be 
weaned  away  from  our  heatres. 

No  doubt  this  announcement  r;r  the  pre- 
emption of  it  by  such  successful  theatre  operators 
as  the  Fanchon  and  Marco  circuit  was  the  basis 
for  the  action  of  admitting  all  children  accom- 
panied by  their  parents  free  in  their  thirty- 
four  circuit  houses. 

This  is  a  bold  stroke  in  conventional  type 
theatre  operation  and  it  seems  to  us  that  after 
all  the  pros  and  cons  have  been  weighed  out 
we  must  all  agree  that  here  is  one  method  of 
recapturing  the  dwindling  attendance  of  the 
kiddies.  Whether  or  not  it  is  the  right  method 
for  such  a  gigantic  accomplishment  can  only  be 
answered  at  some  future  date. 

To  bear  in  mind  that  the  up  and  coming 
generations  may  in  their  later  teen  and  early 
adult  years  know  nothing  of  the  motion-picture 
theatre  habit  is  a  shattering  assumption,  but 
nonetheless  a  possible  one.  Naturally,  the  in- 
dustry's job  both  in  production  and  exhibition  is 
to  ever  maintain  cognizance  of  the  pissibility 
and  a  diligent  investigation  and  study  of  the 
means  necessary  to  prevent  such  a  catastrophe. 

Perhaps  this  is  an  issue  for  COMPO  which 
has  been  organized  for  the  preservation  and 
animation  of  the  industry.  Furthermore,  perhaps 
you  have  an  effective  means  of  bringing  back 
and  keeping  the  children  in  our  theatres,  your- 
self. If  so,  make  it  known ;  if  not,  set  into 
action  your  brain  waves.  You  may  be  smarter 
than  you  think ! 


FREE  HELP 

ATO  of  Inidana 

Someplace  or  other  we  read  where  a 
drive-in  operator  encouraged  crowds  at 
his  theatre.  It  appears  that  they  are  ex- 
cellent scavengers  and  do  a  great  job 
of  KP  by  cleaning  up  all  the  adds  and 
ends  of  foods  that  are  dropped  or  dis- 
carded in  a  drive-in.  We  can't  tell  you 
how  to  encourage  the  crows  to  come 
around  but  pass  on  this  hint  so  that  you 
WOn'l  shoot  them  or  shoo  them  if  you're 
lucky  enough  to  have  these  cleaner-up- 
pers. 


UNFAIR  EXEMPTIONS 

Allied  of  Indiana 

The  new  tax  bill  which  has  passed  the  House 
Ways  and  Means  Committee  and  now  goes  to 
the  Senate  Finance  Committee  is  a  discrimina- 
tory and  punitive  piece  of  legislation  that  will 
doom  a  lot  of  theatres  that  are  already  being 
rawhided  by  the  HCL,  TV  and  overseating. 
Privisions  of  the  new  admission  tax  would  ex- 
empt picture  theatres  operated  by  a  cooperative 
or  a  community  center,  admissions  to  entertain- 
ments for  the  benefit  of  religious,  educational 
or  charitable  institutions,  non-profit  concerts 
and  operas,  fairs,  high  school  athletics,  and  state 
or  community  operated  swimming  pools,  skating 
rinks,  etc. 

Xow  we  don't  pretend  that  any  exhibitors  are 
happy  over  getting  competition  but  they  will  ad- 
mit that  under  our  free  enterprise  system  anj- 
body  has  a  right  to  build  a  theatre  in  opposition 
— provided  they  are  going  to  play  the  game  un- 
der the  same  rules.  But  they  do  cry  "foul" 
when  tax  free  and  tax  supported  institutions 
compete  with  the  commercial  theatre  —  when 
fly-by-night  promoters  are  freed  of  certain  lia- 
bilities because  they  give  some  group  a  small 
percent  of  the  gate  —  or  when  their  theatrical 
competition  is  subsidized  in  any  way.  If  there 
is  going  to  be  any  reduction  or  elimination  in 
ticket  taxes,  then  the  average  movie  goer  and 
family  should  be  first  in  line  because  he  is 
one  of  the    least  able  to  afford  the  tax. 

Neither  of  Indiana's  Senators  are  on  the  Fi- 
nance Committee  but  Allied's  General  Council 
will  speak  before  the  committee  in  behalf  of 
our  members.  In  states  that  have  representation 
on  the  committee  the  exhibitor  organizations 
there  are  communicating  their  views.  We  ask 
our  members  now  to  be  prepared  to  express 
themselves  to  their  representatives  in  Washing- 
ton at  such  time  as  it  is  considered  most  advis- 
able to  make  their  position  known. 

The  multitude  of  evasions  and  abuses  that 
would  come  into  being  under  this  proposed 
admission  tax  change  are  apparent  to  any  thea- 
tre operator.  For  one  example,  take  the  com- 
mercial ventures  of  U.  S.  colleges.  A  study  by 
the  American  Council  of  Education  shows  that 
150  colleges  are  buying  commercial  enterprises 
out  of  endowment  funds.  The  tax  exempt  earn- 
ings of  the  businesses  they  take  over  are  used 
to  buy  still  more  businesses  from  private  enter- 
prise that  can't  pay  the  high  corporate  taxes 
and  compete  with  the  tax  exempt  institutions. 
As  a  few  illustrations.  New  York  University 
owns  the  Mueller  Macaroni  Works,  a  piston 
ring  factory  and  a  pottery  plant.  A  college  in 
Schnectady  owns  all  the  real  estate  of  Allied 
Stores  around  the  country.  The  University  of 
Louisville  owns  Churchill  Downs.  Many  Wool- 
worth,  Montgomery-Ward  and  Sears  &  Roe- 
buck stores  are  college  owned.  A  college  in 
Sioux  City,  Iowa  owns  the  public  transit  sys- 
tem. These  are  the  kind  of  ventures  that  can  be 
called  charitable,  cultural  or  educational  and 
when  a  college  becomes  both  the  owner  and 
the  operator  all  city,  state  and  federal  taxes 
are  lost.  In  addition  must  they  have  admission 
tax  exemptions? 

FILM     B  U  F.  I.  E  T  I  I 


"'OUOT6S 


What  the  Newspaper  Critics  Sag  About  New  Films 


SHOW  BOAT'  OPENS  TO 
UNE  OF  CRITICAL  ACCLAIM 

1  Loud  hosannahs,  here  and  there  tempered 
tith  reservations  arising  from  t he  inevitable 
Luparison  with  earlier  productions,  domin- 
oed the  New  York  newspaper  reviews  of 
Metro's  musical  extravaganza,  "Showboat." 
I  few  of  the  critics  went  all-out  in  their 
■raise,  while  others  showed  more  restraint, 
felling  hack  on  the  old  "it's  pretty  good,  but 

i  Bosky  Crowther,  of  the  Times,  calls  it 
a  grand  Technicolored  production"  and  "a 
oyous  experience."  Lauding  the  music,  the 
nging  and  all  other  elements  which  make 
|p  the  show,  he  tags  it  a  "brilliant  re-crea- 
lon"  which,  "just  like  Ol'  Man  River,  keeps 
jllin'  along." 

||  The  superlatives  are  rolled  out  by  the  Jour- 
al-American's  Rose  Pelswick  for  "a  musical 
hat  has  everything."  She  describes  it  as"a 
jvely,  lavish  2nd  lilting  piece"  that  is  "tops 
1  eye-and-ear  enterta'nment,"  summing  up 
1  it h  "you'll  enjoy  it  immensely." 

In  the  World-Telegram,  Alton  Cook  is 
Lipressed  with  "a  mighty  picturesque  and 
olorful  'Show  Boat'  "  whose  Kern  tunes 
sound  surprisingly  fresh  once  more."  All  in 
II.  he  concludes,  the  new  crew  "is  an  ad- 
mirable one." 

With  one  eye  and  ear  still  directed  to  past 
Know  Boats."  the  Post's  Archer  Winsten 
'rites  "that  classic  of  one  generation  has 
mch  to  offer  spectators  of  the  next  .  It  loses 
smarkably  little  appeal  with  the  passage  of 
me." 

Seymour  l'eck.  of  the  Compass,  finds  it  a 
iittle  solemn  and  slow,  a  little  ornate  and 
randiose,"  but  still  "a  big,  handsome,  sobd 
nd  pleasing  show"  whose  "elements  may 
'ell  make  it  popular  from  one  coast  of  Am- 
rica  to  each  other." 

Calling  it  "summer  entertainment  on  a 
|jper  scale,"  Otis  L.  Guernsey.  Jr..  in  the 
lerald  Tribune  notes  that  it  is  "staged  like 

series  of  vaudeville  acts  with  a  lot  of  dis- 
lay  but  very  little  effective  continuity." 

SIROCCO" 

loLUMBIA 

I  "Humphrey  Bogart's  latest  melodramatic 
'himsy  ...  A  perfect  dish,  with  all  the  right 
lgredients,  but  there  is  no  fire  under  it.-"Guer- 
r«K  -V.  Y.  Herald  Tribune. 

''Slightly  platitudinous  and  conspicuously  lack- 
pg  in  charm."  —  Crowther,  X.  Y.  Times 

"Syria  is  a  mile  of  two  from  Casablanca  but 
jou  will  recognize  the  caravan  and  the  bag  of 
hicks."  —  Peck.  X.  Y.  Compass. 

"This  is  one  of  those  Hollywood  equivalent 
|>bs,  Damascus  for   Casablanca   .  .  .   and  so 

>rth  until  parallels  peter  out  completely."  — 

'nuten,  X.  Y.  Post. 

"Makes  its  pitch  at  being  a  melodrama  full 
t  sound  and  fury.  One  hears  plenty  of  sound 
ut  most  of  the  fury  is  either  off-screen  or 
irouded  in  those  dark  shadows."  —  Cook, 
■  Y.  World  Telegram. 

"A  natural  for  Humphrey  Bogart  .  .  .  Bang- 
P  melodrama  of  intrigue  and  skullduggery." 
-Pelsiiick,  X.   Y.  Journal  American 


'CIRCLE  OF  DANGER' 

UNITED  ARTISTS 

"Too  lacking  in  substance  to  prevent  a  woe- 
ful sagging  of  structure,  skin,  foundation  or 
anything  else  that  should  be  upright  or  taut." 
—Winsten.  M.  Y.  Post. 

"One  of  those  quiet  chiller-dillers  which  builds 
up  terrific  suspense  .  .  .  Worth  all  the  time  and 
effort."  —  Cook,  N.  Y.  World  Telegram. 

"Ending  is  unconventional  and  a  surprise,  and 
yet  hardly  worth  the  time  required  to  get  to 
it."  —  A.  P.,  X.  Y.  Compass. 

"Moves  along  well  with  a  good  idea,  though 
it  lacks  the  embroidery  of  the  best  examples  of 
its  type  .  .  .  Minor  mystery  diversion." — Guer- 
nsey, X.  Y.  Herald  Tribune. 

"Mild  melodrama  .  .  .  Despite  its  cast,  melo- 
dramatic ingredients  and  title,  it  is  still  an  un- 
exciting and  largely  placid  adventure." — A.  W., 
X.  Y.  Times. 

"Good  suspense  drama  .  .  .  Unwinds  at  a 
rather  leisurely  pace  .  .  .  An  ingenious  who- 
dunit."— Peln^ick,  N.  Y.  Journal-American. 

'STRICTLY  DISHONORABLE' 

M  -  G  -  M 

"He  (Pinza)  would  do  better  in  something 
less  capricious.  But  with  the  crowd  yesterday, 
he  was  okay." — Croxvther.  X.  Y.  Times. 

"Stock  arrangement  of  minor  movie  non- 
sense .  .  .  Pinza  flair  registers  on  the  screen  and 
should  come  in  very  handy  in  future  circum- 
stances .  .  .  Indicates  that  he  is  going  places  in 
a  new  medium."  —  Guernsey,  X.  Y.  Herald 
Tribune 

"Enough  tang  ...  to  keep  an  audience  laugh- 
ing pretty  steadily  and  at  something  better  than 
horseplay." — Pollock.  X.  Y.  Compass. 

"Strictly  for  laughs  .  .  .  Accent  on  comedy 
and  romance  rather  than  on  music  .  .  .  Light 
and  gay  entertainment." — Pelswick,  X.  Y.  Jour- 
nal-American. 

"Has  come  off  the  shelf  as  a  boisterous 
and  bouncy  farce  .  .  .  Capitol  customers  will 
find  screen  conditions  there  better  than  they 
have  been  in  several  months." — Cook,  X  Y. 
World  Telegram. 

"Fails  to  remind  you  of  the  older,  better 
play  that  first  brought  fame  to  Preston  Sturges 
.  .  .  Seems  they  have  guarded  themselves  too 
successfully  against  the  howls  of  the  prudish."— 
Winsten,  X.  Y.  Post. 

'FORT  WORTH* 

WARNER  BROS. 

"Smooth,  traditional  budding-town  Western, 
with  few  frills  and  nothing  to  worry  the  imagi- 
nation."— Guernsey,  X.  Y.  Herald  Tribune. 

"Robust  westerner  .  .  .  Moves  at  a  lively 
clip." — Pels-wick,  X.  Y.  Journal  American. 

"Familiar  and  well-tested."— Coot.  .V.  }'. 
World  Telegram. 

'  What's  the  latest  Randolph  Scott  western 
all  about?  Need  anyone  ask?"  —  H.  H.  T.. 
X.  Y.  Times. 

"Of  better  than  average  production  value, 
otherwise  faithful  to  formula."  —  Winsten, 
N.  Y.  Post. 


'TAKE  CARE  OF  MY  LITTLE 
GIRL' 

20th  CENTURY -FOX 

"A  worthy  effort,  at  least  twice  aj  interesting 
as  the  repititiotis  films  that  hog  screen  time." 
— Winsten,  N.  Y.  Post. 

"Excellent  screen  version  of  Peggy  Goodin's 
novel  .  .  .  Will  bring  hilarious  delight  to  any- 
one hostile  or  indifferent  to  sororities." — Cook, 
X.  Y.  World  Telegram. 

"Sincere  motion  picture  whose  s»iciological  in- 
tent is  utterly  defeated  by  an  obvious  and  banal 
treatment  .  Embedded  in  cliches  and  general 
self-consciousness."  —  McCord,  N.  Y.  Herald 
Tribune. 

"Has  the  advantage  of  freshness  of  theme  as 
well  as  a  commendable  forthrightness  .... 
Does  not  wholly  attain  the  force  nor  fulfill  the 
potentialities  its  theme  deserves."— Peck,  N.  Y. 
Compass. 

"Brightly  entertaining  and  frankly  provocative 
.  .  .  May  hurt  the  sorority  business,  but  it 
should  do  the  box  office  plenty  of  good."  — 
Cnrwther,  X.  Y.  Times 

"Bright  and  engaging  comedy  "  —  Pelswick, 
N.  Y.  Journal- American. 

'I  WAS  AN  AMERICAN  SPY' 

ALLIED  ARTISTS 

"Film  celebration  of  daring  deeds  under  Jap- 
anese noses."— Pihodna.  X.  Y.  Herald  Tribune. 

"While  occasionally  tense,  isn't  especially 
stimulating  .  .  .  Threadbare  little  showcase." 
H.  H.  T.,  X.  Y.  Times. 

"A  true  story  .  .  .  An  exciting  story  of 
courage."— Pels-wick.  X  .  Y.  Journal- Ameri- 
can. 

"Unfortunately,  a  dreary  picture,  over-acted, 
directed  without  imagination  .  .  .  Describes  an 
heroic  adventure  in  clumsy,  old-fashioned 
terms."— E.  C.  N.  Y.  World  Telegram. 

"Turns  out  to  be  a  plain  spy-thriller,  neither 
better  nor  worse  than  most  .  .  .  More  action 
and  thrills  than  significant  content  or  interest- 
ing character." — A.  W '.,  N.  Y.  Post. 

'MASK  OF  THE  AVENGER' 

COLUMBIA 

"Moviegoers  of  more  than  one  year's  ex- 
perience had  better  beware." — Winsten,  N.  Y. 
Post. 

"Galloping  picture  ...  in  regulation  fashion 
For  those  who  still  like  galloping."— Pollock, 
X.  Y.  Compass. 

"Lush  Technicolored  action  picture  .  .  .  Fast, 
flashy  costumed  horse-opera  .  .  .  Energetic, 
funny  and  without  harm." — Crcrwther,  N.  Y. 
Times. 

"Beautiful  Technicolor  photography  and 
handsome  period  costumes  and  scenery  thrown 
away  on  an  asinine  script  .  .  .  Shop-worn,  un- 
imaginative .  .  .  nonsense." — Barstow.  N.  Y. 
Herald  Tribune. 

"Principally  needs  a  sense  of  humor,  a 
Fairbanks,  perhaps,  to  chuckle  at  all  these 
fantastic  doings." — Creelman,  X.  Y.  World 
Telegram. 

"Fun  .  .  .  An  amusing  swashbuckler  that's 
kept  romping  along  at  a  lively  clip." — Pels- 
wick, 2V.  Y.  Journal- American. 


U  L  Y     3  0.     1  9  5  1 


15 


SPYROS  P.  SKOURAS 

Speeds  Theatre  Color  TV 


THEATRE  TINT  TV  HASTENED 
BY  FOX  PACTS  WITH  GE.  CBS 


The  dim  outline  of  color  television  for  mo- 
tion picture  theatres,  somewhere  in  the  nebu- 
lous future,  came  into  much  sharper  focus 
last  week  as  20th  Century-Fox  president 
Spyros  P.  Skouras  revealed  that  an  agree- 
ment has  been  made  with  General  Electric  to 
produce  full-color,  high  definition  television 
studio  equipment  to  be  used  in  conjunction 
with  the  20th-Fox  Eidophor  projection  sys- 
tem of  theatre  TV. 

The  20th  toppers  announcement  came 
within  a  week  after  he  had  announced  ac- 
quisition of  the  right  to  use  the  CBS  color 
process  in  the  Fox  Eidophor  large  screen 
theatre  TV  system.  He  also  revealed  that 
20th  engineers,  working  closely  with  those  of 
the  Swiss  Institute  of  Technology,  where 
Eidophor  was  developed,  and  with  engineers 
of  CBS  and  GE,  expect  to  be  ready  for 
demonstration  of  large  screen  color  TV  be- 
fore the  end  of  the  year,  probably  this  fall. 

Programming  for  the  new  color  TV  broad- 
casting to  theatres,  Skouras  disclosed,  is  al- 
ready being  planned.  Included  in  the  types  of 
shows  under  consideration,  he  said,  are 
"stage  shows,  whole  operas,  grand  orches- 
tral performances  and  outstanding  variety 
shows  to  be  broadcast  to  thousands  of  Ameri- 
can motion  picture  theatre  television  screens 
simultaneously."  These  shows,  Skouras  em- 
phasized, "will  be  especially  geared  for  large 
screen  theatre  TV  and  will  in  no  way  con- 
flict with  the  present  production  for  home 
reception.  Indeed  there  can  be  no  doubt  that 
the  inauguration  of  theatre  TV  will  spur  all 
television  programming  to  higher  standards 
for  general  public  benefits." 

Skouras  acquired  the  Eidophor  system  last 
February  during  his  trip  to  Switzerland.  The 
GE  equipment  will  consist  of  a  simplified 
three-color  televi  ion  camera  and  associated 
studio  gear  which  will  pro-hu  e  pictures  claim- 
ed to  be  of  holier  definition  than  are  avail- 
able with  present  TV  broadcast  standards 

of  525  lines 
16 


BULLETIN 

Vol.  19,  No.  10  July  30,  1951 

News 

and 
Opinion 

DISTRICT  COURT  RULES  NSS 
VIOLATES  ANTI-TRUST  LAWS 

The  monopoly  label  was  slapped  on 
National  Screen  Service  last  week  in  E.  Pa. 
Federal  District  Court.  U.  S.  District  Court 
Judge  James  P  McGranery,  dubbing  Nation- 
al Screen  a  monopoly  both  in  "intent"  and 
in  "fact",  granted  a  summary  judgment 
against  NSS  asked  by  four  independent  post- 
er exchange  plaintiffs.  The  producer-distri- 
butor co-defendants,  escaped,  at  least  tem- 
porarily, from  the  ruling  when  Judge  Mc- 
Granery held  that  additional  evidence  must 
be  presented  in  subsequent  hearings  to  war- 
rant issuance  of  a  summary  judgment. 

In  another  decision,  Judge  McGranery  dis- 
missed the  "representative  class"  action  by 
an  exhibitor  against  NSS,  ruling  that  the 
plaintiff,  Rio  Haven  Inc.,  had  no  right  to 
bring  such  action  on  behalf  of  all  independ- 
ent exhibitors  in  the  country. 

Exclusive  contracts  between  National 
Screen  and  the  film  companies  were  the  key 
to  the  Court  decision.  Judge  McGranery  held 
that  NSS  has  the  power  to  remove  plain- 
tiffc  from  competition  by  refusal  to  supply 
the  indies  with  advertising  accessories  ma- 
terial. Certain  non-exclusive  agreements, 
through  renewal  terms,  demonstrated  the 
same  monopoly  motivation,  the  Court  ruled. 

A  decree  will  be  prepared  from  proposals 
by  counsel  for  both  parties,  regarding  the  ex- 
tent to  which  National  Screen  will  be  res- 
trained. 

ROGERS  WINS  TEMPORARY 
INJUNCTION  IN  TV  SUIT 

What  appeared  to  be  the  most  serious  set- 
back to  Hollywood  plans  for  re-release  of  old 
films  for  exhibition  via  home  television  was 
landed  when  a  temporary  injunction  restrain- 
ing Republic  from  releasing  Roy  Rogers 
oldies  for  video  was  granted  by  the  Federal 
Dirtrict  Court  in  Los  Angeles. 

The  temporary  injunction,  requested  by 
Rogers  last  month  to  prevent  Republic  and 
its  subsidiary,  Hollywood  Television  Services, 
Inc.,  from  using  his  name  and  the  name  of 
his  horse.  Trigger,  in  connection  with  TV 
commercials,  was  ordered  pending  a  hearing, 
tin   which  no  date  has  vet  been  set. 


ROBERT  J.  O'DONNELL 

Jubilee  Chief 


HOLLYWOOD  PARLEYS  FORGE 
VITAL  STUDIO-THEATRES  LINK 

The  missing  link  between  production  and 
exhibition  apparently  has  been  found  for  the 
first  time  in  the  history  of  the  movie  indus- 
try. A  plan  for  periodic  consultations  between 
the  men  who  make  pictures  and  those  who 
show  them  was  heartily  approved  at  the 
COMPO-sponsored  producer-exhibitor  round 
table  conference  in  Hollywood  last  week. 

The  four-day  series  of  parleys,  which  saw 
exhibition  leaders  representing  a  complete 
cross-section  of  the  nation's  theatres  sitting 
across  the  table  from  Hollywood's  highest 
production  echelon,  also  tackled  such  topics 
as  the  forthcoming  all-industry  jubilee  cam- 
paign this  Fall,  television,  quantity  and  qual- 
ity of  pictures,  content  of  films,  advertising, 
and  other  related  problems  of  import  to  the 
boxoffice. 

The  plan  for  regular  round  table  confabs 
involves  the  establishment  of  a  rotating  com-  | 
mittee  of  leading  exhibitors  to  go  to  Hollj 
wood  every  two  months  for  consultations 
similar  to  the  precendent-setting  series  last 
week.  All  constituent  exhibitor  members  of 
COMPO  will  thus  have  a  chance  to  make  J 
their  views  known  in  person  to  production 
heads.  The  plan  was  presented  by  the  pro- 
ducers through  spokesman  Harry  Cohn, 
president  of  Columbia. 

Getting  behind  the  jubilee  campaign  with 
fervor,  the  meeting  hailed  the  appointment 
of  Robert  J.  O'Donnell  as  national  director  of 
the  b.o.  drive.  His  acceptance  of  the  job, 
COM  I'O  president  Ned  E.  Depinet,  declared, 
"is  one  of  the  finest  things  that  has  happened 
in  our  industry  in  years."  And  in  Washing- 
ton, Allied's  A.  F.  Myers  gave  whole-hearted 
endorsement  to  the  appointment,  urging  all 
Allied  members  to  support  O'Donncll's  lead- 

F  I  L  M  BULLETIN 


News  and  Opinion 


Irship,  "confident  that  he  will  he  impartial  as 
letween  the  several  exhibitor  associations." 

I  About  $700,000  has  been  allocated  by  the 
hajors  for  Jubilee  advertising,  with  additional 
fccpenses  expected  to  raise  the  promotion 
Igure  close  to  the  million-dollar  mark.  Presi- 
lent  Truman  will  be  asked  to  launch  the 
Jubilee  campaign  with  a  nationwide  broad- 
est on  September  30th. 

I  A  lively  and  spirited  discussion  of  the 
Iresent  and  potential  impact  of  television  on 
lie  movie  industry  led  to  several  conclusions: 
Hi)  TV  competition  has  about  reached  its 
leak,  barring  unforeseen  innovations  in  the 
lext  few  years:  (2)  Subscription  television  is 
hither  practicable,  profitable  or  controllable 
lid  is  harmful  to  the  interests  of  both  movies 
lid  video.  Besides,  Allied  president  Trueman 
I,  Rembusch  pointed  out,  all  such  systems 
ave  been  proven  to  be  susceptible  to  "boot- 
■gging",  i.e.,  tuning  in  without  paying;  (3) 
(ilms  made  for  theatrical  distribution  should 
i pt  be  available  to  TV,  nor  should  stars  be 
iicouraged  to  appear  on  the  new  medium  too 
rten,  since  audiences  will  tire  of  them,  and 
I  leir  boxoffice  value  will  be  dissipated;  (4) 
arge-screen  theatre  TV  will  become  an  im- 
prtant  adjunct  to  the  film  attraction  in 
lieatres  and  will  serve  to  return  many  mem- 
ftrs  of  the  "lost"  movie  audiences. 

I  Advertising  and  exploitation  of  films  was  a 
>re  point  with  many  exhibitors  during  the 
iial  day  of  the  confab  last  Thursdays,  which 
atured  a  discussion  of  industry  public  rela- 
pns.  Subject  matter  and  manner  of  presen- 
tion  of  movie  advertising  took  quite  a  roast- 
g  as  exhibitors  tore  into  hackneyed  phrases 
id  format.  David  A.  Lipton,  Universal-Inter- 
itional  ad-publicity  director,  sole  represen- 
tee of  the  advertising  branch  of  the  indus- 
y,  offered  the  suggestion  that  the  industry 
Induct  a  study  of  the  ad  media  currently  used 
see  whether  full  effect  is  being  received 
bm  present  allocations.  He  also  suggested 
I'nsideration  of  a  pool  among  advertisers  to 
I  spent  selling  pictures  collectively. 

[The  meeting  took  to  its  heart  an  idea  of 
oduction  of  a  monthly'  newsreel,  specially 
signed  to  counteract  false  and  damaging 
Dries  about  the  industry.  Details  will  be 
)rked  out  and  presented  for  adoption  at  the 
xt  COMPO  meeting. 

With  TOA's  Gael  Sullivan  as  Chairman  of 
e  Round  Table  Committee,  speakers  at  the 
isions  included,  from  exhibition,  Rembusch, 
Donnell,  Si  Fabian  (TO A),  Rotus  Harvey 
•CCITO),  H.  A.  Cole  (Allied),  Ted  Gamble 
OA),  Pat  McGee  (TOA),  Ben  Marcus 
■Hied),  Fred  Schwartz  (MMPTA),  John 
olfberg  (Allied),  Sam  Pinanski  (TOA), 
n  Berger  (Allied),  and  Sidney  Meyer 
V'ometco).  Production  heads  who  took  the 
strum  included:  Cohn,  B.  B.  Kahane,  Dore 
nary,  Jack  L.  Warner,  Stanley  Kramer, 
Frank  Freeman,  William  Perlberg,  Har- 
v  and  I.  E.  Chadwick,  as  well  as  Guild 
>resentatives  Ronald  Reagan  and  George 
•irphy. 


DORE  SCHARY 


Leo's  Studio  Boss-man 


SCHARY  HEADS  METRO'S 
4-MAN  EXECUTIVE  COMMITTEE 

Dore  Schary,  vice-president  in  charge  of 
production,  will  function  as  chief  of  M-G-M 
studio  operations  in  his  new  capacity  as 
chairman  of  a  four-man  executive  committee 
named  at  the  east-west  conference  held  in 
Chicago.  Other  members  of  the  committee 
are  E.  J.  Mannix,  general  manager.  Benjamin 
Thau  and  Louis  K.  Sidney. 

"This  will  not  in  any  way  affect  the  execu- 
tive board  which  will  continue  to  function  as 
it  has  in  the  past,"  Schary  announced. 

Following  the  Chicago  meeting,  the  studio 
appointed  Marvin  H.  Schenck,  Loew's  vice- 
president,  as  a  member  of  the  executive 
board,  and  Ralph  Wheelwright  as  special  as- 
sistant to  the  board.  Wheelwright  will  give 
up  his  job  as  assistant  studio  publicity  direct- 
or for  his  new  assignment. 

TENDERS  ASKED  BY  WB  TO 
RETIRE  15  MILLION  STOCK 

A  total  of  $15,000,000  has  been  appropriated 
by  Warner  Brothers  for  the  purchase  for  can- 
cellation and  retirement  of  outstanding  com- 
mon stock,  it  was  announced  by  president 
Harry  M.  Wrarner  in  a  letter  to  the  corpora- 
tion's stockholders. 

Setting  the  deadline  for  tenders  at  3  p.  m., 
August  16,  1951,  the  letter  stated  that  the 
Warner  brothers  (Harry  M.,  Albert  and  Jack 
L.)  as  well  as  some  members  of  their  fam- 
ilies, had  advised  the  corporation  of  their 
intention  of  tendering  a  total  of  100.000 
shares  of  stock. 

A  company  statement  also  revealed  a  prof- 
it of  approximately  $2,150,000  resulted  from 
the  sale  of  Warner  properties  since  January 
11,  1951.  About  $5,550,000  was  the  aggregate 
price  which  will  be  paid  the  corporation  for 
23  theatres  and  other  properties  sold  or  con- 
tracted for  sale. 


BROIDY  SEES  BEST  QUARTERLY 
PROFIT  IN  MONO-AA  HISTORY 

Tin-  bet  quarterly  profit  in  tin-  history  of 
Monogram-Allied  ArtM>  will  be  forth-coin- 
ing when  the  figures  are  audited  lor  the  com- 
pany's fourth  quarter,  ended  June  30,  1951. 
President  Steve  Broidy  made  this  bright  an- 
nouncement at  a  meeting  of  the  board  of 
directors,  based  on  the  unaudited  figures  for 
the  period.  It  was  expected  that  the  quarter- 
ly net  would  top  the  combined  earnings  re- 
ported by  the  company  for  the  other  thru 
preceding  quarters.  And  more  of  the  same  is 
expected  for  the  current  fiscal  year.  Broidy 
stated,  in  his  appraisal  of  company  current 
and  future  product. 

All  nine  members  of  the  present  board 
were  nominated  for  re-election  by  the  stock- 
holders at  the  annual  meeting  next  Novem- 
ber. G.  Ralph  Branton  was  also  nominated 
to  fill  the  vacancy  on  the  board  created  by 
the  death  of  Charles  Trampe.  A  veteran  ex- 
hibitor, Branton  was  general  manager  of  Tri- 
States  Theatre  Corp.,  which  he  organized  18 
years  ago  with  A.  H.  Blank.  Branton  and 
Blank  disposed  of  their  stock  interests  in 
Tri-States  to  United  Paramount  on  January 
1,  1951. 

DISNEY-SOUVAINE  "ALICE" 
HASSLE  TO  APPEALS  COURT 

On  the  assumption  that  many  movie-goers 
would  not  know,  until  they  had  paid  their  way 
into  the  theatres,  whether  the  "Alice  in  Won- 
derland" they  were  about  to  see  was  the 
Walt  Disney  cartoon  version  or  Lou  Bunin's 
puppet-live  action  feature.  Gunther  R.  Less- 
ing,  vice-president  and  general  counsel  for 
Walt  Disney  productions,  promised  an  ap- 
peal to  the  Circuit  Court,  following  the  lower 
court  ruling  dismissing  the  Disney  injunctive 
move  against  Bunin. 

Although  the  Federal  District  Court  refus- 
ed his  application  for  an  injunction  against 
Souvaine  Selective  Pictures,  distributors  of 
the  Bunin  version,  Lessing  expressed  con- 
fidence "that  the  Circuit  Court  of  Appeals 
will  take  action  to  prevent  this  confusion 
and  deception." 

The  Disney  appeal  came  after  Judge  Alex- 
ander Holtzoff,  of  the  Federal  Court,  denied 
the  injunction  on  the  grounds  that  "no  one 
has  the  right  to  monopolize  'Alice  in  Won- 
derland', and  the  competition  of  the  Lou  Bun- 
in puppet  version  of  the  story  should  be  en- 
couraged rather  than  suppressed." 

Commenting  on  the  decision,  Henry  Sou- 
vaine, president  of  Souvaine  Pictures,  said,  "It 
speaks  for  itself.  It  is  comforting  to  know 
that  even  in  so  quixotic  an  industry  as  the 
motion  pictures,  'equal  justice  under  the  law' 
is  not  just  an  adage  but  a  living  fact.  Be- 
sides which,  we  happen  to  think  that  -Mr. 
Bunin's  'Alice  in  Wonderland'  is  the  first 
really  authentic  version  of  the  Lewis  Car- 
roll classic  that  the  motion  picture  industry 
has  yet  made." 


LY     3  0,  1951 


17 


EXPLOITATION  PICTURE 

PRESOLD  'CYRANO  CUES  PAY  OFF 

Roadshow  Keys  General  Release 

It  isn"t  often  that  a  theatreman  receive?  a  film  endowed  with  the  exploitation  bless- 
mge  that  surround  Stanlev  Kramer"?  fourth  consecutive  film  success.  "Cyrano 
de  Bergerac."  as  it  goes  into  its  general  release  at  reguJar  prices.  Let  us 
take  a  look  at  the  past  record:  The  nose  at  left  belongs  to  the  winner 
the  195<»  Academy  Award  for  best  actor.  Jose  Ferrer,  on  the  basis 
bis  performance  in  this  film:  "Cyrano's"  roadshow  run  in  35 
kev  citv  engagements,  itself  backed  by  an   estimated  million  dol- 
rs  in  paid  newspaper  advertising  space,  radio  and  T\  time, 
has  penetrated  and  saturated  the  entire  country  with  an 
swareness  of  the  film,  star  and  quality:  a  five-week  lec- 
ture and  personal  appearance  tour  by  star  Ferrer:  a 
two-months"  stint  by  advance  men  teams  that  covered 
every  newspaper  office,  magazine  editor's  desk  and  radio-T\ 
utlets  within   reach:   an  impressive  backlog  of  invaluable 
licity  in  newspapers  and  magazines,  unsolicited  and  based 
i<V£>  /        w   purely  on  the  film's  and  star's  new  sworthiness :  a  heavy  school  pene- 
^^gjfjt  /r     tration  encouraged  by  the  excellent  filmization  of  the  classic  Edmond 
■^■L^'    Rostand  play.  In  this  huge  pre-selling  lies  the  foundation  for  the  exhibi- 
w^Kr   tor's  exploitation  effort  for  the  regular  price  showings.  The  "Oscar""  idenri- 
hcation.  of  course,  is  one  that  can  and  should  be  utilized  to  full  effect.  The 
W  earlier  roadshow  engagements  add  a  two-pronged  selling  aid:  lending  prestige 
to  the  attraction  and  exciting  the  "bargain"  instinct  by  contrasting  the  former  ad- 
vanced admissions  with  the  tag  line.  "Now  at  Popular  Prices!""  This  should  be  a 
"mu?t"  in  even  merchandising  effort..  Another  important  ballyhoo  stemming  from  the 
earlier  showings  are  critics"  plaudits  earned  by   "Cyrano"  throughout  the  country. 
Listed  in  the  bang-up  United  Artists  pressbook  issued  exclusively  for  the  popular  price 
campaign  are  excerpts  from  the  newspaper  reviews  in  most  of  the  key  cities  during  the 
limited  roadshow  run.  The  listing  is  so  comprehensive  that  virtually  even-  theatre  lo- 
cation can  find  clips  from  a  newspaper  servicing  their  individual  areas.  There  is  also 
a  long  list  of  accolades  from  various  national  magazines  and  leading  women's  organi- 
zations and  educational  groups. 

^  hile  all  of  the  foregoing  is  built  on  "Cyrano's"  past  fame  in  the  earlier  engage- 
ments, it  would  be  wise  to  remember  that  the  film  in  itself  has  a  wealth  of  selling 
points  in  the  fiery  action,  the  tender  and  beautiful  love  story  and  in  the  magnificent, 
lovable  character  of  Cyrano.  One  of  the  best  film  hucksters  in  the  business.  Max 
loungstein.  and  his  crack  staff,  have  prepared  a  hard-hitting,  extensive  campaign  for 
the  current  release.  A  carefully  selected  group  of  field  exploitation  experts  are  alerted 
for  even  possible  aid  to  exhibitors  in  giving  the  film  an  all-out  bally.  Those  exhib- 
it. <x-  who  play  "Cyrano"  have  the  wherewithal  to  build  the  attraction  to  smash  pro- 
portions. They  should  not  miss  the  opportunity. 


The  Academy  Award  is  a  powerful  bo: 
stimulus  and  can  be  capitalized  in  striking 
plays,  as  well  as  in  conjunction  with  ad 
publicity.  Above  is  the  giant  dispky  that  show 
for  the  first  time  outside  of  Hollywood,  an  a 
tual  Oscar  statuette,  the  cme  won  by  Fertl 
for  his  "Cyrano"  performance.  The  display,  ■ 
sured  by  Uoyds  of  London,  is  being  tool 
nationally  concurrent  with  the  general  release 

W  hile,  of  crurse.  use  of  this  display  is  1 
ed.  variations  are  easily  adaptable  to  any  theatre 
The  front  can  feature  a  gilded  blow  up  of  til 
figure  or  it  can  stand  at  the  head  of  the 
stairway.  Alongside  would  be  a  Jose  Fow 
cut-out  w-ith  copy  :  "The  Man  with  the  Sm 
Who  W  on  the  Academy  Award."  There 
special  still  of  Ferrer  s  Oscar  which  can  h 
blown  up  and  bordered  with  stills  from  Ik 
picture,   each  captioned  with  appropriate 


Aided  by  the  high-powered  UA  field 
exhibitors  can  rig  up  some  real  eye-catchers 
the  display  line,  such  as  the  one  above 
lor  the  KKO  Albee  opening.  A  series  of 
an  stills,  available  irom  National  Screen,  a 
admirably  suited  for  blowups,  and  a  pair  of  ft 
color  -40  x  60*s.  based  on  the  Life  and  Imm 
ieaiures.  makestriking  lobby  displays. 

SCHOOL  TIES 


During  the  roadshow  run.  school 
dents  permuted  school  children  to  go' 
"Cyrano"  during  regular  school  hours,  a 
Student  Discount  Tickets.  The  same  can 
used  for  the  current  run.  distributed  thron. 
o.  .rial  school  channels  with  similar  time-off  J 
rangements  to  visit  the  theatre  during 
hours. 


EXPLOITATION  PICTURE  rfttoime 


Extemporizing   in  verse  as  he 


duels  with  his  adversary,  Cyrano  administe 
the  coup  de  grace  ~vith,  "...  then,  as  I  end  the  retrain,  thrust  home 


(Cyrano    cle  J3e 


ergei 


Long  before  a  lovable  guy  named  Durante  made  the  nose 
a  significant  part  of  the  human  architectural  scheme  in 
America,  a  French  playwright.  Edmond  Rostand,  had  given 
the  world  another  magnificent  proboscis  attached  to  one  of  the 
most  swashbuckling,  colorful  and  heroic  characters  in  dramatic 
history.  Cyrano  de  Bergerac.  Portrayed  on  the  American  stage 
in  past  years  by  such  grand  actors  as  Richard  Mansfield 
and  Walter  Hampden,  and.  most  recently,  by  Jose  Ferrer,  the 
fabulous  Cyrano  has  stirred  the  hearts  of  tens  of  thousands  of 
drama  lovers  with  his  brilliant  swordplay,  rhetoric  and  ro- 
mance. Now.  with  Ferrer  in  the  title  role,  it  is  available  to 
millions  through  the  medium  of  the  films  and  has  been  accord- 
ed a  treatment  that  has  resulted  in  accolades  and  honors  from 
critics  the  countrv  over,  and  an  Academy  Award  for  the  star. 


The  huge-nosed  hero  of  the  classic  tale  is  a  poet-swords- 
man-philosopher, the  finest  swordsman  and  soldier  in  France. 
Hopelessly  in  love  with  his  beautiful  cousin.  Roxane  I  Mala 
Powers),  who.  in  turn.  i>  enamoured  of  a  young,  handsome 
soldier,  Christian  (William  Prince  I.  Cyrano  agrees  to  furnish 
the  inarticulate  soldier  with  the  words  to  woo  the  lovely 
Roxane.  Won  by  Cyrano's  words  as  spoken  and  written  bv 
Christian,  Roxane  marries  the  latter  just  before  he  is  called 
off  to  war.  Realizing  that  the  girl  is  actually  in  love  with 
his  benefactor.  Christian  arrange.-  for  Cyrano  to  disclose  his 
own  love  to  Roxane.  but  is  killed  in  battle  and  Cyrano  knows 
his  secret  will  be  kept  forever.  It  is  only  15  years  later,  when 
Cyrano  lays  dying  after  an  ambush,  and  he  recites  Christian's 
last  letter  to  her  that  Roxane  realizes  that  ul  have  never 
loved  but  one  man  in  mv  life,  and  I  have  lost  him  —  twice." 


ALLIED  S  'NEW  LDDK 


(Continued  from  Page  5) 

ceeded  in  invoking  a  monopoly  law  to  bring 
about  "interchangeability",  as  it  was  called, 
in  the  reproduction  of  recorded  sound,  and 
prevailed  upon  RCA  president  David  Sarnoff 
to  market  a  high-quality  installation  for  small 
theatres  at  a  fractional  cost  of  the  so-called 
"approved"  installations.  Allied  gained  pres- 
tige, more  members,  but  not  recognition  by 
the  film  companies. 

Less  than  a  year  after  Allied's  formal  in- 
auguration, the  first  attempt  at  "conciliation" 
(there  were  to  be  seven  more  fruitless  trips 
to  the  well  over  the  next  20  years)  was  made 
when  the  late  Billy  James,  president  of 
MPTO  of  Ohio,  invited  the  Allied  leaders  to 
its  convention.  Upon  arrival,  they  found 
Paramount's  Sidney  Kent  and  the  Hays  or- 
ganization's Charlie  Pettijohn  on  hand.  As 
Myers  describes  it,  "At  the  banquet  the  storm 
broke.  Kent  deplored  the  'destructive'  policies 
of  Allied  and  proposed  that  an  effort  be  made 
to  'settle  all  differences  within  the  industry.' 
Pettijohn  went  him  one  better  and  declared 
that  unless  the  shooting  subsided  he  would  see 
to  it  that  the  affiliated  theatres  became  dues- 
paying  members  of  'consructive'  exhibitor  or- 
ganizations." Myers  picked  up  the  gauntlet, 
branded  Pettijohn's  statement  "a  threat"  and 
said  that  to  bow  to  it  would  be  "pusillani- 
mous." Thus  was  fired  the  opening  round  on 
record  of  eloquent  expletive  that  was  to 
characterize  the  relations  between  Allied  and 
its  antagonists. 


Early  Years  M ild 

Strangely  enough,  Allied's  first  years  of 
distributor  relations  were  comparatively  mild. 
Steffes'  brawn  encased  a  gentle  heart  much 
more  disposed  towards  friendly  negotiation 
than  fighting  invective.  In  the  belief  that  in- 
dustry problems  could  be  settled  over  the  con- 
ference table.  Allied  formulated  a  program  tow- 
ard this  end,  submitted  it  to  Kent,  who,  in  turn, 
asked  the  other  majors  and  MPTOA  to  send 
representatives.  Out  of  this  grew  the  5-5-5 
Conference,  which  reached  an  abortive  end 
a  year  later  after  a  series  of  unproductive 
huddles.  It  was  the  first  and  only  time  that 
Allied  was  able  to  sit  down  with  a  head  of  a 
film  company.  In  all  subsequent  attempts  at 
negotiating  differences,  the  Allied  people 
were  shunted  off  to  underlings  who  had  no 
power  to  make  binding  commitments. 

The  film  company  lawyers,  cognizant  of 
Myers'  canny  knowledge  of  legal  intricacies 
and  his  nose  for  loopholes,  were  always  on 
hand  to  prevent  any  rash  concessions. 

Over  the  next  five  years  there  were  sev- 
eral attempts  to  arrive  at  suitable  arbitration 
systems,  all  submitted  by  the  Will  Hay's  Or- 
ganization. None  was  acceptable  to  Allied 
and  finally  the  Supreme  Court  put  an  end  to 
the  Hays  arbitration  systems,  declaring  them 
illegal.  Many  Allied  leaders  risked  retaliation 
by  testifying  against  the  systems. 

As  far  Lac!;  as  1935,  Myers  felt  that  the 
only  way  left  for  the  independent  exhibitors 
to  come  into  their  own  was  to  force  legisla- 
tion upor  >'iC  distributors  and  "to  sue  hell 
20 


out  of  them."  Steffes,  however,  felt  the  major 
companies  should  be  given  another  oppor- 
tunity to  make  peace.  He  prevailed  upon 
Allied  to  send  another  committee  to  Will 
Hays.  The  movie  "czar"  disclaimed  respon- 
sibility for  competitive  practices;  his  only 
function  was,  he  said,  "to  pour  oil  where  the 
squeak  is"  in  his  own  organization.  That  set- 
tled it.  The  next  year,  at  the  1936  Conven- 
tion, divorcement  and  divestiture  were  men- 
tioned as  the  remedy  to  the  affiliates  domina- 
tion of  exhibition.  From  that  time  on,  Allied's 
stand  did  not  deviate. 

Steffes,  impatient  with  the  miles  of  red 
tape  involved  in  Federal  action,  managed  to 
get  a  divorcement  bill  approved  in  the  North 
Dakota  Legislature.  The  law  was  challenged 
and  upheld,  but  the  victory  was  shortlived. 
Film  company  lobbyists  descended  on  the 
State  Capitol  and  the  law  was  repealed.  But 
a  victory,  more  significant  than  any  in  pre- 
vious Allied  history,  had  been  won — the  doc- 
trine of  divorcement  had  been  given  legal 
sanction.  Shortly  thereafter  the  Department 
of  Justice  filed  suit  against  the  eight  majors 
for  anti-trust  violation. 

In  the  lush  war  years  and  immediately 
after,  there  was  not  too  much  incentive  on 
the  part  of  the  exhibitors  to  push  the  anti- 
trust fight.  Allied,  however,  continued  its  mili- 
tant attitude,  gained  more  units  and  was 
steadily  increasing  its  influence  on  the  inde- 
pendent exhibitors  of  the  nation,  and,  conse- 
quently, branding  the  distributors'  hide  with 
its  importance  as  a  force  to  be  respected. 

Allied's  greatest  victory,  the  triumph  that 
was  the  real  prelude  to  its  respect  as  an  in- 
tegral and  vital  organ  of  the  industry  body, 
emerged  from  the  Federal  Court  decision  that 
separated  exhibition  from  production-distribu- 


A.  F.  MYERS 

'Pusillanimous?"  Xever, 


tion.  Steadfastly  maintaining  its  stand  o 
divorcement  and  divestiture  as  the  sole  rem 
edy  for  the  majors'  monopoly,  despite  tempt 
ing  offers  of  compromise,  the  Allied  leader 
ship  tasted  the  sweet  fruits  of  its  long 
struggle  as  the  Supreme  Court  cast  its  bless 
ing  on  divorcement. 

The  reforms  Allied  has  fought  for  over  th 
years  have,  to  a  large  extent,  been  accom 
plished.  Affiliated  chain  expansion,  freezing 
out  independents,  selling  away  of  products 
and  runs,  compulsory  block-booking  an 
blind  selling,  and  other  abuses  have  been 
erased  by  Court  decree.  Its  struggle  against 
increased  admission  price  films,  its  check  on 
film  rentals  through  Caravan,  the  ASCAP 
victory,  the  admissions  tax  battles  and 
host  of  other  accomplishments  have  also  help 
ed  to  reserve  a  stature  for  the  organization 
that  cannot  be  tossed  off  as  "crackpot", 
terloper"  or  "no-account".  It  has  earned  its 
place  as  a  part  of  the  industry  foundation 
and,  except  for  a  few  die-hards,  the  intelli 
gent  film  man  accepted  this. 

Talk  Comes  Easier 

It  is,  consequently,  not  actually  a  miracle 
but  a  simple  evolutionary  process,  that  the 
relations  between  Allied  and  the  film  com 
panies  have  reached  the  respectable  stage 
More  and  more,  distributor  and  producer  top 
executives  are  attending  Allied  meetings 
both  regional  and  national.  The  atmosphere 
has  softened,  the  tenseness  that  attended  the 
few  earlier  visits  by  film  men  to  these  con 
venions  and  in  private  meetings  has  relaxed. 
As  a  result  of  the  "new  look",  many  of  the 
Allied  leaders  are  less  rigid  and  more  amen 
able  to  talk. 

On  the  other  side,  the  distribution  leaders 
are  finding  that  they  are  not  dealing  with 
long-haired,  bearded,  bomb-throwers,  but 
men  who  have  no  more  than  a  desire  to  get  a 
fair  shake,  men  who  will  attain  their  just 
ends  by  amicable  means  if  they  can,  but  who 
have  demonstrated  that  they  can  fight  both 
wisely  and  well  when  they  have  to. 

Unlike  the  Hays  office,  its  successor,  the 
Johnston  Motion  Picture  Association  has 
been  cordial  and  interested  in  any  Allied 
overtures.  Eric  Johnston,  noted  for  his 
diplomacy  and  conciliation  practices,  stands 
in  direct  contrast  to  the  Hays  model  of  dis 
tribution  organization.  This,  too,  has  been  a 
not  inconsiderable  factor  in  the  rosier  rela- 
tions. 

Allied's  whole-hearted  support  of  COMPO! 
and  its  business-building  campaign,  the  hon- 
est desire  for  a  fair  arbitration  system,  and 
other  recent  actions,  give,  for  the  first  time, 
indication  that  an  industry  unity  unprece- 
dented in  movie  history  can  be  achieved,  a 
unity  that  will  maintain  the  integrity  and 
autonomy  of  each  faction.  The  Allied  lead 
ership,  fired  in  the  crucible  of  struggle  against 
great  odds,  and  strengthened  by  hard-won 
victories,  is  hardly  the  soft  clay  that  can  be 
molded  and  absorbed  by  their  well-heeled 
erstwhile  adversaries. 

The  entire  industry  stands  to  benefit  from 
the  new  mutual  respect,  for  much  more  good 
can  be  accomplished  when  the  veil  of  suspi- 
cion is  lifted  and  only  the  actual  issues  to  be 
settled  are  laid  bare. 

W  hen  the  thorny  glove  is  removed,  the 
handshake  is  firm  and  smooth. 

FILM     BULL  E  T  I  N 


'RODUCTIOn 


R€CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Dat«. 
"No."  is  the  release  Number-  "Rev."  is  the  issue  in  which  tk« 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


METRO-  COLD  WYN -MAYER 


1950-51 


Features 

Serials 

Westerns 


Completed  (38) 
Completed   (  3) 
Completed  (12) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


N  PRODUCTION 

TITLE — Running  Tim* 
loet!  Mi  are 

COMPLETED 


Cast  Rel. 
Holden-S.  Clements 


Morris-Foster 


3rave  Bulls,  The  1 1071 


„hain  ot  Circumstance 
Criminal  Lawyer 
iark  Page 

3ick  Turpin's  Ride  _ 
:irefighters,  The   


:lying  Missle,  The 


.Crawford-Holiday 
Ferrer-Quinn 
S.  Beckett-J.  Lydon 
Hall-Farraday 
McGyire-Meere 
M.  Feld-R.  Grayson 

O'Brien-Wyatt  

Crawford-Derek  _ 
Hayward-Medina 
.Williams-Reynolds 


Starrett-Burnette  . 
Weismuller-Talbot 
Gomei-Dandridge 
O'Brien-Martin  _ 
Kiepura-Eggerth 
Hall-Windsor 


7-51 


Harlem  Globetrotters,  The  _ 

Her  First  Romance  (73)   

Her  Wonderful  Lie   

Hurricane  Island  IC)   

iungle  Jim  in  the  Forbidden  Land   Weissmuller-Ryan   

lungle    Safari   Weissmuller-Greene   

.orna  Doone  ITI    Hale-Greene  _   _  4— 5 1  

U  1*01    Wayne-DaSilva    3-51  

■Aaq'tc  Carpet   Ball-Agar  „    _ 

-(an  In  the  Saddle  Scott-Leslie    

-task  of  the  Avenger   (T)    183)  Derek-Quinn    7-51   3-59 

-ly  True  Story  148)  Parker-Walker       __  3-51 

clever  Trust  A  Gambler  17?)   Clark-O'Donnell  8-51  3-24 

Dperation  X  (78)  Robinson-Cummins  2—5 1 

'raire  Roundup  _Starrett-Burnette    1-51    _  343 

'urple  Heart  Diary  .   F.  Langford-T.  Romano 

levenue  Agent  .   ..Kennedy-Wilies  .    3-51    .  312 

lidin'  the  Outlaw  Trail    Starrett-Burnette  ...  2-51  

liders  of  the  Whistling  Pines   Autry-White         _  ...  

•ante  Fe  (T)    (87)     _     Scott-Carter      .   _  4-51 

Saturday's  Here  Derek-DaRe    :  

l.ecret.  The   D«rek-Cobb 

Autry-Davis 
Bogart-Loran 

-Hale 


7-16 
5-21 
7-16 
2-26 


ilver  Canyon  (70) 
lirocco  (981         ...   _  _ 

■n  Wonder 
»on  of  Dr.  Jekyll 
luany  Side  of  the  Street 

N  Tall  Men  IT)  

tias  Rangers 

I'alentine   (T)  103)   

'alley  of  Fire     

Var  Cry 


7-51 


Vhen  the  Redskins  Rode  (C)  (78) 
Vhirlwind  

'ank  in  Korea,  A  (73)   McAllister-Phillips 


Geo.  Montgomery 
Parker-Denter 
Aotry-Burnette 
Montgomery- Long 
Hall-Castl* 
Autry-Burnette 


6-51 

4-51 

3-26 

5-51 
 4-51 

 6-18 

 2-51  

.  _  3-24 

L  I  P  P  ERT 


I95C-5I   Features        Completed   (61)       In  Production  (6) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Tim*  Cast 

Bella  of  New  York  ITI  Asteire-Vera-Ellen 

Singin'   In  The  Rain  IT)  Kelly-O  Connor 

Just  This  Once   Leigh-Lawford 

The  North  Country  (CI   Granger-Corey   

County  Line  .  Pidgeon-Hodiak 

Johnson-Douglas 

COMPLETED 


5-7       When  In  Rome 


Across  the  Wide  Missouri  IT)  195) 

American  in  Paris  IT)   

Angels   in  the  Outfield 
Bannerline 

Callaway  Went  Thataway 

Calling  Bulldog  Drummond  175) 

Cause  for  Alarm  175)  

Excuse  My  Dust  IT)  (821   

Father  s  Little  Dividend  (82) 

Go  For  Broke  192)   

Great  Caruso.  The  (Tl  (1091 
Grounds  For  Marriage  191) 

Home  Town  Story  141)   

Inside  Straight  190)   

It's  A  Big  Country   

Kim  IT)  (112)   

Kind  Lady  178) 
Law  and  the  Lady.  The  (1041 
Light  Touch,  The 
Lone  Star 

Love  Is  Better  Than  Ever  _  _ 
Magnificient  Yankee  189) 

Man  With  A  Cloak  

Niqht  Into  Morning  1861 
Imperium  (T)  (87) 


No  Questions  Asked  181)  

Wild   North  Country,   The  (A) 

Painted  Hills,  The  (T)  168)  

Pandora  and  the  Flying  Dutchman 

(T)  (123)   

People  Against  O'Hara  1103) 

Quo  Vadis   IT)    _  . 

Rain,  Rain,  Go  Away 

Red  Badge  of  Courage  (81) 

Rich.  Younq  and  Pretty  IT)  (95) 

Royal  Wedding  (T)  (921  

Show  Boat  ITI  (108)   

Soldier's  Three  (92)   

Strictly  Dishonorable  195) 
Strip.    The  185) 

Tall  Target.  The  (78)   

Teresa  (1051   

Texas  Carnival  (T)  

Thin  Knife.  The 

Three  Guys  Named  Mike  (90) 

Too  Young  To  K*ss 

Two  Weeks  with  Love   IT)  192) 

Vengenance  Valley  (T)  183)   

Watch  the  Birdie  (7B)   

Westward  the  Woman  


Sante-Hodiak 
Kelly-Caron 
Douglas-Leigh 
Forrest-Braselle 
MacMurray-McGuire 
Pidgeon-Leighton 
Young. Sullivan 
Skelton-Forrest 
Tracy-Taylor 
Johnson-Anderson 

Lama-Blyth   

Johnson-Grayson 
Crisp-Reynolds 
Brian-Dahl 
All  Star 
Flynn-Stockwell 
Barrymore-Evans 
Garson-Wilding 
Grainger-Angeli 
Gable-Gardner 
Taylor-Parks 
Calhern-Harding 
Cotten-Stanwyek 
Milland-Hodiak 
Turner-Pima 
Sullivan-Dahl 
Granger-Corey 
Williams-Keel 

Mason-Gardner 
Tracy-O'Brien 
Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
Astaire-Powell 
Garaner-Keel 
Granger-Pilgeon 
Pinia-Legih 
Roor.ey-Forrest 
Powell-Raymond 
Angeli-Erickson 
Williams-Skelton 
Pidgeon-Harding 
Wyman-Johnson 
Ailyson-Johnsrin 
Powell-Montaiban 
Lancaster-Walker 
Skelton-Britton 
Taylor-Dareel 


Mar 

 July_ 

138         7  16 
121  2-24 
135  7-2 

A  or 

121 

 July  

Aug 
Aug 

110 
139 

July 

137  3-12 

 lulv  

Mar 

Sep 
Nov 

119  2-12 

10-23 

Feb 

117.  .  2-12 

Jan 

113  12-4 

950-51 


Completed   (22)       In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 

COMPLETED 

TITLE — Running  Time  Cast 

andit  Oueen     Britton-Parker   

anger  Zone   .    Beaumont-Travis  

|BI  Girl  _.   


mgerprints  Don't  Lie 

•  I.  Jane 

ome  Town  Bov 


e*ve  It  To  the  Marines 

'We  Big  Horn    _ 

osf  Continent  

lask  of  the  Dragon 
Per  23  ._ 
resent  Arms 
l  oaring  City 

avage  Drums  

ky  High 

•eel  Helmet.  The 
top  That  Cab 
Desperate  Men  _  _ 


C.  Romero-G.  Evans 

Travis-Ryan   

Porter-Neal 
H.  Lloyd.  Jr.  _ 
Colonaa-Porter   


Rel. 

 12-15 

4-20 


ULY     3  0 


9  5  1 


S.  Melton 

Ireland-Bridges  _ 

Romero-Brooke 

Travis-Ryan 

Beaumont-Savage 

J.  Sawyer 

Beaumont-Travis  _ 

Sabu-Baron 

S.  Melton-M.  Lynn 

Edwards-Brodie 

Melton-Adrian  _  . 

Foster-Davis 

Rose-Carroll   

-F.  Miller  


  8-17 

 5-18- 

  8-24 

 4-18- 

  7-27 

  _  3-17 


9-14 
2-2 
6-22 
9-21 


No. 
.5810 
5017 
5002 
5015 
5012 
5022 
5007 
5005 
5003 
5004 
5013 
5018  . 
5023 
5016  . 
5001 
5024  . 
5006 
501 
5009 
5020 
5019 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (26) 
Completed   (  8) 


In  Production  (3) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Blue  Rn  

Fort  Osage  

Elephant   Stampede  .  

COMPLETED 

According  to   Mrs.  Hoyle  (60) 

Blazing  Bullets   

Bowery  Batalion  

Casa  Mariana  

Cavalry  Scout  (C)  (78)   

Counterfeit    —   

Father  Takes  The  Air   

Father's  Wild  Game  (ill   

Ghost  Chasers  149)   

Gypsy   Fury  (431  

Joe  Palooka   in   Hitch-Hike  Kill* 


Morris-OFIynn 
Cameron-Nigh 
Sheffield 


Byington-Chandler 
Brown-Hall 
Gorcey-Hall 
Forbes-OHerlihy 
Cameron-Long 
DeFoe-Kmg 
Walburn-Gray 
Walburn-Gray 
Gorcey-Hall 
Viveca-Lindfors 
Kirkwood-Downs 


Joe   Palooka   in   the  Squared 

(43)   -  

Longhorn,  The 
Lion  Hunters,  The  147) 
Man  From  Sonca  154) 
Mexican  Silver 
Modern  Marriaqe.  A  (44) 
Navv  Bound 
Nevada  Badman 
Oklahoma  Justice 
Rhvihm  Inn 
Sieria  Passaqe 
Stagecoach  Driver 
Trail  Dust 
Vengeance  Trail 

Vicious  Years.  The  (79)   

Wild  Horse  Prairie 
Witness,  The 
Yukon  Manhunt 


Kirkwood-Gleason 
Elliott-Coates 
Shettield-Whitfield 

.  Brown-Hall   

Wilson-Clyde 
Clarke-Field 
Neal-Toomey 
vVilson-Kmght 
Brown-Ellison 
t-razee-fcjrant 
Morris-Hale 
Wilson-Knight 
Albriqht-Winters 

 Elliott-Stewart  ...... 

Cook-Moore 

  Wilson-Knight 

,_  Kirkwood-Gleason 

Grant-Davis 

ALLIED  ARTISTS 


11-5  5117 


Babe  Ruth  Story,  The   

Disc  Jockev  -  -  - 

Highwayman.  The  (CI   

Let's  Go  Navy  

I  Was  An  American  Spy  (85) 
It  Happened  On  Fifth  Avenue 

Southside  1-1000  (73)   

Short  Grass  ... 


10-15  5199 

2-25  5120 

5-27  5152. 
8-19 

2-11  5115 

1-7  5107 
7-15 

12-31  5107. 


Bendix-Trevor   

May 

Simms-O'Shea 

8-23 

"  V-ia 

Hendrix-Coburn   

H.  Hall-G.  Gorcey 

  ?-8 

7-29 

.4-18 

Dvorak-Evans 

4-15 

19 .... 

..  5-21 

DeFore-Storm    

DeFore-King     

....  May 
....  11-12 

ZZirZ' 

Rod  Cameron  

.12-24 

18 

Fiqhtinq  Coast  Guard   

Flight  From  Fury     

Fugitive  Ladv  

Havana  Rose  

Heart  of  the  Rockies     

Honeychile  ITr.l  

In  Old  Amarillo  147)  

Insurance  Investigator  (40)   

Lady  Possessed  

Lost  Planet  Airmen  (Reissue) 
Million  Dollar  Pursuit  1401 

Missinq  Woman  (401  

Night  Raiders  of  Montana  (48) 

Oh.  Susannal  ITrl  (90)  

Pals  of  the  Golden  West   _ 

Pride  of  Maryland 

Quiet  Man,  The   

Rodeo  Kinq  and  the  Senorita 

Rough  Riders  of  Durango  

Sea  Hornet,  The  

Secrets  of  Monte  Carlo  

Silver  City  Bonanza    

Soi/th  of  Caliente    

Spoilers  of  the  Plains  (44)  

Thunder  in  God's  Country   

Utah  Wagon  Trail      ...  ...   ._ 

Wings  Across  the  Pacific  

Wells  Fargo  Gunmaster  


Donlevy-Tucker    

Edwards-Clark  

Paige  Barnes   

Roger  s-Rodgriguei 

.  Rogers-Edwards  

Canova-Foy,  Jr  

Rogers-Rodriguez 

Denning-Long  

Mason-Havoc 
Coffin-Clarke 

Edwards-Flagg   

Edwards-Muilican 
Lane 

Cameron-Tucker   

Rogers-Evans   

Clemens-Stewart   

J.  Wayne-M.  O'Hara 

Allen-Kay  

Lane-Towers  

Cameron-Booth   

.  Douglas-Hall    

Allen-Ebsen   

Rogers-Evans   

Rogers-Edwards  

...Rex-Allen   _  

R.  Alien. P  Edwards 

Corey-Ralston 
..  Lane-Chapin   


2-23 

2-  28 

3-  10 


4-20 
...3-1 
June 
2-5 


5031 
5028 
5025 
5059 
5008 


RKO  RADIO 


PARAMOUNT 


1950-51   Features       Completed  (52)       In  Production  (I) 


1950-51  Features       Completed  (46)       In  Production  (3) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev. 

Warbonnet   (T)   Heston-Hanson  

Anything  Can  Happen         .  Ferrer-Hunter 
The  Denver   &  Rio  Grande  IT)    O'Brien-Hayden 

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT) 
Ace  in  The  Hole  1112)    

Appointment  With  Danger  (89)   Ladd-Calvert  _  5-51   4-23 

At  War  with  the  Army  (93)   Martin-Lewis   1-51      5014  12-18 

Branded  (T)   (103)  _   Ladd-Freeman  1-51      500?   .  12-18 

Carrie  .    

Crosswirtds  IT)  ... 

Darling,  How  Could  You!  194)   

Dear  Brat  (82)  _.  

Detective  Story,  The    

Flaming  Feather  (T)  

Great  Missouri  Raid,  The  IT)  IBS) 

Greatest  Show  On  Earth  (T)  

Here  Comes  the  Groom  (114)  

Honq  Konq  IT)  .  .  . 

Last  Outpost,  The  (T)  

Lemon  Drop  Kid.  The  (91)  

Mating  Season,  The  .  _  _ 

Molly  183)  L.Z..Z 

Rev.  under  title:  The  Goldbergs 

My  Favorite  Spy  

My  Son  John  

Passage  West  IT)  180)  

Peking  Express  (85) 
Place  in  The  Sun,  A  (122) 

Ouebec  IT)   (85)  _  

Rage  of  the1  Vulture,  The  .  _ 
Redhead  and  the  Cowboy  182) 

Red  Mountain  IT)    . 

Rhubarb  

Samson  and  Delilah  (T)  (128) 
September  Affair  1104) 

Silver  City   (T)  _  __  

Something  To  Live  For  

Stooge,  The     

Submarine  Command 
That's  My  Boy  (98) 
Trio  (91) 
Warpath  (T) 


When  Worlds  Collide  IT) 


1950-51  Features 
Serials 
Westerns 


Douglas-Sterling 

Douglas-Sterling  

Ladd-Calvert   

Martin-Lewis   

Ladd-Freeman  

Olivier-Jones  

Payne-Fleming  

Fontaine-Lund  

Freeman-Arnold 

Douglas-Parkes  

S.  Hayden-G.  Russell 

Corey-Carey  

Stewart-Hutton  

Crosby-Wyman  

Reagan-Fleming   

Reagan-Fleming   

Hope-Maxwell  

Tierney-Lund   

Berg-Loeb 

Hope-Lamarr  

Hayes-Heflin   

Payne-OKeefe 
Cotten-Calvet 

Clift-Winters  

Barrymore,  Jr.-Calvet 

Ladd-Kerr  

Ford-Fleming  

Ladd-Kennedy 

Milland-Sterling   ... 

Lamarr-Mature   

Fontaine-Cotton  

DeCarlo-O'Brien   

Fontaine-Milland 

Martin-Lewis  

Holden-Olson  

Martin-Lewis  

Slmmons-Rennie 
O'Brien-Jagger 
Derr-Rush  . 


7-51 
7-51 
5-51 

I-  51 

..  I— SI  

10-  51 

II-  51 
4-51 

11-  51 


4-51 

3-  51 

4-  51 


7-51 
8-51 
951 

4-5 1 


....  9-51 
.  3-51 
2-51 

10-51 

10-  51 
8-51 

4-51 
8-51 

1 1-  51 


5104 
5108 
5021 
5111 


5101. 

510? 
5020 
5018 
5014 
5011  

5110 


50 17  . 

50 15  ~. 

1.5103 
5010 
5012 


3-25 
1-2? 
12-4 


7-2 
11-4 
4-18 


REPUBLIC 


Completed  (20) 
Completed  (  I  ) 
Completed  (II) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production  (0) 


Cast 

Wayne-O'Hara 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time 

Ouiet  Man.  Tha  

COMPLETED 

Arizona  Manhunt  

Belle  Le  Grand 
•uckeroo  Sheriff  of  Texas 
BullfWht.r  and  the  Lady  . 
Cuban  Fireball 
Dakota  Kid.  The  140) 
Dei-'t  of   Lost  Men 
D»«        tdevll  Rldet  Agi 


Chapin-Janssen  _ 

8-15 

Ralston-Carroll 

1-27 

5004 

Chapin-Jansien 
Stack-Page  . 
Estelite-Vincent 

  5-1 

5-15 
3 -i 

5044 
500? 
5007 ...... 

5-7 

Chapin-Janssen 

Lane  ...  

Curtis-Towne   

  7-1... 

..."  4-1 

5047 
5084 

RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Girl  in  Every  Port,  A   

COMPLETED 

Alice  In  Wonderland   (T)  (74) 

Behave  Yourself   .... 

Best  of  the  Badmen  IT)  (84) 
Blue  Veil.  The 

Company  She  Keeps  183)   ... 

Crack  Down  

Cry  Danqer   1 7? I  

Flyinq   Leathernecks  IT)  

Footliqht  Varieties  141)  

Gamblinq  House  (80)  

Gun  Notches   

Gun  Thunder    

Happy  Go  Lovely  

Half-Breed.  The 

Hard.  Fast  and  Beautiful  (74) 

His  Kind  of  Woman  

It's  Only  Money  

Jet  Pilot  (T)  

Jungle   Headhunters    IT)  (45) 

Kon-Tiki  (73)  

Las  Vegas  Story,  The   —  

Macao  ...  

On  Dangerous  Ground   

Whip  Hand.   The  ...  

My  Forbidden  Past  (70)  

On  The  Loose   

Overland  Telegraph  

Payment  on  Demand  (?0I 

Pistol  Harvest  (40)  

Racket,  The   

Roadblock   

Hustler's  Range     

Saddle  Leqion  141)  

Sealed  Cargo  (8?)  

Sons  of  the  Musketeers  (T)  

Target  

Tarzan's  Peril  (7?)   

Texas  Triqqerman  _. 

Thing.  The  (87)  

Tokyo  File  212  184) 

Two  Tickets  to  Broadway  (T)   


Cast 
Marx-Wilson 


Disney  Cartoon 

Winters-Granger  .... 

Ryan-Trevor  

Wyman-Carlson   

Greer-O'Keefe   

Williams-Armstrong 

Powell-Fleming 

Wayne-Ryan   

Pear-Buttons  

Bendix-Mature 

Holt-Martin 

Hol>-Martin 

D.  Niven-Vera 

Young-Carter 

Trevor-Forrest 

Russell-Mitchum 
..  Sinatra-Russell 

Wayne-Leigh 

Travel  

..Travel  

Russell-Mature 

Russell-Mitchum 

Ryan-Lupino 

Reid-Tuttle 

Gardner.  Mite  hum 

Evans-Earl  

Holt-Martin   

Davis-Sullivan 

Holt-Martin 
.  Mitchum-Scott 

McGraw-Dixon 
..Holt-Martin  .  .  . 
.Holt-Martin 

Andrews-Rains 

Wilde-O'Hara 

McGraw-White 

Barker-Huston 

Holt-Martin 

Tobey-Sheridan 

Marly-Peyton 

Leigh-Martin   


174 


8-51 
.  8-5 1 

4-5 1 
.  9-51  

1-51 10? 

.  2-5 1 I  I  5~ 


 1-51 

1 10 

2-12 

Ellen 

  7-51 

  11-51  

4-51 

II? 

4-4 

7-51 

_   10-51  

17. SI 

5-24 
5-5 1 

12-  51 
177 

4-9 

'  ZZZZ...  fi-siZZZIZZZ  

2-51 
9-51 


5-51 
3-51 


4-9 

3-12 


20th  CENTURY-FOX 


1951  Features 


Completed  (31) 


In  Production  (4) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Tima  Cast 
Lydia  Bailey  IT)   Robertson-Francis 


Red  Skies  of  Montana  (T) 
Viva  Zapata 

Marriage  Broker,  Tha    

Golden  Girl.  The  IT) 
Millionaire   for  Christy 
Journey    Info  Light   

COMPLETED 

A  WAC  in  His  Life 
Anne  of  the  Indies  IT) 
As  Young  As  You  Feel  (77) 
Bird  of  Paradise  IT)  (100) 
Call  Me  Mister  IT)  1951  . 
David  and  Bethsheba  IT) 
Day  The  Earth  Stood  Still 

Decision  Before  Dawn  

Desert  Fox,  The 
People  Will  Talk 
Follow  the  Sun  1901 
Fourteen  Hours  (911 
Friendly  Island  ITI 


Hay  ward-Cal  noun 

Widmark-Smith  _  

M.  Brando-J.  Peters 
J.  Crain-T.  Rirter 
Day-Gaynor 
MacMurray-Parker 
Hayden-Lindfors 


Haver-Lundigan 
Jordan-Paget 
Woolley-Ritter 
Jordan-Paget 
Grable-Dailey 
Peck-Hayward 
Rennie-Neal 
Merrill-Basehart 

  Mason-Young 

Grant. Crain 

  Ford-Baxter 

Douglas-Basehart 
Lundigan-Greer 


4-5 1 
3-51 
2-51 
9-5 1 


120 
10?  3-2 
104  2-1 


The 


FILM  BULLETIN 


Cuy  Who  Cam*  lack.  The  1*1) 
Half  Anqel  IT)  ISO) 


Halls  of  Montaiuma.  Th*  IT)  1113) 

House  on  Talagraph  Hill  IW   

Housa  On  tha  Square 
I  Can  Get  It  For  vou  Wholesal*  1*11 
I'd  Climb  tha  Highest  Mountain 

m  im)   

Kangaroo  IT)   _  

Kafauvar  Crime  Investigation 

Let's  Make  It  Legal   

Lucky  Nick  Cain  187) 

Man  Who  Cheated  Himself.  The  III) 

Meet  Me  After  The  Show  (T)  —  

Mr.  Belvedere  Rings  The  Bell 
Mudlark  (Ttl 

No  Highway  In  Tha  Skv  

Of  Men  and  Music  IBS)    

On  the  Riviera   (T)  HOI   

Rawhide  1841   

Secret  of  Convict  Lake 

Sword  of  Monte  Cristo.    ISC)  IBO 

Take  Care  of  My  Little  Girl  IT)  1*3) 

Thirteenth  Letter.  The  IB5)  

You're  in  the  Navy  Nok  («3)   

Rev.  under  title:  U.S.S.  Teakettle 


Widmark-Andrews 
MacMurray-Parkar 

Douglas-Darnell  

Young-Cotten     _  ... 

Widmark-Gardnar 

Cortesa-Laadigan 

Power-Smith 

Dailey-Hayward 


O'Hara-Lawfor 
News  Feature 
Colbert-Carey 
Ratt-Gray 
Cobb-Dall 
Grable-Carey 
Webb-Dru 
Dunne-Guiness 
Stewart-Dietrich 
Concert  Feature 
Kaye-Tierney 
Power-Hayward 
Ford-Tierney 
Montgomery-Corday 

Crain-Peters  

Darnell-Boyer 
Cooper-Albert 


B-SI 

1-  SI 
B-SI 
3-SI 
5-5  I 
S-SI 
B-SI 

3-  SI 
7-51 

2-  51 

4-  51 


Finders  Keepers 
Flame  of  Araby  ITI 
Frenchi*  ITI 
Francis  Goes  to  the  Races  1881 

Golden  n  iae    The  ITI  

Groom  W„.  ■  Spurs  180)   

Harvey  MOD 

Hollywood   Story  174) 

Iron   Man  182) 

Katie  Did  It  1811 

Lady  from  Taias  IT) 

Lady  Pays  Off.  Tha 

Little  Egypt  ITI 

Ma  and  Pa  Kettle  at  the  Fair 

Ma  and  Pa  Kettle  Back  on  the  Farm 

Magnet.  The  178) 

Mark  of  the  Renegade  IT) 

Operation  Disaster  1100) 

Pool  of  London 

Prince  Who  Was  A  Thief.    ITI  1851 
Raging  Tide.  The 
Reunion  In  Reno 
Smuggler's  Island   IT)  I7S) 
Target  Unknown  IfO) 
Thunder  On  the  Hill 
Tomahawk  IT)  182) 
Treasure  of  Lost  Canyon  IT) 
Under  the  Gun  184) 

Up  Front  _  _  

You   Never  Can  Tell 


Ewell-Adems 


O  Connor-Leur 
Blythe-Ferrer 
Roger  idrion 
Stewart-Hull 
Conte-Adams 
Keyes-Chandlar 
Biythe-Steven 
Hull-Duff 
Carnell-McNally 
Fleming-Stevens 
Mein-Kilbrid* 
Maln-Kilbride 
Murray-Walsh 
Monte  Iben-Charisse 
^ills-Cherry 
Colleano-Shaw 
Curtis-Laurie 
Winters-Conte 
Stevens-Dow 
Keyes-Chendler 
Stevens-Nicol 
Colbert-Blyth 
Heflin-DeCarlo 
W    Powell-J  Adams 
Totter-Cont. 
Wayne-Ewell 
»owell-Dow 


t 

Jan 

108 

Julv 

125 

t,  4 

Mar 

1  14 

2  24 

Jan 

107 
124 

10-23 
5  21 

r                                            7  14 

May 

122 

S-21 

1-2* 
4  IB 


UNITED  ARTISTS 


1950-51   Features       Completed  (40)       In  Production  (4) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 
African  Queen 


Another  Man's   Poison    - 

Chicago  Calling   

Saturday  Island 
Big  Night  The 

COMPLETED 

tad  Man's  Gold 
Blue  Lamp  1841 
Circle  of  Danger  184) 
Cloudburst 

Cyrano  De  Bergerac  (112)   

fabiola  

First  Legion  ...   ...  ._.  ..... 

Fort  Defiance  

Four  In  A  Jeep  1*71 

He  Ran  All  the  Way  177)   

Hoodlum.  The  143) 

Korea  Patrol  1571 

Lonq  Dark  Hall.  The  184) 

Man  From  Planet  X  170)  _ 

Man  With  My  Face  (75)    

Mister  Drake's  Duck 

Mr.  Universe  190) 

My  Outlaw  Brother  (82) 

Naughty  Ariette  184) 

New   Mexico   IA)  174) 

Obsessed 

Odette   

Oliver  Twist  1105)  

Pardon  Mv  French 
Prowler,  The  (921 

Queen  For  A  Day  ( 107)   

Scarf,  The  (931   

River.  The 

Second.  Woman.  The  191) 
Skipalona  Rosenbloom 

So  Long  at  the  Fair  190)   

St.  Benny,  the  Dip  180) 

Sun  Sets  at  Dawn.  The  171) 

Thev  Were  Not  Divided  _ 

Three  Steps  North 

Try  and  Get  Me  (90)      _  _ 

Two  Gals  and  a  Guy 

Underworld  Story 

Volcano  1 1 10) 

Well.  The 

Wicked  City  174) 

When  I  Gi„w  Up  190) 


Cast 
Bogart-Hepburn 
Davis-Merrill 
Duryea-Anderson 


Linda  Darnell 
 J.  Barrymore-P.  Foster 


Carpenter- Lock  wood 

Warner-Hanley 

Milland-Roc 
_  Preston-Sellars 

Ferrer-Powers  _ 
_  Michele  Morgan 

 Boyer-Bettger 

.  D.  Clark-B.  Johnson  _ 

.  Lindfors-Meeker 

Garfield-Winters 

Tierney-Roberts 

Emory-Fong 

Harrison-Palmer 
.  Clark-Field 
_  Nelson-Matthews 

Fairbanks-Donlan 

Carson-Paige 

Rooney-Hendrix 

Tettering-Williams  - 

Ayres-Marshall 
_  Farrar-Hrzgerald 
_  Neagle-Howard 
.    Newton-Guinness  _ 
_  Oberon-Henreid 
.  Heflin-Keyes   

Avery-McGavin 

Ireland-McCambridge 

American-Indian 

Young-Drake 
.  Baer-Coogan 
.....  Simmon  s-Bogarde 
_  Roch-Haymes 

Parr-Shawn 
...  Underdown-Clanton 
.  Bridejes-Padavoni 
_  Loveioy-Ryan 
_  Paige-Alda 
-  Duryea-Storm  

Magnanl-Brazzi 

D.    Fairbanks    . 


4-3 
3-1 

3-  8 
8-3 

7-20 

4-  1 

5-  ll 


4-10 
4-27 
4-8 


3-  9 
8-3 

8-  17 
S-15 

.  4-17 
7-27 
5-25 
4-13 
4-4 

9-  14 
2-51 

4-  3 
3-29 

4-22 
1-22 


G-C 
Ren 
Pop 


1-  29 
7-14 

2-  12 


4-15 

5-4 
4-29 
7-21 

5-1 

9-14  Pop 
4-20 


C-E 


WARNER  BROTHERS 


1950-51   Features        Completed   (38)       In  Production  (6) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Starlift 

Tanks  Are  Coming,  The 

Come  Fill  the  Cup 

Bugles  in  the  Afternoon  IT) 

Big  Trees.   The  (T)  

Crimson  Pirate.  The 

COMPLEIEj 

Along  the  Great  Divide  188) 

Close   To   My  Heart 

Captain  Horatio  Hornblower  IT)  I 

Distant  Drums  IT)  

Enforcer,  The  187) 
Force  of  Arms 
Fort  Worth  ITI  1801 


Cast 

V.  Mayo-J.  Cagney 
S  Cochran-E.  Miller 
J  Cagney-P  Thaiter 
R.  Milland-H.  Carter 
Cochran-Aldon 
B  Lancaster 


Goodbye,  My  Fancy  1107)  

Highway  301  183) 

I  Was  A  Communist  183) 

Inside  Walls  of  Folsom  Prison  187) 

Jim  Thorpe.  Ail-American   1 1071 

Lightning  Strikes  Twice  191)   

Lullaby  of  Broadway  IT)  192) 

On  Moonlight  Bay  (95)  

North  of  the  Rio  Grande 

Only  The  Valiant  1 105) 

Operation  Pacific  1109) 

Painting  the  Clouds  with  Sunshine 

Raton  Pass  (84) 

Storm  Warning  (91) 

Strangers  On  A  Train   1 101 ) 

Streetcar  Named  Desire,  A 

Sugarfoot  IT)  180) 

Tomorrow  Is  Another  Day 


Douglas-Mayo 

4  2 

025 

7  2 

Milland-Tierney 

Peck-Mayo 

8-11  . 

030 

7-2 

Cooper-Alden 

Bogart-Roberts 

7-24 

015  2-04 

Holden-Olson 

Scott-Brian 

7-14 

028 

2-04 

Crawford-Young   

5-19 

024 

4-23 

Cochran-Andre 

1-13 

012 

Loveioy-Hart 

S-S 

023 

5-7 

Brian-Cochran  

4-14 

024 

Lancaster-Bick'ord 

4-18 

Roman-Todd 

3-10 

019 

2-24 

Day-Nelson   

3-24 

020 

4-9 

MacKae-Dav   

7-28 

029 

McCrea-Mavo 

Peck-Payton 

4-21 

022 

3-12 

Wavne-Neal 

1-27 

013 

1  29 

Mayo-Morgan 

Morgan-Neai  

Rogers-Reagan  

*-/ 
2-10 

VI  1 
014 

#-T 

1-29 

W.-ilker-Roman   

4-30 

027 

4-18 

Brando-Leigh   

Scntt-Jeraem 

3-3 

014 

2  12 

Roman-Cochran 

Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7.  Pa.  —  LOcust  7-4823 


UNIVERSAL-INTERNATIONAL 


1950-51  Features        Completed  (44)      In  Production  (2) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Runm'ng  Time  Cast  Rel.  No.  Rev. 

Weekend  With  Father      _  .     _  Nea!-Heflin  

Battle  of  Apache  Pass  IT) 
Meet  Danny  Wilson 


Here  Come  The   Nelsons  _ 

COMPLETED 

Abbott  t  Costello  Meet  the 

Invisible  Man  

Air  Cadet 

Apache  Drums  (T)  (75) 
Bedtime  for  Bonio  (83) 
Bright  Victory 

Cattle  Drive  IT)   

Cave.  The  IT)  _ 
Cimarron  Kid,  The  IT) 


Sinatra-Winters 
Onie  and  Harriet 


Abbott  &  Costello 
McNally-Russell 
Grey-McNally 
Reagan-Lynn 
Dow-Kennedy 


Mar  114 

Mar  115  3-12 

June  123  5-21 

Feb  It2  1-29 


McCrea-Stockwell 
_  Smith-Carey 
 A.  Murphy-Y.  Dugay 


Abbott  &  Costello-Shay  July 


Cornm'  Round  the  Mountain  (77) 

-   Laughton-Karloff 

Double  Crossbones  IT)   175)    O'Connor-Carter 

Fat  Man.  The  177)  .   ...  .  Smart-London  


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and-  for 
wrapping  and  addressing  all  return  advertising. 
We  can  serve  all  theatres  better  if  they  give  its 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  tfce  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236  N.  23rd  St..  Phila.  3  —1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


JULY  30 


9  5 


According  to  ancient  lore: 

"Whenever  King  David  took  a  journey  into  Distant  Provinces, 
it  was  common  to  send  a  messenger  before  him  so  that 
everything  might  be  made  ready  for  his  approach. " 
Who  could  be  better  a  harbinger  of  great 
coming  events  than  Mr.  Francis  X.  Bushman! 

There's  No  Business  Like  Business! 


25c  per  Copy 


BULLETIN 


AUGUST  13,  1951 


LIFE'  vs.  HOPE, 
TRUTH  &  JUSTICE 

frctietime  %  £.  A.  £heul4  Ptctide 
Out  A*<Am  tc  the  Ptew4itate4 
Attack  ch  HHciJie  £uJiheJJ 


SKOURAS  MOVES 
FORWARD 


EDITORIALS,  Page  Five 


ARAMOU 


lTER«8iGGE|l 

ARE  GETTING  THE 
BOXOFFICE  RESULTS! 


Passage  West 
Ace  In  The  Ho 


Peking  Expres 
*ufiuST     ThatVly  Boy 


Warpath 


Here  Comes  Tr 

SEPTEMBER  k 


Rhubarb 


Crosswinds  ■ 
Darling,  How  C 


When  Worlds  C 
November  Submarine  Coi 


Detective  Stoi 


Hong  Kong  I 
???Hope Com 


Just  ninety  days  ago,  we  gave  you  Paramount's 
answer  to  demands  from  the  public  and  exhibitors  that 
Hollywood  deliver  more  product  with  bigger  selling  value 
than  ever  before.  Today  a  third  of  the  15  standout 
attractions  we  announced  for  release  before  the  end  of  '5 
are  playing— all  of  them  with  standout  results. 

For  showmen  who  haven't  yet  cashed  in  on  them, 
Paramount  can  now  make  available  big-performing 

PASSAGE  WEST-ACE  IN  THE  HOLEl 
-PEKING  EXPRESS-THAT'S  MY  BOY-WARPATH. 

Now,  take  a  minute  to  review  the  selling  strength 
in  the  three  terrific  pictures  Paramount  has  in  September 
Examine  in  detail  the  ones  for  October,  highlighted 
in  this  ad.  Look  at  our  hit-security  for  those  important 
holiday  months  of  November  and  December.  Then 
put  Paramount's  product-power  to  work  for  you! 


Desperate  men  brave  the  terrors  of 
the  South  Pacific  jungle  for  gold! 


starring 

JOHN  RHONDA  FORREST 


PAYNES  FLEMING  TUCKER 


V        iuct  nsoa 


ALAN  MOWBRAY  •  JOHN  ABBOTT  -  ROBERT  LOWERY 

Directed  and  Written  |  run o  n  rnOTCD 
for  the  Screen  by  LlTTIO   K.  (UoIlK 

Adapted  by  Thomson  Burtis  •  From  his 
novel. "New  Guinea  Gold"  •  Produced  by 
William  H.  Pine  and  William  C.  Thomas 


HERE'S 


ARVEST  OF  PARAMOUNT  PROFITS: 


There's  boxoffice  fun  in  the  midnight  affair  that  shook 
Washington  Square  with  laughter! 

Darling, 

How CouldYoul 


A: 


JOAJf 


MONA 


JOHN 


PETER 


PLAY 

PARAMOUNT  NEWS 
—  it'i  the  program  builder 
that  guarantees  the 
"beit  jhow  in  town"! 


Produced  by  HARRY  TUGEND 

Directed  by 

MITCHELL  LEISEN 


A  MITCHELL 


Screenplay  by  Dodie  Smith  and  Lesser 
Samuels  •  From  the  play.  ALICE  SIT- 
BY-THE-FIRE,  by  James  M.  Barrie 


Pity  the  poor  traffic  cop  at  Radio  City  Music  Hall.  It's  been  a  night- 
mare for  him.  After  10  record-breaking  traffic-jammed  weeks  of 
*"The  Great  Caruso/'  *"Show  Boat"  sailed  in.  The  grosses  and  the 
crowds  are  bigger  than  ever.  The  traffic  cop  remembers  that  M-G-M 
started  it  in  November  with  *"King  Solomon's  Mines"  followed  by 
*"Kim,"  "Father's  Little  Dividend"  and  *  "Royal  Wedding."  It  was 
one  M-G-M  traffic  problem  after  another!  He  thought  nothing  could 
top  those  *  "Caruso"  crowds  but  *"Show  Boat"  in  the  hottest  days  of 
summer  is  setting  new  Music  Hall  records.  All  over  the  nation  it's 
the  same,  the  box-office  toppers  are  M-G-M. 

Big  chief  Leo,  the  Leader,  has  hit  a  stride  unparalleled 
in  film  history.  Soon  you'll  hear  about  the  next  big 
M-G-Musical  *"An  American  In  Paris."  Meanwhile  it's 
smart  to  know  what's  what  with  the  company  that's  hot. 
Keep  close  tabs  on  the  Trade  Shows.  Next:  August  14th  — 
"THE  RED  BADGE  OF  COURAGE" -(The  best  film  about  the 
War  Between  the  States  since  GWTW);  and  August  20th- 
"THE  PEOPLE  AGAINST  O'HARA"  (Spencer  Tracy  scores 
again!).  Two  important  pictures  you  should  see! 


*  (Asterisks  denote  Technicoh 


BULLETIN 


it 


THINK  IT  OVER 

PERSPECTIVE 
"There  are  people  who  observe  the 
rules   of  honor  as   -we   observe  the 
stars,  from  afar  off." 


it 


REVIEWS  in  This  Issue 


Rhubarb   _  

Flying  Leathernecks   „  

Mark  of  the  Renegade   

Meet  Me  After  The  Show 

Whistle  At  Eaton  Falls  

A  Millionaire  for  Christy   

Darling  How  Could  You  

On  The  Loose   ... 

I'm  nder  <K  The  Hill  

Mr.  Belvedere  Rings  The  Bell 
Tall  Target  


I.I 


ARTICLE 


As  usual,  our  industry  will  overemphasize  the  importance  of  the  article 
in  "Life",  which  seeks  to  give  the  impression  that  the  movie  business  is  rapidly 
dying.  The  article  is  a  re-hash  of  our  problems,  with  which  everyone  is  familiar 
by  this  time.  It  is  contradictory  and  false  in  many  respects,  so  we  can  rely  on  the 
good  judgment  of  the  magazine's  readers  to  tear  it  apart.  Perhaps  "Life",  rather 
than  our  industry,  will  be  discredited  by  its  publication. 

If  an  answer  must  be  given,  we  rather  like  the  calm  one  given  by  Alfred 
F.  Corwin,  director  of  information  of  the  MPAA,  who  wrote  "Life"  as  follows: 

"If  Mr.  Coughlan  (author  of  the  article)  were  thorough  in  his  research,  he 
might  have  learned  from  the  National  Production  Authority  that  scores  of 
applications  have  been  received  since  the  first  of  the  year  for  the  construction 
of  new  theatres  and  for  major  alterations  in  others.  Businessmen  don't  invest 
millions  of  dollars  in  an  enterprise  that's  dying  or  dead. 

"Of  course  there  has  been  a  drop  in  boxoffice  attendance  since  1946  and 
the  movie  people  aren't  happy  about  it.  No  more  so  than  the  publishers  and 
editors  of  Life  can  view  with  satisfaction  the  fractional  but  steady  drop  in 
its  circulation  since  its  peak  year  of  1947. 

"We  haven't  seen  the  latest  figures  but  Life's  circulation  may  be  back  up 
again  thus  far  in  1951.  So  is  the  movie  business.  In  the  past  two  months,  at 
least,  theatre  attendances  have  shown  a  decided  upward  trend.  Movie  fans 
throughout  the  country  are  responding  to  many  of  the  fine  pictures  now  in 
current  release.  With  an  exceptionally  outstanding  array  of  movies  lined  up 
for  the  months  ahead,  there  is  every  reason  to  believe  that  the  upward  trend 
will  continue. 

"Our  children  and  grandchildren  will  still  be  seeing  motion  pictures  in  mot. on 
picture  theatres  long  after  the  diviners  of  the  film  industry's  doom  fade  out 
with  their  foggy  crystal  balls." 

It  is  annoying  to  find  "Life"  standing  against  Hope,  Truth  and  Justice, 
but  we  must  not  pay  too  much  attention  to  this  premeditated  attack  on  our  business. 
We  have  much  more  important  things  to  occupy  our  minds  and  our  hands.  Let's 
devote  ourselves  to  the  MOVIETIME  U.  S.  A.  campaign. 


SKOURAS  MOVES  FORWARD 


FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenhouse  6-7424;  Barney  Stein, 
Managing  Editor:  Jack  Taylor.  Pub- 
lication Manager:  Rohert  Heath.  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave..  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


The  vigor  and  wisdom  which  have  characterized  the  efforts  of  20th  Century- 
Fox  president  Spyros  Skouras  to  further  the  progress  of  theatre  television  stands 
as  a  bright  beacon  in  the  shadows  that  stretch  over  the  industry  today. 

Mr.  Skouras  was  one  of  the  very  first  to  understand — and  daringly  voice — 
the  thesis  that  video  could  be  harnessed  by  the  motion  picture  industry.  His  com- 
pany initiated  the  first  major  experiments,  in  cooperation  with  RCA,  to  develop 
large  screen  television  equipment  and  facilities  for  use  in  theatres.  Last  winter, 
the  20th-Fox  chief  executive  travelled  to  Zurich,  Switzerland,  to  investigate  a  new 
large  screen  TV  equipment  developed  by  the  Swiss  Institute  of  Technology,  and 
he  acquired  for  his  company  the  rights  to  the  Eidophor  system. 

Now  Mr.  Skouras  is  pioneering  again.  By  arrangement  with  the  Columbia 
Broadcasting  System  and  General  Electric,  he  hopes  to  bring  color  television  to 
theatres  before  long.  A  demonstration  of  the  first  large  screen  color  TV  is 
promised  before  the  first  snowfall. 

Mr.  Skouras,  although  he  has  been  decreed  out  of  the  exhibition  branch 
of  the  business,  has'  abiding  faith  in  the  future  of  the  movie  theatre,  and  he  ex- 
presses that  faith  by  positive,  effective  action.  His  example  should  offer  inspira- 
tion to  every  exhibitor  in  the  land. 


TRADE 

PERKING 

UP! 

EXHIBITORS 


CLAIM 
IT  1 


i 


FROM  } 
BETTER 
PRODUCT 

-P^rJety 


The  Boxoffice  Blue-Ribboi 
Award  Winner  for  June! 


TAKE  CARE  OF 
MY  LITTLE  GIRL 


ICOLOR 


MR. 
BELVEDERE 
RINGS  THE  BELL 


Exhibitors  may  safely 
wagon  to  Clifton  Webb's 


9 •••gfe» « •••••••• 

There's  Ho  Business  Like  Businesil 


CENTURY-FOX 


'RHUBARB'  NOVEL  AND  DELIGHTFUL  COMEDY 

Rates  •  •  •  —  with  exploitation. 


Paramount 
95  minutes 

Ray  Milland,  Jan  Sterling,  Gene  Lockhart, 
William  Frawley,  Elsie  Holmes,  Taylor  Hol- 
mes, Willard  Watson,  Henry  Slate,  James 
J.  Griffith,  Jim  Hayward,  Donald  MacBride, 
Hal  K.  Dawson,  "Rhubarb". 
Directed  by  Arthur  Lubin 

This  being  the  season  for  animal  motion 
picture  stars,  "Rhubarb",  the  cat,  comes  as  a 
Iconic  addition  to  the  ranks  of  four-footed 
headliners.  Unlike  "Francis"  and  the  others 
who  have  notes  of  geniality  in  their  charact- 
ers, "Rhubard"  is  as  catty  as  a  feline  as 
you're  likely  to  encounter  —  a  real  indi- 
vidualist —  independent,  snarling,  infinitely 
capable  of  taking  care  of  himself  without  the 
nonsense  of  human  interference.  Rorn  in  an 
H.  Allen  Smith  story  about  a  feline  that 
inherits  a  fortune  and  a  baseball  team 
"Rhubarb"  puts  William  Perlberg  and 
George  Seaton  in  business  as  an  independent 
production  unit  for  Paramount.  Their  initial 
enterprise  has  more  flaws  than  "Rhubarb" 
has  tempers.  It's  too  long  for  one  thing,  the 
story  fails  to  make  the  most  of  its  cat  star, 
and  the  baseba'l  sequences  are  stretched  too 
far.  BUT,  and  the  "but"  in  caps  is  deliberate. 


"Rhubarb"  is  still  lots  and  lots  of  fun.  The 
original  story  is  different;  the  screenplay, 
bright  and  amusing.  The  performances  have 
the  lift  that  comes  with  a  happy  comedy, 
And  Arthur  Lubin  directs  with  a  wise,  witty, 
knowing  hand.  He  makes  no  compromises 
with  the  "Rhubarb"  character;  lie's  a  stink- 
er, a  first  class  louse,  but  a  lik-  able  Joe  a'l 
the  same.  Audiences  will  love  him  or  loathe 
him.  In  both  cases  they'll  shell  out  to  see 
what  all  the  spittin'  and  seratchin's  about — 
and  both  cases  mean  good  boxoffice  for  the 
showman  capable  of  peddling  the  first  feline 
star  in  history. 

Ray  Milland,  cast  as  a  p. a.  who  finds 
"Rhubard"  his  responsibility,  performs  with 
admirable  dignity  and  restraint.  Jan  Sterling 
is  delightful  as  the  girl  who  loves  him  but 
who  suffers  an  allergy  every  time  she  comes 
near  the  animal.  Gene  Lockhart  is  on  deck 
to  establish,  in  his  usual  capable  style,  the 
p**emi  e  of  a  cat  so  militantly  independent 
that  he  deserves  all  the  fame  and  fortune 
that  comes  to  him.  William  Frawley  registers 


a>  the  manager  of  the  ball  club.  EKse  Holm- 
es whams  Dome  the  laughs  as  Lockhart*! 
daughter  who  endures  disinheritment  be- 
cause  of  papa's  affection  for  "Rhubarb."  Sup- 
porting players  are  first  rate. 

STORY:  Lockhart's  affection  for  "Rhu- 
barb" conies  when  they  meet  on  a  golf 
course  where  "Rhubarb"  is  the  terror  of  the 
players,  thanks  to  his  unique  talent  for 
grabbing  the  balls  just  as  they're  about  to 
slide  into  the  cup.  and  making  off  with 
them  to  his  lair.  Lockhart  dies,  wills  his 
fortune  of  $30,000,000  to  the  cat.  One  of  the 
assets  is  a  baseball  team.  Ray  Milland.  press 
agent  for  the  outfit,  is  named  guardian.  At 
first  the  players  resent  working  for  a  cat, 
gradually  change  their  mind  when  he  proves 
a  good  luck  mascot.  Crooks  steal  him,  the 
disinherited  daughter  tries  to  kill  him.  Mil- 
land's  love  life  is  complicated  by  his  girl 
friend's  allergy.  Finally,  the  daughter  sues 
on  the  grounds  that  "Rhubarb"  is  a  phoney 
— not  the  cat  her  father  loved  so  much.  Jan 
Sterling's  afflction  comes  in  handy  as  the 
means  of  identification.  "Rhubarb"  escapes 
from  the  crooks  in  time  to  make  the  last, 
big  game.  Sterling  and  Milland  get  married, 
and  a  gag  fade-out  punctuates  a  delightful, 
novel  movie.  HANNA  (Hollywood). 


'FLYING  LEATHERNECKS'  WAYNE  WAR  FILM  WILL  DISAPPOINT 


Rates  •  •  -f-  on  star  value,  more  in  action 

RKO-Radio 
102  minutes 

John  Wayne,  Robert  Ryan,  Don  Taylor, 
Janis  Carter,  Jay  C.  Flippen,  William  Harri- 
gan,  James  Bell,  Barry  Kelley,  Maurice  Jara, 
Adam  Williams,  James  Dobson,  Carleton 
Young,  Steve  Flagg,  Brett  King,  Gordon 
Gebert. 

Directed  by  Nicholas  Ray. 


'Flying  Leathernecks,"  although  it  deals 
with  the  Marine  Corps,  stars  John  Wayne, 
and  is  presented  by  Edmund  Grainger,  who 
produced  "Sands  of  Iwo  Jima"  is  no  "Iwo 
Jima"  with  wings.  It  will  disappoint.  The 
Technicolor  action  scenes  include  clips  from 
some  of  the  best  air  action  photography  ever 
seen  on  the  screen,  but  the  story  into  which 
they  are  inserted  is  strictly  routine  Much 


houses. 

more  could  have  been  made  of  the  premise 
which  deals  with  daring  Marine  enterprise 
in  utilizing  low  flying  planes  in  backing  up 
the  ground  work  of  the  leathernecks.  This 
point,  however,  plays  a  secondary  role  to  a 
story  of  conflict  between  two  officers,  c  ue  a 
martinet;  the  other,  easy-going  and  affable. 
It's  familiar,  all  too  obvious  to  the  onlooker 
and  treated  with  little  imagination.  The  in- 
evitable appearance  of  an  anti-climax  at  the 
three  quarter  mark  further  affects  audience 
interest  adversely.  Nicholas  Ray's  direction  is 
just  average.  "Flying  Leathernecks"  is  going 
to  have  depend  solely  on  John  Wayne's  draw 
for  its  boxoffice  appeal. 

Wayne,  cast  in  a  role  molded  to  his  rug- 
ged personality,  dominates  the  picture  with  a 
quiet  performance.  Robert  Ryan  is  good  as 
his  subordinate  who  learns  the  responsibilities 


of  authority  the  hard  way.  Don  Taylor  sup- 
plies comedy  relief  in  the  spot  of  a  drawling 
Texan,  and  Jay  C.  Flippen  is  amusing  as  a  re- 
sourceful sergeant,  but  his  running  gags  are 
overworked. 

STORY:  Wayne  takes  over  the  command 
of  a  group  of  flyers  after  the  top  brass  re- 
jects Robert  Ryan.  The  men  resent  Wayne's 
strict  discipline,  and  Ryan  tries  to  prevail 
upon  him  to  soften  his  attitude.  This  leads 
to  open  conflict  between  the  two.  Wayne  is 
ordered  back  to  the  States  and  again  Ryan 
is  bypassed  for  the  command.  Some  time  later 
the  two  meet  again,  train  a  group  and  em- 
bark for  another  dangerous  Pacific  assign- 
ment. Ryan  comes  to  admire  Wayne's  de- 
termination and  to  recognize  that  softness 
and  leadership  are  not  compatible.  He  learns 
to  make  difficult  decisions,  and  this  time  he  is 
moved  up  the  ladder.  JAMES. 


'MARK  OF  THE  RENEGADE' 

Rates  •  •  +  as  dualler  generally. 

Universal-International 
81  minutes 

Ricardo  Montalban,  Cyd  Charisse,  J.  Carrol 
Naish,  Gilbert  Roland,  Andrea  King,  George 
Tobias,  Antonio  Moreno,  Georgie  Backus, 
Robert  Warwick,  Armando  Silverstre,  Brid- 
get Carr,  Albert  Morin. 
Directed  by  Hugo  Fregonese. 

"Mark  Of  the  Renegade"  is  a  swiftly  paced, 
tongue-in-cheek  romantic  drama  of  early 
California  that  should  be  a  good  bet  where 
Technicolor  adventure  yarns  are  popular. 
The  story  is  strictly  corn,  but  it's  played  well 
against  a  colorful  background,  and  director 
Hugo  Fregonese  peddles  it  with  plenty  of 

AUGUST     13,  1951 


AMUSING  AND  ACTIONFUL  ADVENTURE  SHOW 


zip  and  pace.  That  the  script  never  takes  it- 
self too  seriously  is  a  sizeable  advantage 
.  the  more  discriminating  should  recognize 
the  satirical  aspect  of  the  presentation,  and 
settle  down  to  have  fun.  For  the  others, 
here  is  enough  swashbuckling  action  and  plot 
to  keep  them  roundly  entertained.  The  Mont- 
alban-Charisse  starring  combo,  each  of  whom 
has  scored  in  M-G-M  films,  lends  an  auro  of 
class  to  the  cast,  well-carded  with  reliable 
supporting  players. 

Ricardo  Montalban  possesses  a  dashing 
style  that'  makes  his  undercover  agent  role 
effective.  Cyd  Charisse  is  a  stunning  leading 
lady  who  scores  particularly  in  the  dance 
division  With  Montalban  her  greceful  part- 


ner, J.  Carrol  Xaish  comes  through  with  his 
u  -ual  fine  performance  as  the  henchman  of  a 
would-be  emperor.  The  aspirant  to  political 
power  is  expertly  realized  in  the  perform- 
ance of  Gilbert  Roland. 

STORY:  Set  in  1825  the  yarn  deals  with 
Roland's  ambition  to  wrest  California  from 
the  new  Republic  of  Mexico.  This  scheme  in- 
volves the  blackmailing  of  Montalban,  a 
branded  renegade,  into  courting  and  marry- 
ing Cyd  Charisse  so  that  Roland  can  control 
her  father,  the  strongest  supporter  of  the 
young  republic  The  plan  backfires  when  the 
renegade  reveals  he  is  a  secret  agent  of  the 
Mexican  government  who  has  been  sent  to 
California  to  uncover  the  plot  and  seize  that 
state.  AXGEL. 


MEET  ME  AFTER  THE  SHOW  TOP-FLIGHT  GRABLE  MUSICAL 

Rates  •  •  •  or  better,  except  in  action  houses. 


20th  Century-Fox 
86  Minutes 

Betty  Grable,  Macdonald  Carey,  Rory  Cal- 
houn, Eddie  Albert,  Fred  Clark,  Lois  And- 
rews, Irene  Ryan,  Steve  Condos,  Jerry 
Brandow,  Arthur  Walge,  Edwin  Max,  Rob- 
2rt  Nash. 

Directed  by  Richard  Sale. 

"Meet  Me  After  the  Show"  puts  the  G 
back  in  Grable  —  and  if  you've  doubts  as 
to  the  meaning  of  G,  the  definition  is  not 
in  Webster's  but  in  show  business  — •  G 
for  gams.  No  less  an  authority  on  feminine 
underpinnings  than  George  Jessel  is  res- 
ponsible for  this  bright,  amusing,  funny  mu- 
sical film  offering  la  Grable  a  fine  opportun- 
ity to  play  her  pert,  vivacious  self  and  to 
sing  the  kind  of  songs  her  fans  enjoy — 
and  to  show  the  celebrated  Grable  torso! 
The  story's  cute,  and  with  verve  and  bounc- 
ing good  humor.  The  numbers,  staged  with 
plentv   of  imagination   by  Jack  Cole,  rank 


among  the  best  boxoffice  champion  Grable 
has  ever  done.  The  lush  Technicolor  pro- 
duction is  attractive  to  look  upon.  And  the 
whole  business  of  "Meet  Me  After  the 
Show"  speeds  through  its  hour  and  a  half 
of  running  time  with  the  zip  of  a  sock  open- 
ing number.  It  adds  up  to  the  best  Grable 
show  in  a  long,  long  while — at  attraction 
sure  to  grab  the  shekels  where  the  leggy 
lass  is  popular. 

Betty  Grable  is  Betty  Grable.  Higher 
compliments  aren't  run  off  in  the  select 
circle  of  top  motion  -picture  personalities. 
Like  every  star  she  needs  a  good  movie  to 
keep  the  pitch  moving,  and  "Meet  Me"  sure- 
ly is  a  smooth  one.  Macdonald  Carey  isn't 
the  most  romantic  of  leading  men  in  this 
film,  but  It  is  performance  is  confident  and 
smooth,  except  in  one  abortive  scene  at- 
tempt. Rory  Calhoun  figures  briefly  but 
shrewdly  as  a  Miami  Beach  muscle  boy. 
Eddie  Albert  has  an  easy  time  making  his 
third  part  of  a  romantic  triangle  stick.  Fred 
Clark's  a  fine  lawyer,   and   Lois  Andrews 


looks  like  sugar,  cream  and  all  that's  nic 
as  the  widow  who  causes  all  the  trouble  i 
the  first  and  second  places. 

STORY:  Betty  Grable  and  Macdonal 
Carey  are  a  reigning  Broadway  pair.  She' 
a  hoofer  who  has  become  a  musical  favorit 
—Carey  is  her  hubby  and  director.  Suspect 
ing  him  of  philandering,  Betty  quits  th 
show,  sues  for  separate  maintenance.  Sh 
even  puts  him  in  the  clink  when  he  fails  fr 
pay  off.  Macdonald  retaliates  with  scheme] 
rather  than  threaten  her  career.  Desperately 
she  makes  off  for  Miami,  the  place  thej 
first  met,  feigns  amnesia  and  reverts  to  type 
a  corny,  night  club  singer.  Macdonald  aid 
Eddie  Albert  who  originally  pressed  thei 
suit  simultaneously  do  so  again  only  to  dis 
cover  Betty  has  been  faking.  Rory  Calhoui 
almost  mixes  things  up  to  a  greater  degrej 
by  beguiling  Betty  with  his  poetic  vagabom 
chatter  Eventually  she  'fesses  up,  goe; 
back  to  B'way.  Meantime  Carey  has  a  ref 
case  of  amnesia  and  the  whole  thing  start; 
all  over  again.  HANNA  (Hollywood). 


'THE  WHISTLE  AT  EATON  FALLS'  BLOWS  LITTLE  ENTERTAINMENT 

Rates  •  +  generally,  more  in  specialized  spots  with  exploitation. 

some  lift,  are  totally  submerged.  The  Colum- 
bia release  holds  little  value  to  the  exhibitor. 
Its  purpose  is  obscure,  its  entertainment 
values,  practically  nil.  It  is  too  long  to  be 
played  as  a  secondary  feature;  certainly  it  can 
not  top  the  bill.  Only  those  moviegoers  in- 
tensely conscious  of  the  capital-labor  con- 
flict will  be  drawn  by  the  film,  a  pitifully 
small  number  in  most  communities.  Theatre- 
men  in  strong  union  towns,  mining  areas, 
etc..  however,  can  exploit  this  to  better  re- 
turns. 


Columbia 
90  minutes 

Lloyd  Bridges,  Dorothy  Gish,  Carleton  Carp- 
enter, Murray  Hamilton,  James  Westerfield, 
Lenore  Lonergan,  Russell  Hardie. 
Directed  by  Robert  Siodmak. 


"The  Whistle  At  Eaton  Falls"  is  a  semi- 
doumentary  by  Louis  de  Rochemont  bearing 
little  resemblance  to  the  previous  punch-pack- 
ed de  Rochemont  documentary  films.  "Whis- 
tle" is  a  dull,  plodding,  lifeless  exhibit  filmed 
in  Xew  England  and  purporting  to  tell  a 
story  of  how  conflict  between  capital  and 
labor  affects  a  small  community,  de  Roche- 
mont himself  takes  to  a  neutral  corner  and 
allows  the  story  to  spread  itself  ambiguously 
through  90  minutes  of  tiresome,  talky  ma- 
terial. Tlie  drali  atmosphere  of  a  factory  town 
is  concentrated  upon  so  grimly  that  charact- 
ers, plot  and  movement,  which  might  bring 


Lloyd  Bridges,  cast  as  a  labor  leader  who 
becomes  the  president  of  a  plastics  factory, 


them  as  typical  housewives,  gnarled  old  men 
tough,  beer-drinking  but  honest  worker 
After  a  while  they  become  a  bit  tiresome. 

STORY:  At  the  death  of  the  owner  of 
plastics  factory,  Dorothy  Gish  turns  the  pres 
dency  over  to  Lloyd  Bridges,  top  boy  in  tM 
union.  Business  is  bad  and  his  efforts  to  pu! 
it  back  fail  repeatedly.  The  problem  is  to  re 
duce  costs  so  as  to  compete  in  the  markei 
New  machinery  will  make  this  possible  9 
Bridges  hesitates  to  reduce  the  force.  Final! 
he  is  forced  to  close  the  factory  in  order 
sell  the  inventory.  The  workers  accuse  hit 
of  being  a  scab.  A  disgruntled  former  sale 
managers  utilizes  the  trouble  as  an  oppoi 


does  the  best  possible  with  a  vague  role.     tunity  to  put  in  a  bid  for  the  factory  with  tl 


Dorothy  Gish  is  seen  as  the  widow  of  an  in 
dustrialist.  Carleton  Carpenter  performs  en- 
ergetically as  a  likeable  juvenile.  The  others 
in  the  large  cast  are  what  one  calls  "types" 
actors  who  face  the  spotlight  at  various 
moments  and  utter  lines  designed  to  identify 


purpose  of  removing  the  machinery  and  it 
valuable  cutter  which  Bridges  has  just  ir 
vented.  The  arrival  of  a  big  order  saves  tl 
factory  in  the  nick  of  town — the  workers  g 
back  on  a  double  shift.  HANNA  (Holh 
wood). 


A  MILLIONAIRE   FOR   CHRISTY'  SCREWBALL  COMEDY  HAS  FUN 

Rates  •  •  •  —  generally,  except  in  action  houses. 

guffaws  are 


20th  Century-Fox  (Thor) 
91  Minutes 

Fred  MacMurray,  Eleanor  Parker,  Richard 
Carlson,  Una  Merkel,  Kay  Buckley,  Doug- 
lass Dumbrille,  Raymond  Greenleaf,  Nestor 
Paiva,  Chris-Pin  Martin,    Walter  Baldwin, 

Ralph  Hodges. 

Directed  by  George  Marshall. 


"A  Millionaire  For  Christy"  is  a  nutty, 
'■all  comedy  with  plenty  of  good  gags 
and  amusing  complications.  The  story  is 
flight  and  the  production  without  polish  or 
finesse.  However,  with  George  Marshall  in 
tin  director's  chair  and  Fred  MacMurray  and 
Eleanor  I'arkcr  in  co-starring  spots,  the 
slack  is  taken  up  more  often  than  it  is 
loosened.  The  show's  a  bit  on  the  longish 
side,  and  editing  could  still  work  wonders 
for  this  20th  Century-Fox  release.  But  the 


there,  and  audiences  on  the 
prowl  for  bright  escapist  entertainment  will 
find  "Millionaire"  right  up  their  alley.  Mar- 
shall builds  it  with  excellent  comedy  invent- 
iveness so  that  the  gags  literally  fall  over 
them.-elves  at  the  finish.  Audiences  generally 
should  have  a  good  time,  with  box  office  re- 
turns reflecting  this  happy  situation  in  all 
l>ut  the  action  houses. 

Fred  MacMurray,  an  adroit  mugger  in 
parts  of  this  sort,  plays  a  radio  philosopher, 
who  can't  believe  he  has  inherited  a  million, 
with  verve  and  animation.  Eleanor  Parker  is 
excellent  as  the  legal  secretary  who  sets  out 
to  catch  him  —  and  his  fresh  fortune.  Rich- 
ard Carlson,  as  a  psychiatrist,  amuses  be- 
cause he  is  as  nutty  as  his  patients.  Una 
Merkel,  playing  Parker's  ally,  and  Kay 
Buckley,  in  the  part  of  MacMurray's  fiancee, 
also  turn  in  workmanlike  performing. 
STORY:  Miss    Parker   is  sent  from  her 


San  Francisco  law  office  to  Los  Angeles 
the  bearer  of  papers  announcing  that  Ma 
Murray,  one  of  those  cheery  radio  good  w| 
men,  has  become  heir  to  a  million  smackerf 
Her  purpose  in  latching  on  to  the  assig. 
ment  is  to  latch  on  to  MacMurray.  She  sul 
ceeds  in   tearing  him  away  from  the  altl 
where  lie  was  to  have  married  Kaj   Rue  J 
He  decides  the  way  to  get  rid  of  Eleanor  \ 
to  put  her  in  the  sanitarium  operated  by 
pal,  Dick  Carlson.  The  psychiatrist,  secretl 
in  love  with  Miss  Buckley,  uses  Parker 
achieve  his  own  objective.  The  payoff  ci 
when    MacMurray  unwilling  to  believe  if 
good  fortune,  blandly  signs  checks  to  c 
for  the  full  million,  The  news  reaches  tl 
papers.  He  has  no  alternative  but  to 
an    appropriate    speech    of    good  wil 
brotherly  love.  By  this  time  he  and  Elean] 
are  very  much  in  love.      HANNA  (Moll 
wood) 


e 


FILM     li  U  I.  I,  E  T  I 


ALL  THE  ADVENTURE... THE  EXCITEMENT... 

THE  SPECTACLE  OF  A  DECADE  OF  GREAT  WESTERNS! 


EVERY  MAN  A  FIGHTER... EVERY  MILE  A  FIGHT... 
EVERY  FIGHT  A  FURY...  j& & 

in  one  great 
glory  saga 
of  the  West! 


Ate**1- 
ftceri 


WOOD 


REPO^ER 


u\ot 


I" 


.  p  soSPcn*oxo*cE 
0  townee' 


A  GREAT 
MONEYMAKER 

t:kri 


/no, 


e*cC 


UA 


Pro 


Robert  Hutton  .  Lloyd  Corrigan  •  John  Hoyt  •  Jeff  Cori' 


if, 


.y,.«P.oyb,  Max  Trell  •  p.^cdb,  IRVING  ALLEN  .  D,r«U,  IRVING  R 


'DARLING,  HOW  COULD  YOU?1  MILDLY  ENTERTAINING  PERIOD  PIECE 


Rates  •  •  +  in  family  houses. 

Paramount 
95  Minutes 

Joan  Fontaine,  John  Lund,  Mona  Freeman, 
Peter  Hanson,  David  Stollery,  Virginia  Far- 
mer, Angela  Clarke,  Lowell  Gilmore,  Robert 
Barrat,  Gertrude  Michael,  Mary  Murphy, 
Frank  Elliot,  Billie  Bird,  Willard  Water- 
man. 

Directed  by  Mitchell  Leisen. 


"Darling,  How  Could  You?",  adapted  from 
James  Barrie  s  "Alice-Sit-By-the-Fire",  is  a 
costume  comedy  of  some  charm  and  humor, 
for  family  audiences.  But  it  adds  up  neither 
to  exciting  entertainment  nor  to  special  box- 
office  fare.  Those  willing  to  wade  through 
an  hour  of  slight  comedy  antics  for  the 
several  really  amusing  gag  sequences  that 
make  up  the  last  couple  of  reels  will  find 
rewarding  moments.  The  filmgoer  whose 
tastes  run  to  sterner,  brisker  or  livelier 
stuff  will  tab  it  as  a  bore.  Mitchell  Leisen's 
direction  is  filled  with  imaginative  touches, 


and  to  him  must  go  most  of  the  credit  for 
the  chuckles.  The  turn-of-the-century  period 
is  delighfully  realized  in  the  physical  pro- 
duction. But  just  why  effort  should  be  ex- 
pended on  a  museum  piece  which,  in  its 
best  days,  was  simply  a  vehicle  for  import- 
ant actresses,  is  one  of  those  mysteries  of 
the  Hollywood  production  mill  that  are  never 
fully  explained. 

A  good  stock  company  could  do  no  better 
or  worse  by  the  whimsical  yard  than  the 
actors  collected  by  producer  Harry  Tugend. 
Joan  Fontaine  seeks  to  compensate  in  broad 
gestures  and  expressions  for  the  absence  of 
witty  lines  in  her  role  of  the  pretty,  young 
mother  whose  children  don't  understand 
her.  John  Lund  passes  muster  as  the  hus- 
band. Mona  Freeman  grabs  attention  with 
her  splendid  make  believe  as  the  teen-age 
daughter  who  seeks  to  save  her  mother's 
"honor."  Peter  Hanson  rather  overplays  a 
dim-witted  family  friend.  Young  David  Stol- 
lery is  amusing  at  times  in  the  part  of  a 


'ON  THE  LOOSE'  CHEAP,  TRITE,  BUT  EXPLOITABLE 


Rates  •  •  -f  or  better  as  dualler  for  grind  houses,  if  exploited. 

of  saga  that  can  be  classified  as  a  case  his- 
tory. But  for  what  it  is  — ■  an  ugly  distortion 
of  facts,  a  crude  appeal  to  the  senses,  it 
carrie  explortation  values  with  timeliness 
and  sex  —  angles  to  be  welcomed  in  the 
grind  houses 


RKO-Radio  (Filmakers) 
74  minutes 

Joan  Evans,  Melvyn  Douglas,  Lynn  Bari, 
Robert  Arthur,   Hugh   O'Brian,  Constance 
Hilton,  Michael  Kuhn,  Susan  Morrow. 
Directed  by  Charles  Lederer 

"On  the  Loose,",  a  drama  of  teen-agers 
gone  astray,  is  a  wildly  exaggerated  story  of 
loose  youngsters  and  careless  parents,  with 
nothing  more  in  mind  than  appeal  to  sensa- 
tion-seekers; it  is  produced,  directed  and 
acted  in  the  same  fashion.  The  story  is 
obvious;  the  denouement,  equally  so.  Be- 
tween opening  and  finish  the  onlooker  sees 
vitually  every  cliche  in  the  mlodramatic 
book  —  from  neglectful  father,  fallen  daught- 
er, on  to  school  chums  who  take  a  dim 
view  of  the  happy-go-lucky-gal.  Produced 
by  Filmakers,  the  Ida  Lupino-Collier  Young 
company  which,  heretofore,  has  filled  its 
problem  dramas  with  some  degree  of  sin- 
cerity, "On  the  Loose"  is  hardlv  the  kind 


In  the  family  and  class  locations,  its  cheap 
sensationalism  and  obvious  flaws  will  make 
it  an  undesirable  attraction. 

Joan  Evans,  as  the  teen-ager  thrust  into 
a  carefree  life  because  of  the  indifference 
of  her  mother  and  father,  does  a  creditable 
stint  despite  the  hackneyed  character  of  the 
role. 

Melvyn  Douglas  is  good  as  the  father,  and 
Lynn  Bari  convincingly  plays  a  mother  who 
cares  more  for  her  social  gadding  than  her 
home.  Under  Charles  Lederer's  direction  the 
two  mature  players  are  keyed  for  the  story's 
highlights,  and  these  they  do  in  more  con- 
vincing fashion  than  the  youngsters.  Robert 
Arthur,  the  juvenile  who  leads  Miss  Evans 
into  her  life  of  adolescent  exploration,  is  a 


small  boy. 

STORY:  Joan  Fontaine  and  John  Lund 
return  from  Panama  after  a  long  absence, 
both  concerned  about  reuniting  with  their 
three  children.  Joan's  worst  fears  are  reali- 
zed when  the  little  baby  cries  at  meeting 
her.  Next  she  is  too  demonstrative  with  her 
son;  insufficiently  so  in  approaching  the 
daughter.  Lund,  however,  makes  substantial 
progress  and  soon  is  installed  as  the  rightful 
head  of  the  house.  Mona  Freeman,  hearing 
her  mother  make  a  date  with  a  man  whom 
she  had  seen  Joan  kissing  ' on  a  previous 
meeting,  decides  to  save  the  family  from 
ruin.  Using  a  play  as  the  model  for  her 
actions  she  dresses  up  in  her  mother's  clothes 
and  goes  to  the  "roue's"  house  prepared  to 
sacrifice  herself.  In  a  mad  mix-up  that  fol- 
lows, Joan  sees  the  situation  for  its  humor 
and  realizes  that  by  allowing  Mona  to  have 
her  way,  she  has  established  a  mother- 
daughter  rapport.  She  cheerfully  poses  as 
a  fallen  woman  ready  to  confess  and  mend 
her   ways.     HANNA  (Hollywood) 


cherubic  youngster  who  never  quite  makes 
you  believe  he  is  capable  of  the  various  mis- 
deeds pictured.  Supporting  players  are  just 
average. 

STORY:   Joan   Evans'   parents,  Douglas 
and  Bari,   like    rolling   around   town  more 
than  they  enjoy  staying  home  and  display- 
ing interest  in  their  teen-age  daughter.  Inev- 
itably the  girl  turns  to  her  chums,  some  of! 
whom  cavort  in  bistros,   neck  in   cars  andj 
the  like.  One  such  is  Robert  Arthur  whose 
boyish  good   looks   and  pocketbook  appeal 
to  the  young  girl.  She  readily  goes  along! 
with  his  schemes  to  get  liquor  illegally  and 
more  than  one  night  shows  up  at  home  in 
the  wee  small  hours  tipsy  and  giddy.  Ar-I 
thur  eventually  tires  of  a  girl  so  ready  foi 
the  bright  lights.  She  finds  that  her  schoo 
mates    are   just  as   straight-laced.  A  will 
melee  involving  her  father  brings  the  whole! 
family  to  their  senses.  Douglas  and  Bari  set 
tie  down  to   having   a   happier  life  them 
selves  and  giving  Joan  more  of  the  parenta 
care  she  needs.      HANNA  (Hollywood) 


THUNDER  ON  THE  HILL'  SPOTTY  MYSTERY  MELODRAMA 

Rates  •  •  generally. 


Universal-International 
85  minutes 

Claudette  Colbert,  Ann  Blyth,  Robert  Doug- 
las, Anne  Crawford,  Philip  Friend,  Gladys 
Cooper,  Michael  Pate,  John  Abbott,  Connie 
Gilchrest,,  Gavin  Muir,  Phyllis  Stanley,  Nor- 
ma Varden  Valerie  Cardew,  Queenie  Leo- 
nard, Patrick  O'Moore. 
Directed  by  Douglas  Sirk 

"Thunder  On  the  Hill"  is  only  a  spottily 
effective  mystery  melodrama,  despite  an  un- 
usual mystery  plot  and  an  effective  stellar 
performance  by  Claudette  Colbert  playing 
a  nun  who  undertakes  the  job  of  detective. 
Its  convent  background  supplies  an  off-beat 
background  for  a  tale  of  murder,  passion,  and 
amour.  More  often  than  not  "Thunder  On 
the  Hill"  merges  these  elements  in  suffici- 
ently suspenseful  style  to  please  the  mystery 

10 


and  action  fans.  But  there  are  too  many 
times  when  the  script  could  do  with  a  lot 
less  dialogue  and  more  pictorial  action.  And 
the  direction  of  Douglas  Sirk  is  outrageous- 
ly melodramatic;  many  of  the  scenes  gener- 
ate laughter  instead  of  taut  reactions.  This 
criticism  applies  particularly  to  the  over- 
done perfromance  of  Ann  Blyth  as  a  girl 
wrongly  accused  of  murder  and  Michael 
Pate,  playing  a  half  wit  with  such  exag- 
geration that  he  wouldn't  be  tolerated  even 
in  a  I'oe  novel.  Film  will  need  a  strong 
supporting  attraction  to  pay  its  freight  as 
a  Colbert  starrer. 

Claudette  Colbert's  fine  performance  as 
the  nun  makes  much  of  "Thunder  On  the 
11  ill'  worthwhile.  Her  deep  convictions  are 
artfully  projected,  and  the  scenes  of  con- 
flict with  her  Mother  Superior  arc  beauti- 
'ully  done.  Robert  Douglas,  Ann  Crawford, 


and  Philip  Friend  are  admirable.  Conni 
Gilchrist  lightens  the  action  frequently  wit! 
her  portrait  of  an  easy  going  human  Sistei 
STORY:  A  storm  cutting  off  communil 
cations  and  the  road  interferes  with  th 
trip  to  London  of  Ann  Blyth,  who  is  i 
custody  and  about  to  be  hanged  for  tb 
killing  of  her  brother.  With  a  matron  an! 
police  officer  she  takes  refuge  in  the  coil 
vent.  Claudette  Colbert  believes  her  storl 
of  innocence  and  deliberately  disobeys  on! 
ers  to  help  her.  By  systematically  persuein 
newspaper  reports  of  the  crime,  and  quel 
tioning  others  involved  ,  she  produces  ev 
dence  that  proves  the  girl  innocent  and  tl 
real  murderer  to  be  Robert  Douglas,  a  do 
tor  with  whom  Colbert  has  worked  for  year 
HANNA  (Hollywood) 

(More  Reviews  on  Paf/e  1 
FILM  BULLETI 


'   STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
CxduM*        BULLETIN  Jeatun 

COLUMBIA  LIPPERT  PRODUCTIONS 

PRODUCTION  ON  UPGRADE      BRITISH  PRODUCING  DEAL 
WITH  11  SLATED  FOR  AUGUST    HAILED  BY  RETURNING  HEAD 


(hatt's  lighting  up  the  faces  of  ttlie  men  and 
women  around  Columbia's  Gower  Street  stu- 
dios, these  hott  August  days.  Far  more  impor- 
tant to  the  average  employee — and  to  the  ex- 
hibitor— is  te  fact  that  production  is  surging 
forward  in  greater  volume  than  it  has  in  any 
previuos  August  since  the  war — thereby  dis- 
pelling the  usual  late  summer  fear  of  lay-offs. 

A  total  of  eleven  pictures  will  be  in  produc- 
tion during  the  month,  with  a  comparable  slate 
■shaping  up  for  September.  And  'though  bud- 
gets on  the  new  productions  are  still  below  those 
I  the  major  companies,  there  is,  nevertheless, 
i  slightly  upward  trend  in  evidence.   Casts  of 
[the  new  pictures  boast  a  higher  calibre  of  stel- 
lar talent  than  tc  average  over  the  past  several 
mi. mlis,   shooting  schedules  are   a    little  less 
ramped,  and  new  story  purchases  pointt  ttoward 
|i  more  palatable  calibre  of  entertainment, 
I  Two  new  pictures,  one  a  western,  rolled  on 
lihe  first  day  of  August,  to  set  the  pace  for  the 
inusually  busy   period.    They  were  Edward 
Small's  production  of  the  "The  Brigand,"  An- 
thony   Dexter)    filmed  in    Technicolor,  witli 
Phil  Karlson  directing,  and  "The  Hawk  of  Wild 
River,"    (Charles    Starrett— Smiley  Burnett) 
produced  by  Colbert  Clark  and  directed  by  Ray 
Nazarro.    One  week  later,  on  August  7,  three 
nore  soundstages  were  opened  up  with  the  startt 
if  an  additional  trio  of  productions.  They  were : 
'European  Edition"  (Glenn  Ford),  produced  by 
Sam  Marx;  "Captain  Blood  Returns,"  (Louis 
Hayward),  produced  by  Harry  Joe  Brown,  and 
'Brave  Warrio," ( Jon  Hall)   a  Sam  Katzman 
On  August  9,  the  company  launched  its  first 
nusical  in  quite  some  time,  Richard  Quine  di- 
•ecting  Mickey   Rooney   in  the   Jonie  Tapps 
production  of  "Sound  Off."    Despite  the  fact 
hat  tthe  budget  is  unimpressive  for  a  musical, 
md  few  if  the  big  production  numbers  usually 
iated  with  Hollywood  musicals  willl  be  in 
|  :vidence,  the  picture  will,  neverttheless,  boast 
1  '"ie  new   songs  written  by  Rooney  himself, 
md  will  feature  dance  routines  by  some  new 
1'erpsichorean  talent. 
Starting  this   week    (August   13)   will  be: 
The  Mother",  starring  Loretta  Young.  Buddy 
|\dler  produces  and  Rudy  Mate  directs,  on  a 
Mooting  schedule  reportedly  set  at  28  days, 
Ind  budgeted  at  $300,000. 

On  August  20,  Gene  Autry's  twenty-first 
| later  for  Columbia,  will  go  into  production. 

Three  films  have  been  completed  in  the  last 
""nth:  "Boots  Malone"  (William  Holden), 
lirected  by  William  Dieterle  and  produced'  by 
Milton  Holmes;  "The  Thief  of  Damascus," 
Paul  Henreid  -  John  Sutton)  produced  by 
•>am  Katzman  and  directed  by  Will  Jason; 
md  a  Charles  Starrett  oater,  "Smoky  Can- 
on." Only  "Boots  Malone,"  was  before  the 
ameras  for  more  than  18  days. 


for  this  studio,  due  largely  to  the  absence  of 
head-man  Robert  L.  l.ippert,  who  has  been  in 
England  supervising  the  start  of  his  first  Bri- 
tish-American production,  "Blonde  Blackmail," 
made  cooperatively  with  London  financier,  Jam- 
es Carreras. 

Following  his  return  to  this  country,  Lippcrt 
expressed  complete  satisfaction  with  the  trans 
Atlantic  production  combine,  and  indicated  there 
would  be  no  htich  in  his  plans  to  produce- 
more  and  better  pictures  with  his  British  part- 
ner, in  the  months  ahead.  He  has  already  pur- 
chased two  completed  screenplays  to  be  made 
in  England  later  this  year.  They  are :  "The 
Stolen  Face"  and  "Dead  On  Course."  As  was 
the  case  with  "Blonde  Blackmail,"  l.ippert 
will  supply  the  script  and  two  stars,  in  return 
for  American  distribution  rights.  "Blackmail," 
which  start  George  Brent  and  Marguerite 
Chapman,  was  directed  by  Terrace  Fisher  and 
personally  produced  by  Carreras.  Shooting 
started  July  9,  and  was  completed  early  this 
month. 

No  definite  starting  dates  have  been  an- 
nounced for  future  productions  in  Hollywood, 
although  it  is  expected  that  at  least  one  new 
picture  will  go  before  the  cameras  this  month, 
'with  a  considerable  pick-up  during  September. 

"Unknown  World,"  which  was  co-produced 
by  Philip  Yordan  and  two  special  effects  men, 
Jack  Rabin  and  Irving  Block,  has  been  ac- 
quired for  Lippert  for  release  in  October.  The 
picture,  which  was  originally  titled  "To  the 
Center  of  the  Earth,"  is  another  science  fiction 
yard  built  around  a  mythical  machine  that 
penetrates  to  the  earth's  core  as  a  haven  from 
atom  bombs. 

METRO-GOLDWYN-MAYER 

NO  LAG  IN  PRODUCTION 
PACE  UNDER  REVISED  SET-UP 

Surprisingly  enough,  there  was  no  break  in 
the  flow  of  heavy  production  out  MGM  way, 
with  the  realignment  of  studio  control  brought 
on  by  Louis  B.  Mayer's  resignation.  On  the 
contrary,  the  new  executive  committee  headed 
by  Dore  Schary  gave  the  green  light  to  six 
nw  productions  to  roll  during  August  —  bring- 
ing to  eleven  the  total  number  of  pictures 
that  will  be  in  various  stages  of  filming  at 
some  time  during  the  month. 

The  committee,  which  includes,  in  addition  to 
Schary,  E.  J.  Mannix,  Benjamin  Thau  and 
Louis  K.  Sidney,  indicated,  following  its  first 
session,  that  there  will  be  few,  if  any,  major 
policv  changes  in  the  immediate  future.  How- 
ever, FILM  BULLETIN  hears  that  a  survey 
will  soon  be  conducted  in  every  department  of 


HOLLYWOOD  EDITORIAL 

STILL  IN  HARNESS 

News  thai  l  out-  It.  Muycr  has  started  putting 

new  talent  under  penonal  contract  •  indicating 

thai  lie  has  definite  plans  to  remain  in  million 

picture  production  .  should  give  the  entire  in* 

du»tr>  canoe  for  rejoicing. 

Mayer,  more  than  almost  any  other  producer 
in  the  business,  has  proved  that  he  ha-  the  rare 
and  infallible  ability  to  interpret  the  heart  and 
mind  of  the  American  public.  Unlike  ton  many 
of  the  men  who  mould  our  motion  picture  fare. 
Mayer  has  maintained  a  completely  urn  ynical 
viewpoint  Instead  of  making  the  type  of  en- 
tertainment in  the  sordid  and  the  neurotic,  he 
has  always  played  to  the  broader  audience  of 
normal,  non-frustrated  men  and  women  who 
make  up  the  overwhelming  majority  of  the 
population    in  this,  or  any  other  country. 

Even  in  those  fateful  years  during,  and  im- 
mediately following  the  war,  when  most  of 
Hollywood  was  alienating  the  customers  with 
psychiatric  trash,  Mayer,  never  for  a  moment 
lost  his  perspective  of  the  public's  taste.  As  a 
result,  his  studio's  pictures  continued  to  win 
wide  acclaim  -  and  the  movie  industry  generally 
retained  a  lot  of  friends  who  might  Otherwise 
have  abandoned  the  movie-going  habit. 

The  future  of  motion  pictures  is  brighter,  if 
only  because  Louis  B.  Mayer  will  continue  to 
be  a  part  of  it. 


the  studio,  to  effect  maximum  efficiency.  There 
have  been  no  resignations  in  the  wake  of 
Mayer's  departure,  although  there  is  a  strong 
rumor  on  the  lot  that  Joseph  Pasternak,  one 
of  the  company's  top-flight  producers  of  musi- 
cals, will  leave  the  lot  at  the  expiration  of  his 
:urrent  contract. 

Of  the  five  pictures  before  the  cameras  dur- 
ing the  first  two  weeks  of  August,  three  are 
being  filmed  in  Technicolor,  and  all  carry  top- 
strata  budgets.  They  are :  "Belle  of  New  York" 
(Fred  Astaire  -  Yera  Ellen),  launched  June 
18  by  producer  Arthur  Freed  and  director 
Charles  Walters ;  "Singin'  In  The  Rain," 
(Gene  Kelly  -  Donald  O'Connor),  which  has 
been  before  the  cameras  since  June  18,  with 
Kelly  and  Stanley  Donen  sharing  direction 
chores  for  producer  Arthur  Freed;  "The  En- 
emy," (George  Murphy  -  Nancy  Davis)  lowest 
budgeted  of  the  group,  directed  by  David  Brad- 
ley for  producer  Richard  Goldstone,  starting 
Inly  30;  "When  In  Rome",  (Van  Johnson  - 
Paul  Dauglas)  a  comedy  filmed  in  Italy,  start- 
ing July  3.  with  Clarence  Brown  doubling  as 
producer-director;  and  "Ivanhoe",  (Robert  Tay- 
lor -  Elizabeth  Taylor  -  Joan  Fontaine)  shoot- 
ing in  England.  P.  S.  Berman  producing. 
Richard  Thorpe,  directing. 

Today,  August  13,  Joe  Pasternak  and  Direc- 
tor Curtis  Bernhardt  start  the  cameras  rolling 
on  "The  Merry  Widow,"  a  Technicolor  mu- 
sical comedy  co-starring  Lana  Turner  and 
Fernando  Lamas.  Following  on  August  14th 
and  15th  respectively,  will  be:  "Scaramouche" 
(Stewart  Granger  -  Eleanor  Parker  -  Janet 
Leigh),  George  Sidney  directing  for  Carey 
Wilson;  and  "R.S.V.P.",  a  Dorothy  McGuire 
starrer  which  Gottfreid  Reinhardt  will  direct 
for  Producer  Lawrence  Weingarten.  Later  in 
the  week,  "The  Big  Cast"  (Mario  Lanza  - 
James  Whitmore).  will  roll  with  Aaron  Hall 
directing  for  Joe  Pasternak. 

(Continued  on  Page  12) 


AUGUST     13,  1951 


11 


STUDIO  SIZ6-UPS 

(Continued  from  Page  11) 

The  final  August  starters  -  both  set  to  go  on 
the  27th  are:  "Skirts  Ahoy."  a  musical  starr- 
ing Vivian  Blaine  and  Esther  Williams  -  Sid- 
ney Lanfield  directing  and  Joe  Pasternak 
producing;  and  "The  Family  Man,"  a  co- 
production  chore  of  George  Reinhardt  and  W. 
H.  Wright,  starring  Ruth  Roman,  Russell 
Nype  and  Denise  Darcel. 

MONOGRAM  - AA 

NEW  STUDIO  CHIEF  SPURS 
MORE  BIGGER  MONO-AA  FILMS 

One  of  the  first  moves  made  by  Walter  Mir- 
isch, after  taking  over  his  post  as  executive 
producer  for  Monogram  and  Allied  Artists, 
was  to  start  hypoing  budgets  on  a  larger  por- 
tion of  the  two  company's  forthcoming  product. 
At  the  same  time,  he  started  agitating  for  an 
increase  in  the  quantity  of  production,  in  order 
that  the  company  might  rank  equally  as  a  pro- 
duction and  distribution  organization. 

Mirisch  appears  to  be  of  the  opinion  that  the 
company  has  slowly  been  backsliding  in  its 
production  to  a  point  where  it  was  becoming 
primarily  a  distribution  outfit.  And,  with  that 
in  mind,  he  is  preparing  a  heavy  slate  of  new 
productions  to  be  presented  to  the  executive 
board,  and  Prexy  Steve  Broidy,  with  more  em- 
phasis on  the  higher-budgeted  AA  product. 

Feeling,  generally  around  Hollywood,  is  that 
Mirisch's  appointment  is  one  of  the  best  things 
that  has  happened  to  the  sister  companies  in 
a  long  time.  Only  29  years  old,  Mirisch  is  ag- 
gressive, enthusiastic,  and  possesses  a  fresh- 
ness that  is  sorely  needed  throughout  the  in- 
dustry. 

Already  the  anticipated  upswing  in  produc- 
tion is  in  evidence,  with  a  half  dozen  new  pic- 
tures either  already  started  or  being  readied 
for  August  filming.  On  August  1,  the  cameras 
started  turning  on  three  soundstages,  as  "Alad- 
din and  His  Lamp,"  "Rodeo,"  and  "Ghost 
Haiders"  went  into  active  production.  Walter 
Wanger,  who  had  previously  been  set  as  the 
technical  advisor  on  'Aladdin",  took  over  full 
production  responsibility  in  a  last  minute  switch, 
with  Lew  Landers  assisting  him  as  director.  Pa- 
tricia Medina,  Johnny  Sands  and  Dick  Erdman 
are  starred  in  the  Cinecolor  feature,  which  car- 
ries one  of  the  highest  budgets  of  any  picture 
made  by  the  company  this  year.  "Rodeo",  also 
being  filmed  in  Cinecolor,  is  directed  by  Wil- 
liam Beaudine  and  produced  by  Mirisch,  with 
Jane  Nigh  starred.  "Ghost  Riders"  iis  a  Vin- 
cent M.  Fennelly  production,  starring  Johnny 
Mack  Brown  and  James  Ellison. 

On  August  7,  Producer  Fennelly  also  launch- 
ed another  Johnny  Mack  Brawn  oater,  "Lone 
Star  Lawman,"  with  Lew  Landers  directing. 

Final  August  starter— or  so  it  appears  at 
this  writing— will  be  "Straight,  Place  and 
Show,"  a  Bowery  Boys  feature  directed  by 
William  Beaudine  for  Producer  Jerry  Thomas. 

Two  other  features,  which  went  into  pro- 
duction in  late  July,  were  brought  in  on 
Schedule  during  the  first  days  of  August.  They 
^ere :  "Fort  Osage,"  a  Mirisch  Cinecolor  spec- 
ial starring  Rod  Cameron  and  Jane  Nigh,  di- 
rected by  Lesley  Selander ;  and  "Yellow  Fin", 

12 


a  Lindsley  Parsons  production  starring  Wayne 
Morris,    and    directed    by   Frank  McDonald. 

PARAMOUNT 

PRODUCER-PLAYER  TALENTS 
SWELLS  PARA  CONTRACT  LIST 

FILM  BULLETIN  hears  that  big  things  arc 
in  the  offing  at  Paramount — not  the  least  of 
which  is  the  possible  return  of  Preston  Sturges 
to  the  lot.  In  addition,  a  big  drive  is  on  to 
build  up  the  contract  roster  with  new  talent, 
and  develop  interesting  and  timely  new  pic- 
ture ideas.  While  nothing  definite  can  lie  said 
at  this  time  relative  to  the  return  of  Sturges  as 
a  top  producer  on  the  lot,  it  is  known  that  ne- 
gotiations are  underway. 

The  roster  of  actors  and  actresses — now  num- 
bering 30,  includes  two  promising  newcomers : 
Patricia  Ann  Harding,  15-year-old  singing  dis- 
covery, and  Peter  D.  Baldwin,  unearthed  on 
the  Stanford  University  campus  by  a  Paramount 
talent  scout.  The  roster  of  30  does  not  include 
some  additional  stellar  talent  with  whom  the 
company  holds  non-exclusive  contracts.  This 
latter  group  includes  -  to  mention  a  few  - 
Montgomery  Clift,  Jean  Arthur,  Eleanor  Park- 
er and  Paulette  Goddard. 

A  similar  drive  has  been  instigated  by  Wil- 
liam Pine  and  William  Thomas  who  have  just 
inked  a  six-picture  deal  with  John  Payne,  a 
multi-film  pact  with  Arlene  Dahl,  and  a 
Iwo-frame  deal  with  Ronald  Reagan.  In  ad- 
dition, Lewis  R.  Foster,  who  has  written  and 
directed  eight  pictures  for  the  unit,  has  been 
signed  to  a  new  long-term  contract. 

At  the  turn  of  August,  five  pictures  were 
shooting  on  the  lot,  and  three  more  have  been 
set  to  roll  between  then  and  the  first  of  Sep- 
tember. Five  carry  over  from  last  month,  four 
of  which  are  tinted:  "Warbonnet"  (Charlton 
Hestou  -  Peter  Hanson)  a  technicolor  western 
with  George  Marshall  directing  for  Producer 
Mel  Epstein ;  "Anything  Can  Happen"  (Jose 
Ferrer),  a  Perlberg-Seaton  production;  "The 
Denver  and  Rio  Grande"  ( Edmond  O'Brien  - 
Sterling  Hayden  -  Dean  Jagger)  a  Not  Holt 
technicolor  production  directed  by  Byron  Has- 
kin ;  Pine-Thomas  technicolor  "Green  Gold  of 
Nevada"  (John  Payne  -  Susan  Morrow)  direct- 
ed by  Edward  Ludwig;  and  "Shane"  (Techni- 
color), a  top  budget  George  Stevens  produc- 
tion, which  he  also  directs,  with  Alan  Ladd, 
Jean    Arthur    and    Van    Heflin  starred. 

On  August  6,  Bob  Hope's  "Son  of  Paleface" 
got  off,  with  Jane  Russell  and  Roy  Rogers  also 
starred.  Frank  Tashlin  is  megging  for  Pro- 
ducer Robert  Welch.  Next  to  go  will  be  "Some-f 
body  Loves  Me,"  with  Betty  Hutton  and  Ralph 
Meeker.  The  latter  is  the  story  of  Blossom 
Seeley,  and  will  be  directed  by  Irving  Brecher 
for  Perlberg-Seaton. 

REPUBLIC 

NEW  PRODUCTIONS  BUSY 
7  REPUBLIC  SOUND  STAGES 

With  two  pictures  currently  before  the  cam- 
eras, and  three  more  due  to  start  within  the 
next  two  weeks,  August  shapes  up  as  a  slightly 
better-lhan-average  summer  month  for  Re- 
public, insofar  as  volume  of  production  is  con- 
cerned And  with  two  independent  units  rent- 


ing sound  stages  for  the  period,  the  facilities  ol 
the  plant  are  operating  at  near  capacity. 

John  Ford  and  Melville  Cooper's  "The  Quiet 
Man,"  which  went  before  the  cameras  in  Ire- 
land, June  4,  is  still  in  production,  although 
all  foreign  filming  is  completed,  and  only  i 
minimum  of  cleaning  up  detail  must  be  comj 
pleted  on  the  home  lot.  The  stars  of  the  pie 
lure,  John  Wayne  and  Maureen  O'Hara,  com- 
pleted their  stints  early  in  the  month.  The 
other  Republic  production  now  shooting  is 
"Oklahoma  Annie,"  a  Judy  Canova  comedy 
being  filmed  in  color.  Sidney  Picker  is  pro- 
ducing and  R.  G.  Springsteen  is  directing,  witi] 
a  supporting  cast  headed  by  John  Russell, 
Grant  Withers  and  Roy  Karcroft.  Actual  film- 
ing started  July  12,  and  is  due  to  wind  up  this 
week. 

Starting  this  week  is  "Colorado  Sundown," 
a  Rex  Allen  sagebrusher,  directed  by  Bofc 
Witney  for  Producer  E.  J.  White.  On  Augsj 
23,  Valley  Vista  Productions  launches  anotho 
in  its  series  starring  the  studio's  juve  stars 
Eileen  Jansen  and  Michael  Chapin,  with  Rudj 
Ralston  again  handling  the  production  reins 
The  new  entry  has  been  tagged,  "Wyomin( 
Saddle  Pals."  Completing  the  August  slat< 
will  be  "Hoodlum  Empire,"  rolling  the  30th 
with  a  still  unannounced  cast.  Joseph  Kani 
will  doubie  on  the  producer-director  chores. 

Production  was  in  a  slump  during  late  July 
witli  the  result  that  no  pictures  have  been  can 
ned  since  the  last  report  on  the  studio,  a  montl 
ago. 

The  company's  television  subsidiary  has  mad 
its  first  sale  during  this  period,  disposing  of 
package  comprised  of  48  serial  episodes  and  2 
mystery  features  for  $77,700.  TV  statin 
KNBH  was  the  purchaser. 

Rental  units  working  on  the  lot  at  the  pres 
ent  time  are  Edward  L.  Alperson,  shoqffl 
"Rose  of  Cimarron"  for  Fox  release,  and  th 
new  Gloria  Swanson  film,  "Three  For  Bedroor 
C".  co-produced  by  Alperson  and  Milton  Rrei 
with  no  releasing  deal  to  be  set  until  coniple 
lion  of  production. 

RKO 

BIG  MUSICAL  FILM  LINE-UP 
TO  BE  LAUNCHED  BY  STUDIO 

At  long  last,  Howard  Hughes'  two  p 
movie  commodities,  sex  and  chills,  are  about  1 
be  relegated  to  second  place  on  the  RKO  pfl 
duction  program,  as  the  studio  prepares  I 
launch  head  long  into  the  making  of  musical 

With  some  of  the  most  important  music 
properties  to  be  found  anywhere  in  Hollywcx 
tucked  away  in  its  files  and  vaults,  RKO  is 
present  building  up  its  musical  organizatk 
with  an  eye  to  openly  competing  with  MG1 
and  Fox  in  the  song-and-dance  movie  mark( 

li  I-  quite  possible  that  Hughes  will  re-mal 
some  of  the  old  RKO  musical  hits  of  yestye 
—including  the  Ginger  Rogers  -  Fred  Astai 
pictures.  However,  the  companj  ow  ns  the  righ 
on  a  number  of  new  scores  which  have  nev 
been  used.  i 

"  Two  Tickets  To  Broadway,"  the  new  Toi 
Martin  starrer  which  RKO  completed  a  f< 
months  past,  is  undoubtedly  partly  respon 
ible  for  the  new  studio  trend.  When  the  p 
ture  was  previewed  in  Hollywood  a  few  wee 
ago.  the  comment  cards  tilled  out  by  the  aiM 

(Continued  from  Page  1 

FILM     H  I   I.  I.  K  T  I 


[  STUDIO  SIZe-UPS  ! 

(Continued  {row  Pane  12) 

ence  were  largely  in  the  rave  category  — 
something  that  hasn't  happened  at  RKO  very 
often  in  recent  years.  And,  as  a  result,  Hughes 
is  losing  no  time  in  launching  Martin  in  an- 
other film,  "Cavalcade  of  Music,"  which  will 
run  the  gamut  of  tunes,  from  classical  to  jazz. 
Xat  Perrin  is  currently  whipping  up  the  story. 

Production,  generally,  is  practically  nil  for 
the  company  during  August,  except  for  the 
independent  units  which  release  there.  Of  the 
four  pictures  filming  at  the  present  time, 
only  one  is  an  RKO  production,  and  that  is  a 
low-budgeted  im  Holt  starrer,  "Road  Block," 
produced  by  Herman  Schlom  and  directed  by 
Lesley  Selander.  The  three  independents  fillm- 
ing  are  Sam  Goldwyn  with  "I  Want  You" 
(Dana  Andrews  -  Dorothy  McGuire  -  Farley 
Granger)  which  director  Mark  Robson  is 
shooting  on  a  28-day  schedule ;  Filmakers  has 
"Day  Without  End,"  (Ida  Lupino  -  Robert 
Ryan  -  Barbara  Whiting).  Harry  Horner  di- 
recting for  Producer  Collier  Young ;  and  Win- 
chester Pictures,  with  "The  Big  Sky",  (Kirk- 
Douglas),  being  filmed  on  location  in  Wyoming, 
directed  by  and  produced  by  Howard  Hawks. 

Coming  up  this  week  (August  13)  are: 
"High  Heels,"  a  Wald-Krasna  feature  to  be 
produced  by.  Harriet  Parsons,  with  a  cast  still 
to  be  announced,  and  "The  Korean  Story,"  an 
Edmund  Grainger  production,  directed  by  Tay 
Garnett,  and  starring  Robert  Mitchum.  On 
August  20,  Wald-Krasna  will  launch  "Clash 
By  Night",  Harriet  Parsons  again  producing, 
and  again  with  a  cast  to  be  announced  later. 
Completing  the  month's  slate  will  be  another 
Wald-Krasna  feature,  "Size  12,"  which  rolls 
on  August  27,  with  a  cast  tentatively  headed  by 
Shelley  Winters.  There  is  a  strong  possibility 
that  Harriet  Parsons  will  also  produce  this 
one. 

20h  CENTURY  FOX 

EXEC  PRODUCER  BLAUSTEIN 
GIVEN  FREE  REIN  BY  ZANUCK 

The  appointment  of  Julian  Blaustein  as  an 
executive  producer  at  Fox,  in  order  to  take 
some  of  the  pressure  off  Darryl  F.  Zanuck  in 
turning  out  this  year's  upped  slate  of  37  pic- 
tures, has  met  with  a  rousing  reception  on  this 
lot.  Not  only  is  Blaustein  admired  as  a  bril- 
liant producer,  but  also  as  a  man  who  like 
Zanuk,  tries  to  avoid  the  trite,  formula  pictures 
in  favor  of  new  untried  story  material. 

In  assigning  a  number  of  stories  to  be  pro- 
duced under  Blaustein's  executive  control,  Zan- 
uck reportedly  gave  him  carte  blanche  on  Dud- 
gets.  In  each  instance,  subject  matter  and  story 
content  will  be  the  determining  factor  in  set- 
ing  the  cost  allocation. 

Inasmuch  as  the  company  has  scheduled  13 
more  pictures  to  be  produced  this  year  than 
last  it  isn't  surprising  that  nearly  all  of  the 
sound  stages  have  been  busy  during  the  past 
30  days.  At  this  writing,  there  are  five  fea- 
tures shooting,  and  four  more  set  to  join  them 
in  the  remaining  days  of  the  month.  The  form- 
er group  includes:  "With  A  Song  In  My 
Heart",    (Susan  Hayward  -  David  Wayne  - 

14 


Rory  Calhoun),  Jane  Froman  biopic,  which 
has  been  before  the  cameras  since  June  18,  pro- 
duced and  directed  by  Lamarr  Trotti  and  Walt- 
er Lang,  respectively;  "Red  Skies  of  Montana" 
(Technicolor),  (Richard  Widmark)  shooting 
since  July  2,  with  Joe  Newman  directing  for 
Producer  S.  G.  Engel ;  "Elopement"  (Clifton 
Webb  -  Anne  Francis),  launched  July  19,  by 
Producer  Fred  Kohlmar  and  Director  Henry 
Koster;  "Fixed  Bayonets"  (Richard  Basehart- 
Michael  O'Shea),  a  Jules  Buck  -  Samuel  Full- 
er producer-director  chore,  rolling  since  July 
19;  and  "Pride  of  St.  Louis,"  (Dan  Dailey  - 
Joanne  Dru  -  Hugh  Sanders)  the  Dizzy  Dean 
biopic,  Harmon  Jones  directing  for  Producer 
Jules  Schermer. 

In  addition,  one  independent  is  before  the 
cameras,  for  Fox  release,  "Rose  of  Cimarron," 
an  Edward  Alperson  production,  filmed  in  color, 
and  starring  Jack  Beutel,  Mala  Powers  and 
Kill   Williams,   with   Harry  Keller  directing. 

Only  two  pictures  have  wound  in  the  last 
month:  "Viva  Zapata,"  (Marlon  Brando  - 
Jean  Peters)  directed  by  Eli  Kazan  for  Zanuck, 
and  "Lydia  Bailey"  (Technicolor),  starring 
the  bright  young  newcomer,  Dale  Robertson, 
directed  by  Jean  Negulesco  and  produced  by 
Jules  Schermer. 

UNITED  ARTISTS 

INDIES  GRIPE  OVER  LACK 
OF  SAY-SO  IN  EXHIB  PACTS 

Some  of  the  independent  producers  in  Holly- 
wood are  griping  over  the  terms  UA  is  de- 
manding on  releasing  deals,  muttering  that  UA 
is  virtually  the  oidy  distribution  outlet  avail- 
able to  most  of  the  indes,  and  is  taking  ad- 
vantage of  that  situation.  Particularly,  they  are 
objecting  to  the  limited  control  they  now  hold 
over  the  exhibition  contracts  on  their  product. 

Whereas  in  the  past,  the  producer  held  final 
approval  rights  on  the  contracts,  he  is  now 
more  or  less  on  the  spot  if  he  disapproves  of 
the  agreements  proffered  by  the  releasing  com- 
pany. For  example,  UA  will  submit  the  con- 
tracts to  the  producer  or  his  representative, 
but  will  limit  the  period  for  approval  or  re- 
jection to  48  hours.  And,  in  the  case  of  re- 
jections, the  producer  must  forfeit  all  approval 
rights  unless  he  can  come  up  with  something 
better  within  the  48-hour  time  limit. 

What's  more,  the  new  management  of  UA 
is  in  a  position  where  they  need  not  back  down 
on  their  demands  under  pressure  of  a  product 
shortage  —  which  plagued  the  company  for  so 
many  months.  At  the  present  time,  the  UA 
backlog  consists  of  26  features  either  completed 
or  nearing  completion.  In  addition,  four  new 
productions  will  be  launched  between  now  and 
the  end  of  October. 

The  only  picture  now  shooting  which  has 
definitely  been  earmarked  for  UA  release  is 
the  Humphrey  Rogart  -  Katherine  Hepburn 
starrer,  "African  ueen,"  produced  in  Africa 
and  England  by  Horizon  Productions.  It  is 
due  to  wind  any  day  now  on  the  soundstages 
mar  London. 

Definite  announcements  have  not  yet  been 
made  on  the  four  new  starters  set  to  roll 
during  the  late  summer  and  early  fall.  How- 
ever, Stanley  Kramer  is  expected  to  launch 
"High  Noon",  his  final  UA  commitment,  some 
time  during  that  period.  Gary  Cooper-  has  been 
set  for  the  starring  role  of  the  picture,  with 


Carl  Foreman  serving  as  associate  producer, 
and  Fred  Zinnemann  directing.  Aspen  Produc- 
tions, the  Mark  Robson-Mark  Wise  independ- 
ent company,  also  is  expected  to  get  started 
on  the  first  of  their  two  pictures  for  UA  re- 
lease, in  early  September. 

UNIVERSAL  -  INT'L 

THREE  TINTERS  ROLLING 
HEAVY  SHOOTING  IS  READIED 

Despite  a  slight  slackening  off  of  production 
at  Universal-International,  this  month,  there 
have  been  none  of  the  usual  summer  lay-offs, 
due,  largely,  to  the  heavy  schedule  coming  up, 
and  the  pre-production  work  involved. 

Three  new  features  have  rollode  since  our 
last  report  in  this  department,  all  of  them 
being  filmed  in  color  by  Technicolor :  "Bend 
of  the  Snake,"  "Bronco  Buster"  and  "Son  of 
Ali  Baba."  "Bend"  stars  Jimmy  Stewart,  Ar- 
thur Kennedy  and  Julia  Adams,  and  is  di- 
rected by  Anthony  Mann,  and  produced  by 
Aaron  Rosenberg.  "Buster"  stars  John  Lund, 
Scott  Brady  and  Joyce  Holden,  with  Bud  Boet- 
ticher  directing  for  Producer  Ted  Richmond. 
Ali  Baba  is  a  Tony  Curtis-Piper  Laurie  star- 
rer, directed  by  Kurt  Neumann  and  produced 
by  Leonard  Goldstein. 

Next  to  go  will  be  "Francis  Goes  to  the  | 
Big  Town,"  the  third  in  the  popular  talking 
mule  series,  starring  Donald  O'Connor.  Arthur 
Lubin  again  directs  for  Leonard  Goldstein, 
with  the  first  day  of  shooting  scheduled  fori 
the  15th. 

Coming  up  in  September  is  "The  World  In 
His  Arms,"  based  on  the  Rex  Beach  novel, 
with  Gregory  Peck  in  the  top  role,  a  strictly 
Class  AA  feature  that  the  company  hopes  will 
rank  with  "Bright  Victory"  as  one  of  its  top 
hits  of  the  year.  Further  enhancing  the  pic-  i 
hire's  potential  is  the  signing  of  Raoul  Walsh 
to  direct.  Aaron  Rosenberg  produces. 

Completed  since  the  last  Size-ups  report] 
are:  "The  Treasure  of  Frauchard"  (Williamj 
Powell-Julia  Adams),  a  Technicolor  feature! 
directed  by  Ted  Tetzlaff  and  produced  by  Leo- 
ard  Goldstein;  "Weekend  With  Father"  (Van 
Heflin-Patricia  Neal-Gigi  Perreau)  Douglas! 
Sirk  directing  for  Producer  Ted  Richmond; 
"Battle  of  Apache  Pass",  (John  Lund  -  Jeff 
Chandler)  Technicolor  western  directed  byj 
George  Sherman  for  Producer  Leonard  Gold-I 
stein)  ;  "Meet  Danny  Wilson"  (Frank  Sinatra- 
Shelley  Winters  -  Alex  Nicol),  directed  by! 
Joseph  Pevney  and  produced  by  Goldstein ;  andl 
"Meet  the  Nelsons"  (Ozzie  Nelson  -  Harriet! 
Hilliard),  produced  by  Aaron  Rosenberg  andl 
directed  by  Frederick  de  Cordova.  "Dannj 
Wilson,"  incientally,  surprised  everyone  by  com- 
ing in  approximately  on  schedule,  and  within 
bounds  of  the  $400,000  budget. 

WARNER  BROTHERS 

WB  SETS  HOTTEST  PACE 
WITH  14  IN  WORK  FOR  MONTH 

Warner  Brothers  will  lead  all  other  lots  it 
town  in  the  number  of  pictures  shooting  dur- 
ing August.  With  the  camerasalready  rolling  oi 
five  productions,  no  less  than  nine  more  arJ 
slated  to  get  underway. 

(Continual  on  Page  151 
FILM  BULLETIN 


I  STUDIO  SIZ6-UPS  J 

VContimied  from  Page  14) 

f  Currently  sliooting  are:  "Where's  Charlie" 
|  Technicolor),  filming  in  England,  under  the 
llirection  of  David  Butler,  and  starring  Ray 
Bolger  and  Allyn  McLerie;  "The  Big  Trees" 
(Technicolor),  Louis  H.  Edelman  producing, 
'Felix  Feist  directing,  and  starring  Kirk  Doug- 
las and  Patricia  Wymore;  "The  Crimson  Pi- 
rate" (Technicolor),  shooting  in  Italy,  with 
fflurt  Lancaster  starred,  and  Rohert  Siodmak 
Beting;  "I'll  See  You  In  My  Dreams"  (Dor- 
's Day  -  Danny  Thomas  -  Frank  Lovejoy), 
Mike  Curtis  directing  for  Producer  L.  F. 
iF.delman,    and    "Carson  City"  (Technicolor), 


Randolph  Scott  -  Raymond  Massey  starrer, 
directed  by  Andre  De  Toth  and  produced  by 
David  W'eisbart. 

Coming  up  later  this  month  are:  "About 
Face"  (Gene  Nelson)  a  Technicolor  musical 
directed  by  Roy  Del  Ruth  and  produced  by 
William  Jacobs ;  "She's  Working  Her  Way 
Through  College"  Bruce  Humberstone  direct- 
ing and  William  Jacobs  producing,  with  a 
cast  being  worked  out ;  "The  Lion  and  the 
Horse"  (Technicolor),  Bryan  Foy  producing, 
Lou  King  directing,  cast  still  to  be  set;  "Room 
For  One  More"  (Cary  Grant  -  Betsy  Drake), 
Naurmon  Taurog  directing  for  Henry  Blanke; 
"Retreat,  Hell !",  a  Milton  Sperling  produc- 
tion, to  be  directed  by  Jacob  Lewis;  "Four 
Chaplains",  Gordon  Douglas  directing  for  Lou 
Edelman,  cast  still  unannounced;  "Darby's 
Rangers"    a    Rudolph    Fehr    production,  for 


which  neither  the  cast  nor  director  have  been 
set  ;  "This  Woman  Is  Dangerous."  tentatively 
earmarked  for  Ruth  Roman,  with  Felix  Feist 
nagging  for  Producer  Rudolph  Sisk  ;  and  "The 
Big  League,"  to  be  produced  by  Bryan  Foy, 
but  still  awaiting  cast  and  director  assignments, 

Pictures  completed  within  the  last  30  days 
are  "Starlift"  (James  Cagney  -  Virginia  Mayo 
and  an  all-star  cast);  "Come  Fill  the  Cup" 
(James  Cagney);  a  William  Cagney  Produc- 
tion "Bugles  in  the  Afternoon"  (Ray  Mil  land- 
Helena  Carter)  ;  and  "The  Tanks  Are  Com- 
ing" (Steve  Cochran  -  Mari  Aldon). 

In  addition  the  Abbott  and  Costello  starrer, 
"Jack  and  the  Beanstalk",  produced  by  their 
Fxclusive  Productions  unit  for  WB  release, 
was  brought  in  two  days  ahead  of  schedule. 
Jean  Yarbrough  directed,  with  Alex  Gottleib 
as  producer. 


'MR.  BELVEDERE  RINGS  THE  BELL'  HIGHLY  ENTERTAINING  ENTRY 


Rates  •  •  •  in  family  and  neighborhood  hi 


20th  Century-Fox 
88  Minutes 

Clifton  Webb,  Joanne  Dru,  Hugh  Marlow, 
Zero   Mostel,  Billy  Lynn,   Doro  Merande, 
Frances  Brandt,  Kathleen   Comegys,  Jane 
Marbury,  Harry  Hines,  Warren  Stevens. 
Directed  by  Henry  Koster. 

[  Although  "Mr.  Belvedere  Rings  the  Bell" 
|  third  in  the  series,  may  not  hit  the  high 
Itures  of  the  elegant  smarty-pants.  It  re- 
jtures  of  the  elegant  smarty-pants,  it  he- 
bounds  from  a  rather  disappointing  sequel 
to  high  points  of  charm  and  gentle  humor 
jas  well  as  some  hearty  belly-laughs  that 
'makes  it  ideal  fare  for  the  family  trade  and 
!  roundly  entertaining  screen  enjoyment  gen- 
erally. The  screen  play  is  an  adaptation  of 
!"The  Silver  Whistle,"  a  beguiling  play  about  • 
|  a  philosopher  who  imposes  his  presence  on 
I  an  old  people's  home  and  accomplishes  quite 
la  few  changes  for  the  better,  even  though 
his  methods  are  open  to  question.  It's  a 
pleasant  idea,  and   Henry  Koster  directs  it 

'TALL  TARGET'  FAIR  PERIOD 


>uses. 

accordingly.  The  pace  occasionally  leans  to 
the  leisurely  side,  but  the  dialogue  is  flip 
and  clever  enough  to  more  than  compensate 
for  the  lapses.  Clifton  Webb,  playing  the 
unique  celluloid  genius,  and  a  cast  of  superb 
character  actors,  recruited  from  the  play,  im- 
bue it  with  pace  and  vitality.  This  new 
"Belvedere"  chapter  should  win  the  series 
new  fans,  as  well  as  preserving  and  strength- 
ening its  old  public. 

Clifton  Webb  knows  the  Belvedere  char- 
acter down  to  the  finest  satiric  shaft;  his 
performance,  as  always,  completely  dominat- 
es the  action.  Joanne  Dru  is  warm  and  vib- 
rant as  the  nurse  in  charge  of  the  old  people. 
Hugh  Marlowe  is  appropriately  irritating 
as  the  stuffy  minister.  Zero  Mostel  has 
several  richly  funny  scenes  as  Belvedere's 
manager.  Diminutive  Billy  Lynn,  Doro  Mer- 
ande, Frances  Brandt,  Kathleen  Comegys, 
and  Jane  Marbury  play  the  oldsters  with 
the  finesse  and  surety  of  the  skilled  per- 
formers they  are. 

STORY:   Webb,  on   a  lecture  tour,  be- 

MELODRAMA 


Rates  •  •  +  as  dualler. 


MGM 

78  Minutes 

Dick  Powell,  Paula  Raymond,  Adolphe 
Menjou,  Marshall  Thompson,  Rube  Dee, 
Richard  Rober,  Will  Geer,  Florence  Bates. 
Directed  by  Anthony  Mann. 


"Tall  Target,"  neither  strong  enough  in 
names  or  solid  entertainment  content  to 
stand  alone,  is  the  kind  of  attraction  that 
lends  itself  to  equal  billing  in  neighborhood 
and  secondary  metropolitan  houses.  The 
story  is  interesting  and  unusual,  woven 
from  the  facts  of  Abraham  Lincoln's  jour- 
ney from  Springfield  to  Washington  for  his 
first  inaugural.  A  plot  to  assassinate  .  him 
before  he  reached  Washington  was  in  the 
making  and  its  conspirators  involved  people 
from  some  20  states  of  the  Union.  The 
screenplay  of  this  MGM  release  wastes  too 
much  time  in  getting  started,  and  the  re- 
lationship of  one  character  to  the  other  is 


not  particularly  well  defined.  But  the  sec- 
ond half  of  the  drama  holds  up  well  —  the 
exposition  has  been  laid  away  and  director 
Anthony  Mann  is  in  a  position  to  concen- 
trate on  action  and  suspense  values,  come 
off  with  a  fair  measure  of  excitement,  and 
the  finale  packs  real  dramatic  punch.  This 
should  satisfactorily  round  out  a  twin  bill 
program. 

Dick  Powell  gives  a  strong  performance 
of  the  New  York  detective  who  sets  out  on 
the  single-handed  mission  of  saving  the  pres- 
ident's life.  Paula  Raymond  figures  attract- 
ively in  the  proceedings  as  a  Southern  belle 
although  the  role  is  not  large.  Adolphe  Men- 
jou, cast  as  one  of  the  masterminds  behind 
the  scheme  has  a  role  too  poorly  defined  to 
hold  conviction.  Marshall  Thompson  over- 
does the  spot  of  a  Southern  firebrand.  Ruby 
Dees  is  outstanding  as  a  slave. 

STORY:  Powell's  report  on  the  scheme 
to  kill  Lincoln  during  a  proposed  address 


comes  interested  in  the  problems  of  old 
people.  He  decides  to  enter  an  old  folks' 
home  by  posing  as  a  remarkably  well  pre- 
served septegenarian.  He  finds  the  oldsters 
living  in  a  drab  house  and  garden  adjoining 
a  very  poor  church.  His  own  vitality  is  in- 
fectious, and  before  long  he  has  infused 
most  of  them  with  a  desire  to  make  more 
of  their  remaining  years.  He  concocts  a 
mysteriou ;  oriental  potion  (salt  and  bicarb) 
that  restores  vigor  to  a  couple  of  the  men. 
He  steals  equipment  from  all  over  town 
and  plans  a  bazaar.  Eventually  his  identity 
as  Belvedere  is  revealed;  inevitably  the  dis- 
illusionment of  the  old  people  follows.  They 
think  he  has  been  making  fun  of  them. 
However,  Belvedere's  actions  have  brought 
their  plight  into  the  open.  The  people  flock- 
to  the  support  of  the  home,  the  minister 
realizes  his  charges  need  something  more 
than  mere  subsistance.  And  Belvedere  sees 
to  it  too  that  the  church  man  takes  some 
definite  action  about  his  romantic  interest 
in  Joanne  Dru.  JAMES 


at  Baltimore  is  pigeon-holed  by  the  New- 
York  police  department.  Powell  has  no  way 
of  knowing  whether  a  copy,  sent  to  the 
State  department,  has  fallen  into  the  proper 
hands.  He  decides  to  go  to  Baltimore  him- 
self. From  the  moment  the  train  leaves 
Washington,  mysterious  things  begin  hap- 
pening. The  body  of  another  detective  is 
found;  Powell  is  stripped  of  identification. 
Menjou.  who  helps  Powell  out  at  first,  is 
eventually  disclosed  as  being  in  on  the 
scheme.  At  Philadelphia,  Powell  tries  un- 
successfully to  have  him  arrested,  instead  is 
taken  into  custody  himself.  Powell  makes  a 
break  and  boards  the  train.  At  Baltimore 
it  is  learned  that  Lincoln  has  cancelled 
his  speech.  Actually  the  president-elect  is 
on  the  train,  having  been  smuggled  aboard 
during  the  night  Marshall  Thompson  makes 
one  final  plunge  to  complete  the  plan,  but 
Powell  foils  it.  Lincoln  arrives  safely  in 
Washington,  going  to  his  own  inauguration 
"like  a  thief  in  the  night."  AXGEL 


AUGUST     13,  1951 


15 


EXPLOITATION  PICTURE 


PEKING  EXPRESS'-HEADLINE-HOT 


Timeliness,  Thrills,  Stars  Are  Angles 


An Adventuress, 
Speaks 
fromBehind 
China's  Silken 
Qurtain 


trapped  there 


The  reader  ad  pictur- 
ed here  pretty  much 
tells  the  hallvhoo  story 
on  Hal  Wallis'  Para- 
mount release,  "Pek- 
ing Express'  .  The  eye- 
titillating  art  and  head- 
line, the  piquant  '"I 
can  tell  you  what  it's 
like  in  China  today  — 
what  a  woman  has  to 
go  through  when  she 
is  trapped  there  .  .  .", 
the  teaser  story  copy, 
and  the  association 
with  two  of  the  pro- 
ducer's previous  top- 
notch  hoxoffice  thrill- 
ers that  tied  in  with 
the  headlines  —  all 
these  are  elements  of 
exploitation  that  can 
help  multiply  the  film's 
h.  o.  power.  The  stars. 
Joseph  Gotten,  Corin- 
ne  Calvet  and  Edmund 
Gwenn,  whose  aggre- 
gate fans  represents  a  fair  cross-section  of 
the  nation's  movie-goers,  round  out  the  pro- 
motion picture. 

A  brief  glance  at  each  of  these  elements 
confirms  the  exploitation  value  inherent 
in  "Peking  Express."  Miss  Calvet,  whose 
whistle-provoking  face  and  figure  has 
earned  her  an  enviable  following,  is  the 
subject  of  some  intriguing  art  from  Para- 
mount's  advertising  department.  Used  in 
blowups,  heralds,  posters  and  displays, 
Corinne  is  an  eye-stopper  and  interest- 
provoker  supreme.  There  is  also  a  slew  of 
action  art  to  augment  the  displays. 


•II  you  what  it's  like  in  China  today 
has  to  go  through  when  she  is 
w  she  lines  by  her  wits— her  looks— 
her  lies'  I  can  tell  you  everything  when  you  ride  with 
me  —  on  the  Peking  Express!" 

With  her  a  surgeon,  a  clergyman,  a  traitor., 
all  rushing  to  their  rendezvous  with  danger,  through 
a  land  burning  with  intrigue!  Their  sEory  makes  a 
drama  that  will  hit  you  with  its  on-the-spot  impact! 

Hal  Wallis  scoops  tomorrow's  flaming 
headlines  ...  as  he  did  with  "Casablanca"  and 
"G-Men" .   .  to  bring  you  the  startling  drama  that 
rides  the  roaring  rails  of  the 


PEKING 
EXPRESS 


Also  among  the  fore- 
most exploitation  an- 
gles is  Hal  Wallis'  rep- 
utation for  scooping 
headlines  with  quality 
films.  The  famous  "G- 
Men"  appeared  on  the 
nation's  screens  just  as 
the  headliners  were 
screaming  their  ex- 
ploits, '"Casablanca", 
probably  the  most  un- 
c  a  n  n  y  example  o  f 
timeliness  in  film  his- 
tory, owed  much  of  its 
initial  success  to  the 
scareheads  that  an- 
nounced the  historic 
parleys  just  before  the 
picture  hit  the  screens 
and  created  a  tremen- 
d  o  u  s  word-of-mouth 
promotion  from  the 
hundreds  of  thousands 
who  were  drawn  in  by 
the  timely  angle  and 
walked  out  shouting  its 
praises.  The  showman,  then,  must  not  over- 
look one  of  the  basic  tenets  of  advertising, 
publicity-association  of  the  product  with 
acknowledged  quality. 

The  red-hot  news  angle  is  another 
"must."  Any  and  all  publicity  that  de- 
scribes the  film  should  stress  the  "China 
TODAY"'  element,  the  peek  behind  China's 
"Silken  Curtain"  to  see  what  is  happening 
now. 

And,  finally,  the  action-suspense-adven- 
ture elements  that  have  always  been  sure- 
fire for  the  moviegoers  who  look  for  that 
type  of  fare. 


DISPLAYS 

Several  effective  ideas  for  in-theatre  and  ou 
door  displays  are  presented  in  the  pres'-  book  f< 
"'Peking  Express."  An  enticing  photo  of  Corinn 
Calvet  with  some  provocative  copy  is  availabl| 
both  for  blowup  purposes  and  for  a  mailer  i 
post  card  size.  The  Calvet  assets,  life-size  c 
better,  are  certain  to  pull  plenty  of  attention  i 
the  lobby,    on   the  front  or  in  store  window; 

A  simple,  inextensive  and  effective  lobbl 
teaser  is  suggested,  using  a  sheer  curtain  in  fron 
of  a  blowup  of  an  ad  or  one  of  the  posters.  Copi 
on  curtain  could  read:  "Peking  Express"  Take 
You  Behind  China's  Silken  Curtain — Today!  I 
light  behind  the  curtain,  flashing  on  ami  off.  wi 
make  the  message  visible  alternately,  and  shoul 
be  a  striking  display. 

An  advance  "see  board"  idea  with  a  novel  twin 
ran  be  made  up  in  the  form  of  a  railroad  statio, 
schedule  blackboard.  Dramatized  with  appropriat 
stills  from  the  picture,  copy  would  run  in  timJ 
table  form:  7:45  Shanghai — "'Peking  Express 
begins  trip  with  Murder  and  Intrigue  as  passei| 
gers;"  9:17  Chunchu — "Ruthless  bandits  boat! 
train  and  terrorize  with  gun  and  bayonet:! 
and  so  on. 

STUNTS 

A  man  walking  around  town  dressed  as  | 
train  conductor  will  get  attention  if  proper, 
presented.  His  cap  should  carry  "Peking  1 
press"  printed  on  brim.  Sign  on  back  would  sa* 
"All  Aboard  for  the  'Peking  Express'  and  < 
citement.  Cel  your  tickets  at  the  Blank  theatrt 

Or  a  barker  in  front  of  the  theatre  will  attr;' 
extra  attention  to  playdate  when  he  makes  1' 
pitch  in  the  style  of  a  train  announcer. 

NEWSPAPER  ADS 

Below,  some  of  the  larger  display  newspah 
ads,  and  three  of  the  teasers  available  fn' 
national  Screen  Service. 


PEKING 
EXPRESS' 


Producer  Hal  IS.  Wallis  lias  placed 
is  lak-sl  Paramount  release  in  one  of 

hottest  settings  in  the  world  today — 
bona.  'Peking  Express'  takes  place 
board  the  Shanghai-to-Peking  train. 
Inch  is  carrying,  among  others.  Joseph 
often,  a  United  Nations  surgeon;  Cor- 
uie  Calvet,  a  suspected  collaborator  in 
le  last  war:  Edmund  Gwenn,  a  wise 
d  gentle  priest:  Benson  Fong.  a  Chi- 
se  newspaperman,  and  Marvin  Miller. 
:i  oily  hlack  marketeer.  The  conflicts 
mong  this  heterogeneous  group  are  in- 
nsified  when  the  train  is  halted  by 
andits  posing  as  soldiers  and  Cotten. 
alvet,  Gwenn  and  Miller  are  taken  to 
farmhouse  for  "questioning"  by  the 
ader  of  the  hand  who  turns  out  to 
'  Miller.  Motives  for  the  action  he- 
mic clear  when  the  bandit  leader  turns 

attentions  to  Corinne  in  an  endeavor 

have  her  gain  information  for  him 
hile  the  doctor  and  the  priest  are  held 
jstage.  In  a  series  of  subsequent  in- 
dents, which  include  torture,  murder 
id  a  free-for-all.  the  hostages  escape 

the  train,  where  there  is  a  running 
in  battle  as  Miller's  forces  attack.  Un- 
ar  Cotten's  direction  the  escape  suc- 
■eds  and  the  Peking  Express  continues 
i  perilous  journey.  William  Dieterle 
rected  from  a  screen  plav  by  John 
erdvth  Lucas. 


Short  Subjects 


By  BARN 


I  AST  MONDAY  was  a  big  day  for  the 
™  brothers  Warner.  It  marked  exactly  a 
quarter  of  a  century  since  a  crowd  packed 
the  old  Warner  Theatre  on  Broadway  and 
watched  in  sweaty  wonder  the  new  miracle 
of  the  entertainment  world  —  talking  mo- 
tion pictures.  The  premiere  program  which 
ushered  in  the  first  commercially  successful 
talking  pictures  began  with  a  dry  speech 
by  Will  Hayes  from  the  screen.  This  was 
fol  owed  by  a  much  more  interesting  parade 
of  entertainers  including  Mischa  Elman, 
Marion  Talley,  Efrem  Zimbalist,  Harold  Ba- 
uer, Roy  Smeck,  Giovanni  Martinelli,  Anna 
Case,  the  Cansinos,  the  Metropolitan  Opera 
Chorus  and  the  New  York  Philharmonic 
Orchestra.  The  latter  also  doubled  on  the 
sound  track  of  the  feature  picture,  "Don 
Juan*'  to  play  the  first  synchronized  musical 
accompaniment  for  a  feature  picture.  In 
hethe  interim.  Warners  has  rung  up  some 
other  notable  "firsts":  the  modern  movie 
musical,  initiated  with  "42nd  Street";  the 
factual  drama,  like  "I  Was  a  Fugitive  from 
a  Chain  Gang";  the  highly  lucrative  gang- 
ster cycle,  in  the  "Public  Enemy"  vein;  the 
classic  sound  spectacle,  like  "Captain 
Blood".  Our  toast  to  Warners:  May  the 
next  quarter  century  be  as  good  to  the 
brothers  and  their  customers  as  has  the 
last. 

DARAMOUXT'S  150-city  "sneak  preview" 
*  campaign  for  "Here  Comes  the  Groom" 
during  the  week  of  August  13  sounds  like 
the  unsneakiest  "sneak  preview"  series  in 
history.  First,  on  the  day  of  the  preview,  a 
100-line  specially  designed  ad  "announcing 
the  sneak  preview"  will  be  run  on  the  amuse- 
ment page  apart  from  the  theatre's  current 
ad.  In  the  lobby  there  will  be  a  40  x  60 
shouting  out  the  event.  Special  invitations 
in  quantity  up  to  25%  of  theatre  capacity 
are  being  issued  to  taxi  drivers,  barbers, 
manicurists,  waitresses  and  other  blabber- 
mouths who  come  in  direct  contact  with  the 
public.  A  special  "sneak  preview  trailer"  will 
be  furnished  by  Paramount  preceding  the 
film  in  which  star  Bing  Crosby  makes  a 
direct  pitch  to  the  public  and  invites  their 
cooperation  by  asking  them  to  sign  pre- 
view cards,  which  Paramount  is  also  fur- 
nishing. The  soles  on  this  "sneak"  may  be 
gum  rubber,  but  the  rest  of  the  shoe  is 
studded  with  bells. 


BARELY  R  FCOVFRED  from  the  tremen- 
dous boxoffice  success  registered  by  "Great 
Caruso",  M-G-M  is  now  flourishing  the 
showings  of  "Show  Boat"  in  its  first  few 
weeks'  engagements.  According  to  Lo,  ex- 
tended run  biz  for  the  film  in  125  "index 
city"  engagements  is  running  20  per  cent 
higher  than  "Caruso"  and  its  sustaining 
power  on  holdover  weeks  is  topping  the  ex- 
cellent showing  of  the  Lanza  film,  best  for 
any  Metro  picture  in  years.  At  the  Music 
Hall,  where  "Caruso'  broke  existing  records, 
the  M-G-M  musical  is  setting  new  marks — 
highest  second  week's  gross  and  biggest  14- 
day  figure. 


|gUNIVERSAL  HAS  embarked  on  the  most 
intensive  promotional  period  in  its  history 
with  premieres  of  seven  pictures  from  Coast 
to  coast  held  during  the  four  weeks  be- 
tween July  24  and  August  17,  ad-publicity  di- 
rector David  A.  Lipton  records.  With  star 
p.  a.'s  marking  each  of  the  septet,  four  have 
bowed  during  the  last  week  of  Jul}' — "Mark 
of  the  Renegade"  in  Los  Angeles;  "Cattle 
Drive"  in  Denver;  "Francis  Goes  to  the 
Races"  in  the  same  city,  and  "Bright  Vic- 
tory" in  New  York.  August  3  saw  the  world 
debut  in  Chicago  of  "Little  Egypt";  "Thun- 
der on  the  Hill"  teed  off  August  8  in  Boston, 
and  "Iron  Alan"  will  have  its  premieres  in 
Pittsburgh  on  August  17. 

pO.MPO  HAS  been  placed  in  the  select 
group  of  organizations  exempt  from  fil- 
ing Federal  income  tax  returns.  E.  I.  Mc- 
Larney,  deputy  commissioner  of  Internal 
Revenue,  advised  the  all-industry  organiza- 


tion that  it  "will  not  be  required  to  file  in-j 
come  tax  returns,  unless  you  change  tha 
character  of  your  organization,  the  purposes, 
for  which  you  were  organized,  or  your  meth-j 
od  of  operation." 

AF  MEN  AND  THINGS:  Sterling  Sill 
v  phant  assumes  his  new  duties  as  Easterr 
publicity  manager  for  20th  Century-Fox  to| 
day  (13th).  Formerly  special  events  manage 
for  the  company,  he  was  also  at  one  time  as 
sistant  to  the  director  of  ad-publicity,  as, 
sistant  to  president  Spyros  P.  Skouras  an<| 
handled  special  events  and  public  informal 
tion  assignments  while  in  the  Navy  durinu 
the  war.  His  appointment  by  vice-presiden  | 
Charles  Einfeld  followed  the  resignation  oi 
publicity  head  David  Golding,  effective  Aug:, 
ust  10.  Golding,  who  said  he  will  take  ail 
"extended,  overdue  vacation",  did  not  re i 
veal  his  future  plans.  Replacing  Stilliphati , 
as  special  events  manager  is  Meyer  Hutnej 


BINS,  DENNIS,  LINDSAY,  PHILIP 

THE  SCENE:  Elko,  Nevada.  The  time:  July's  last-gap.  The  cast:  Seventy-odd  news- 
paper, wire-service,  radio  and  television,  fan,  trade,  and  national  magazine  representatives 
plus  a  like  number  of  Hollywood  publicity  and  craftspeople,  and  5500  Nevadian  hosts,  in- 
cluding governors,  senators,  congressmen  and  a  pair  of  mayors,  one  known  as  Bing 
Crosby.  The  audience :  the  United  States  of  America.  That  was  the  setting  for  the  world 
premiere  of  Paramount's  "Here  Comes  the  Groom,"  one  of  the  most  carefully  planned, 
ingeniously  executed  and  extraordinarily  effective  film  debuts  in  the  history  of  press  jun- 
kets. Under  the  expert  guidance  of  Paramount's  ad-publicity-exploitation  chief,  Jerry 
Pickman,  aide  Herb  Steinberg,  publicity  manager  Mort  Nathanson  and  exploitation  head 
Sid  Mesibov,  the  beautiful  town  of  Elko  was  transformed  into  a  gigantic  welcoming 
committee  whose  only  purpose  was  to  see  that  the  visitors  had  the  time  of  their  col- 
lective lives.  How  well  they  succeeded  is  being  and  will  be  attested  to  in  the  reams  of 
newspaper  and  magazine  copy,  and  the  myriad  hours  of  radio  and  TV  time  that  will 
sell  "Here  Comes  the  Groom"  to  millions  of  moviegoers.  From  the  moment  the  press  ar- 
rived Sunday  night,  July  30,  aboard  chartered  planes  from  all  over  tthe  country  to  don 
their  "formal"  attire  (levis,  loud  shirt,  denim  jumper  and  straw  sombrero),  until  their 
reluctant  reparture  two  hectic  days  later,  they  were  feted  to  a  fare-thee-well, 
entertained  by  Hollywood  stars,  treated  lo  indoor  and  outdoor  pleasures  on  the  most 
lavish  scale,  culminating  in  a  ranch  barbecue  of  Elysian  proportions.  The  two-theatre 
premiere,  at  which  stars  Crosby,  Dorothy  Lamour,  Alexis  Smith,  Cass  Daley,  plus  a 
host  of  other  entertainers,  staged  a  merry  couple  of  hours,  went  out  over  CBS  network 
to  the  nation. 

The  value  of  this  hoop-la  is  not  limited  to  "Here  Comes  the  Groom"  or  to  Paramount. 
While  it  undoubtedly  will  bear  an  invaluable  harvest  of  publicity  for  the  film,  it  is  es- 
pecially notable  in  that  it  redounds  to  the  great  benefit  of  the  movie  industry  generally. 
The  men  and  women  who  reach  the  nation's  millions  through  sight  and  sound  have  once 
again  seen  and  marveled  at  ihe  boundless  limits  to  which  the  movies'  ballyhoo  can 
extend  —  after  too  long  a  lapse.  Their  good-will  will  be  extended  to  the  movie-goers 
if  your  theatre. 


18 


FILM  BULLET! 


LOUIS  BOUT  ON  THEATRE  TV, 
TNT  SIGNS  COLLEGE  FOOTBALL 

Fifteen  theatres,  the  largest  number  thus 
far  to  carry  an  exclusive  theatre  television 
program,  will  show  the  Joe  Louis-Jimmy 
Bivins  heavyweight  fight  at  10:30  p.  m.,  Wed- 
nesday, August  15.  to  be  held  at  the  Baltimore 
Municipal  Stadium,  the  fourth  such  event  to 
be  televised  exclusively  to  theatres.  It  also 
marks  the  first  time  in  the  fight  series  that 
theatres  in  the  New  York  City  and  Boston 
|areas  will  be  included  in  the  theatre  TV  net- 
work. 

As  announced  by  Nathan  L.  Halpcrn, 
president  of  Theatre  Network  Television,  the 
15  houses,  six  located  in  the  Xew  York 
metropolitan  area,  include:  The  Paramount 
and  Warner  Theatres  on  Broadway;  the 
Fabian  Fox  and  Century  Marine  in  Brook- 
lyn; the  Century  Queens  in  Queens  Village, 
Long  Island;  the  RKO  Fordham  in  the 
Bronx;  Warner's  Stanley  and  the  independ- 
ent Royal  Theatre  in  Philadelphia;  RKO 
Keith's  in  Washington.  D.  C;  Fabian's  Xa- 
ional  in  Richmond;  Shea's  Fulton,  Pitts- 
>urgh;  RKO  Palace.  Cleveland;  United  Para- 
nount's  Trivoli.  Chicago;  American  Thea- 
res'  Pilgrim,  Boston;  Fabian's  Palace,  Al- 
>any. 

In  addition  to  the  Xew  York  and  Boston 
louses,  another  new  entry  will  be  the  1000- 
eat  Royal  in  Philadelphia,  carrying  forward 
he  experiments  of  Theatre  Television  Enter- 
irises,  with  their  moderate  priced  equipment 
or  smaller  houses.  This  equipment  had  been 
uccessfully  demonstrated  previously  at  the 
Jncoln  Theatre  in  Philadelphia  for  the 
-ayne-Marciano  fight. 

Halpern  also  revealed  that  large  screen 
iieatre  television  had  laid  another  strong 
earn  in  its  programming  foundation  with 
Hie  signing  of  a  pact  with  seven  colleges 
ssuring  a  full  schedule  of  major  college 
potball  games  to  go  to  subscribing  theatres 
In  an  exclusive  network.  The  games  tele- 
ised  by  Theatre   Xetwork  Television  will 

[lover  the  college  schedule,  which  begins 
leptember  22  and  runs  to  December  1,  1951, 

I  bid  will  feature  the  major  Eastern  college 
bams.  Already  signed  by  TXT  for  the  1951 
bason  are  the  U.  S.  Xaval  Academy,  Prince- 

|  bn,  Pitt,  Yale,  Fordham,  Columbia  and  Dart- 

Ihouth.  Other  colleges  participating  in  the 
|rogram  will  be  announced  shortly. 

j  The  exclusive  theatre  telecasts,  a  part  of  the 
Kperimental  TV  plan  approved  by  the  Xa- 
bnal    Collegiate   Athletic   Association  for 
P51,  which  limite  telecasts  for  home  set  con- 
jimption  to  no  more  than   one  game  per 
leek  in  each  area,  will  be  offered  to  all 
teatres  equipped  to  transmit  them  on  large 
Teens  through  a  cable  pipe-in.  It  was  ex- 
ited  that   some    100  theatres   will  have 
teatre  TV  equipment  by  next  Fall. 
Halpern  said  the  games  will  be  selected 
eekly  during  the  season  to  assure  at  least 
;    le  top  contest  for  the  theatre  TV  network 
ch  Saturday.  This  selection  may  be  aug- 
ented  with   additional  regional   games  to 
•able  the  best  possible  test  of  theatre  TV 
a  possible  solution  to  the  television  prob- 
m  confronting  the  colleges,  the  TXT  head 
Ided. 


BULLETIN 

VoL  19,  No.  17  August  13,  1951 

News 

ami 
Opinion 


CHARLES  E.  McCARTHY 

Jubilee  Coordinator 


TOP  AD-PUBLICITY  TALENT 
TO  HEAD  JUBILEE  PROMOTION 

The  movie  industry's  Jubilee  drive  next 
Fall  will  have  the  benefit  of  the  movies  top 
advertising,  publicity  and  exploitation  brains 
to  promote  the  campaign,  a  line-up  of  flack- 
talent  that  could  hardly  be  equalled  in  any 
other  industry. 

This  became  clear  as  Charles  E.  McCarthy. 
COMPO's  information  director  and  coor- 
dinator of  ad-publicity-exploitation  for  the 
Jubilee,  named  the  men  who  will  promote 
the  campaign. 

L'nited  Artists'  Max  E.  Youngstein,  who 
initially  presented  the  campaign  last  No- 
vember to  the  COMPO  executive  board, 
will  act  as  special  assistant  to  McCarthy.  The 
rest  of  the  assignments  reads  like  a  who's 
who  of  the  industry's  movie  hucksters: 

Xational  advertising,  M-G-M  s  Howard 
Dietz;  general  publicity,  Columbia's  Arthur 
Schmidt:  general  exploitation.  LT-I's  Charles 
Simonelli;  star  tours,  Warners'  Mirt  Blumen- 
stock;  campaign  book  and  accessories,  RKO's 
Barret  McCormick;  opening  dinner,  20th- 
Fox's  Charles  Einfeld;  national  radio  broad- 
cast, Paramount's  Jerry  Pickman. 

Schmidt  lost  no  time  in  setting  up  his 
publicity  committee,  and  forming  an  all-in- 


dustry news  bureau  to  handle  news  and  fea- 
tures in  connection  with  the  "Movietime, 
1'.  S.  A."  campaign.  Heading  the  various  de- 
partments are:  M-G-M's  John  Joseph,  nat'l 
news  weekly  mags  and  newspaper  supple- 
ments; U-I's  Phil  Gerard,  general  magazines; 
RKO's  Don  Prince,  fan  magazines;  Para- 
mount's Mort  Xathanson,  radio  and  TV  pub- 
licity: Warners'  Larry  Golob,  news  syndi- 
cates; I'A's  Al  Tainarin,  columns;  Columbia's 
Hortense  Schorr,  trade  press;  20th-Fox's 
Sterling  Silliphant,  out-of-town  publicity  ser- 
vice: Columbia's  Raymond  Bell,  financial 
press;  MI'AA's  Al  Corwin,  house  organs 
and  business  trade  publications. 

Aiding  Schmidt  on  the  general  publicity 
committee  are  Republic's  Steve  Edwards  and 
Monogram's  Madeleine  White. 

McCormick,  who  also  attended  the  meet- 
ing, announced  that  Jonas  Arnold  has  been 
named  press  book  editor  with  George  Frascr 
as  his  assistant. 

MYERS  CALLS  TICKET  TAX 
EXEMPTIONS  DISCRIMINATORY 

Drafted  once  more  to  handle  the  motion 
picture  industry's  admissions  tax  problem. 
Allied's  A.  F.  Myers  came  through  with 
another  sparkling  job.  In  a  statement  before 
the  Senate  Finance  Committee  on  a  provision 
of  the  opening  Revenue  Act  of  1951  granting 
special  exemptions  from  the  admissions  tax 
to  certain  organizations  and  institutions,  My- 
ers called  for  the  elimination  of  discrimina- 
tion against  the  moviemen  by  striking  out 
the  exemptions  or  including  motion  picture- 
theatres  among  those  favored. 

Myers  cited  the  industry's  abandonment  of 
the  struggle  to  reduce  the  admissions  levy 
when  the  Korean  situation  developed  and 
said  that  conditions  in  the  movie  business 
have  since  shown  little  improvement.  "If  the 
Congress  is  now  going  to  grant  special  ex- 
emptions from  the  admissiins  tax  on  grounds 
of  economic  need,  then  motion  pictures  qual- 
ify for  first  consideration,"  he  said. 

The  exemptions  granted  to  so-called  "non- 
profit" organizations  (after  "expenses"),  My- 
ers argued,  would  give  thise  groups  an  un- 
fair competitive  advantage  over  the  estab- 
lished movie  theatre.  Eliminating  the  admis- 
sions tax  for  these  organizations  would  en- 
courage them  to  enter  into  competition  with 
the  theatres  and  would  amount  to  a  govern- 
men  subsidy  to  the  favored  groups.  It  would 
also  encourage  the  "greedy  promoters", 
whose  share  of  the  proceeds  is  insured  under 
the  category  of  "expenses"  and  who  operate 
in  the  name  of  various  religious,  educational 
and  charitable  institutions  exempted  under 
the  proposed  bill. 

Myers  voiced  approval  of  the  portion  of  the 
bill  exempting  passes  from  the  tax  and  basing 
the  tax  on  reduced-rate  tickets  on  the  actual 
price,  rather  than  the  full-rate  admission.  The 
present  regular  admission  tax  requirement  on 
cut-price  tickets  is  "an  unwarranted  deterrent 
to  the  admission  of  students  and  men  and 
women  in  the  armed  forces." 

The  "unkindest  cut  of  all",  he  said,  was 
the  exemption  granted  organizations  running 
any  "cooperative  or  community  center  mov- 
ing picture  theatre"  whose  only  limitation  is 

(Continued  on  Page  20) 


UGUST     13,     19  51 


17 


JXenvs  and  Opinion 


(Continued  from  Page  19) 

that  they  do  not  participate  in  the  "net  earn- 
ings." 

Myers  gave  the  Committee  some  plain  food 
for  thought  with  this  question: 

"What  would  be  your  feeling  if  you  were 
dependent  upon  a  motion  picture  theatre  for 
your  livelihood  and,  perhaps,  had  your  life's 
savings  invested  in  it,  and  in  the  conduct 
of  your  business  you  were  required  by  the 
Government  to  collect  from  every  patron 
and  remit  it  to  a  sum  equal  to  20%  of  the  ad- 
mission price  paid,  and  then  the  Government 
decided  that  every  church,  school,  and  col- 
lege, every  charitable,  welfare  and  veterans' 
organization  and  the  police  and  fire  depart- 
ments should  have  the  right  to  engage  in 
competition  with  you  by  selling  entertain- 
ment in  your  community  without  adding 
the  tax  to  the  admission  price  charged  them?" 

The  COMPO  spokesman  called  upon 
"every  person  who  has  the  interests  of  the 
motion  picture  business  at  heart"  to  present 
their  views  to  their  Senators. 

GOV'T  SEEKS  AMENDMENTS 
IN  'LITTLE  THREE'  DECREE 

The  U.  S.  Department  of  Justice  caused  a 
new  flurry  of  comment  when  it  reopened  the 
Government's  anti-trust  case  against  two  of 
the  "Little  Three"  defendants,  Universal  and 
United  Artists  and  moved  to  amend  the  de- 
cree. The  three-judge  Statutory  Court  set 
Oct.  25  for  a  hearing  on  the  Government's 
motion. 

The  surprise  action  was  brought  on  the 
charge  that  the  two  companies  have  "know- 
ingly combined  and  conspired  with  one 
another  and  with  others"  to  thwart  free 
and  open  competition.  The  Government  filed 
an  affidavit  showing  that  Louis  Phillips,  Ar- 
thur B.  Krim  and  Robert  Benjamin  occupied 
"responsible"  posts  in  three  of  the  defendant 
companies — UA, '  Universal  and  Paramount, 
which,  it  was  charged,  was  contrary  to  a  pri- 
mary purpose  of  the  equity  suit — to  "break 
up  any  combination  or  affiliation  between  the 
defendants  in  the  production,  distribution  and 
exhibition  of  motion  pictures."  Special  assist- 
ant to  the  Attorney  General,  Philip  Marcus, 
also  noted  that  Krim  and  Benjamin  head 
United  Artists  while  the  latter  continues  in 
his  Universal  directorship. 

A  casualty  of  this  combination,  Marcus 
alleged,  was  "the  elimination  of  one  of  the 
few  independent  competitors  in  the  produc- 
tion and  distribution  field,"  Eagle-Lion  clas- 
sics. 

The  Government  asked  that  the  amended 
judgment  (1)  prohibit  any  executive  of  Uni- 
versal or  UA  from  acting  as  counsel  for  any 
other  producing  or  distributing  company;  (2) 
provide  that  UA  shall  not  acquire  an  in- 
terest in  other  film  or  exhibition  companies 
without  first  securing  Court  permission;  C3) 
prohibit  each  Company  from  having  common 
officers,  directors  or  agents  with  any  other 
film  company;  (4)  Require  UA  to  offer  all 
assets  acquired  from  Eagle  Lion  on  "reason- 
able terms"  for  a  period  of  60  days  io  "any 
person  or  company  not  connected  with  any 
of  the  defendants''  in  the  anti-tfU  1  case, 

20 


COMPO  APPEALS  OUSTER  OF 
FILMS  IN  "ESSENTIAL  LISTS" 

Presenting  a  powerful  argument  for  the 
movie  industry  as  an  "essential"  industry, 
the  Council  of  Motion  Picture  Organizations 
appealed  the  amendment  by  the  Department 
of  Commerce  excluding  the  industry  from 
the  list  of  "essential  activities"  issued  April 
8,  1951.  In  an  earlier  "tentative  list",  issued 
last  year,  the  movies  were  among  those  in- 
dustries dubbed  "essential." 

In  the  appeal,  presented  by  COMPO  spe- 
cial counsel  Robert  W.  Coyne,  the  industry's 
wartime  record,  equalled  by  "no  other  pri- 
vate industry"  in  contributiin  of  product  and 
service,  was  cited,  as  well  as  the  current  co- 
operation and  assistance  offered  to  the  Presi- 
dent via  a  country-wide  network  of  com- 
mittees. 

Public  and  military  leaders  "place  in  the 
top  classification  as  the  first  prerequisite  to 
defense  and  war  the  conditioning  of  the 
minds  of  men,"  COMPO  said.  "The  motion 
picture  is  the  most  potent  medium  for  in- 
forming and  persuading  ever  devised  .  .  . 
The  power  inherent  to  the  motion  picture 
to  inform  and  impel  for  purposes  normal  to 
human  conduct  becomes  a  precious  power  in- 
deed in  times  of  emergency  and  stress  when 
thinking  and  action  must  be  channeled  in 
one  direction  to  one  overpowering  objective 
in  the  shortest  possible  period  of  time.  Such 
a  period  is  upon  us  now." 

Movies,  it  was  said,  serves  the  same  func- 
tion as  the  radio  and  press.  In  addition,  the 
appeal  declared,  the  nation's  theatres  offer  of 
convenient  assembly  for  bond  sales,  for 
civilian  instruction,  for  recruiting  and  in- 
duction centers,  for  blood  giving,  for  health 
centers,  for  shelters,  for  fund  raising."  Holly- 
wood's facilities  are  available  for  production 
of  training  films  and  special  messages,  it  add- 
ed, and  "the  entire  industry's  personnel,  well 
integrated  yet  spread  from  metropolis  to 
hamlet,  are  at  the  government's  service." 

The  plea,  it  was  emphasized,  "is  not  aimed 
at  the  automatic  deferment  of  personnel,  the 
automatic  allocation  of  materials  or  prefer- 
ment in  construction  authorizations."  The 
"essential  rating  is  sought  "so  that  when  and 
if  situations  threatening  the  efficient  function- 
ing of  the  industry  are  presented,  the  indus- 
rty  by  its  nature  will  be  heard." 

COMPO  asked  that  a  hearing  be  granted 
industry  representatives  "if  in  the  judgment 
of  the  Secretary  such  is  needed  in  the  dis- 
position of  this  appeal." 

WILLMARK  TAKES  OVER  AS 
CRI  CHECKS  OUT  OF  BUSINESS 

Confidential  Reports,  Inc.,  the  theatre 
checking  organization,  passed  out  of  the  film 
industry  pic  ture  on  August  4th  and  was  sup- 
planted by  Wilhnark  Service  System,  Inc.,  as 
the  checking  agency  for  the  film  distributors. 
Wilhnark.  contracting  separately  with  the 
companies  served  by  CRI,  look  up  the  check- 
ing chores  on  August  5. 


NEW  U.  S.  -  UK  PACT  ADDS 
$4,000,000  TO  REMITTABLES 

After  three  weeks  of  laboring  over  a  new 
Anglo-American  agreement,  a  team  of  Ameri- 
can film  industry  negotiators  and  officials  of 
the  British  government  brought  forth  a  plan 
which  would  add  $4,000,000  to  the  current 
remittances  from  the  United  Kingdom  to 
American  film  companies. 

Joyce  O'Hara  Motion  Picture  Export  As- 
sociation vice-president,  who  presented  the 
terms  to  the  MPEA's  Board  of  Directors 
last  week,  indicated  that  the  proposed  pact 
would  be  accepted  although  no  formal  vote 
on  the  agreement  was  taken  at  the  Board 
meeting. 

Main  terms  of  the  pact  which  will  run  for 
two  years  starting  October  1,  1951,  provide 
for  continuation  in  the  basic  remittance  of 
$17,000,000  annually  from  American  film 
earnings;  a  remittance  increase  from  23  per 
cent  to  33  1/3  per  cent  of  the  amount  of 
money  expended  by  American  film  companies 
on  film  production  in  the  United  Kingdom 
and  additional  earnings  based  on  whatever 
sums  accrue  to  American  film  interests  under 
the  new  Easy  Tax  Plan.  This  is  a  schedule  of 
increased  admission  taxes  under  which  tin 
revenue  yielded  is  shared  by  the  British 
treasury,  film  producers,  distributors  and  ex- 
hibitors. 

At  the  end  of  the  first  year  of  the  new] 
past,  either  side  may  at  its  opinion  reopen  tli< 
negotiations. 

In  addition  to  O'Hara,  the  American  teai 
included  the  MPEA's  John  G.  McCarthy  an 
James  Mulvey,  representing  the  SIMPP.  j 

QUALITY,  MORE  COLOR  IN 
NEW  COL.  LINEUP -M0NTAGUI 

An  increase  in  the  number  of  color  fihrj  t 
and  in  the  quality  of  product  from  Cohunln 
Pictures  was  promised  in  Chicago  last  wee( 
by  general  sales  manager  A.  Montague  :|  i 
the  company's  annual  sales  convention.  TH  J 
sales  head  revealed  a  1951-52  schedule  of  d 
features,  16  of  the  group  to  be  in  color,  l(j  jj 
short  subjects,  and  three  serials. 

The  featured  line-up,  approximating  tl>  I 
current  season's  program  in  quantity,  w|  i 
have  10  Technicolor  films  and  six  Supercinj  ) 
color  pictures,  a  half-dozen  tinters  more  th;]  j 
the  '50-51  schedule.  Montague  also  declar|  •) 
that  the  number  of  "AA"  productions  hi  < 
been  increased. 

Among  the  top  films  will  be  three  Stanlj  j 
Kramer  productions,  "Death  of  a  Salesmau  I 
"From  Here  to  Enternity"  and  "My  Six  Ccj  jj 
victs";  a  Sidney  Buchman  production,  "Bo<J  i 
M  alone";  a  Rita  Hay  worth  film,  her  first  j 
three  years;  a  Judy  Holliday  comedy,  a|  I 
"Ten  Tall  Men"  a  Norma  Production (  B>|  f 
Lancaster  -  Harold  Hecht). 

There  will  be  six  Gene  Autry  films,  tr  I 
"Jungle  Jim"  features  and  eight  westep^B 
among  the  61  announced. 

The  shorts  program  will  have  26  tw-o-nr  I 
ers  and  76  one-reclers. 

FILM     BULLETp  1 


PRODUCTIOn 
&  R6L€flS€ 


R6CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Data. 
"No."  is  the  release  Number-  "Rev."  is  the  issue  in  which  tKe 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor! 
(A)  Anscolor. 


1950-51  Features 
Serials 
Westerns 


Completed 
Completed 
Completed 


(41  ) 
(  3) 
(13) 


In  Production  (  I  ) 
In  Production  (  I  ) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Tim*  Cast 
Brigand    The    IT)  Dexter-Lawrence 
Hawk  of   Wild   River.  The 


COMPLETED 

Big  Gusher.  The  1681 
Born  Yesterday 


Starrett-Burnett 


Morris-Foster 
Holden-Clements 
Crawford-Holiday  _ 
F-errer-Quinn 
S.  Beckett-J.  Lydon 
Hall-Farraday 
.  McGuire-Moore 
M.  Feld-R.  Grayson 

O'Brien-Wyatt  __  _ 

Crawford-Derek  _ 
Hayward-Medina 
Williams-Reynolds  . 


7  51 

12-50  344 


Brave  Bulls,  The  1 1071  _ 
Corky  of  gasoline  Alley 
China  Corsair  1781 

Congo  Bill    

Chain  of  Circumstance 
Criminal  Lawyer 
Dam  Page 

Dick  Turpin's  Ride   — 

Firefighters,  The 
Five  1 93 1 

Flying  Missle,  The 
Fort  Savage  Raiders 
Fury  of  the  Congo  ... 

Harlem  Globetrotters,  The     Gomez-Dandridge 

Her  First  Romance  173)     O'Brien-Martin   

Her  Wonderful  Lie  _   Kieoura-cggerth 

Hurricane  Island   (C)  _   Hall-Windsor    

Jungle  Jim  in  the  Forbidden  Land  Weissmuller-Ryan 
Jungle    Safari   Weissmuller-Greene 


1-51 

3-  51 

4-  51 


5-51 
7-51 


Lorna  Doone  (T)  

M  110)  _    

Magic  Carpet 

Man  In  the  Saddle 

Mask  of  the  Avenger   IT)  183) 

My  True  Story  148! 

Never  Trust  A  Gambler  179)  ... 

Operation  X  (7S)  

Pickuo  i80! 

Praire  Roundup   

Purple  Heart  Diary    

Revenue  Agent   _  

Ridin'  the  Outlaw  Trail  ._  _._ 

Riders  of  the  Whistling  Pines  _ 

Sante  Fe  IT)   187)  __.  _  _ 

Saturday's  Here 

Secret.  The   

l Silver  Canyon  170) 
iSirocco  (981  


Small  Wonder   

'Son  of  Dr.  Jekyll    _ 

'Sueny  Side  of  the  Street    

Ten  Tall  Men  (T)   

Teiai  Rangers  _ 
N"1  -1  D.--«<-<  The 

(Valentino    (T)  103)    

Valley  of  Fire   

War  Cry   

When  the  Redskins  Rode  IC)  178) 

(Whirlwind         .  ...   

lYank  in  Korea,  A  (73)  ...  


Hale-Greene 
Wayne-DaSilva 

Ball-Agar   

..Scott-Leslie  

Derek-Quinn 
..Parker-Walker 
Clark-O'Donnell 
Robinson-Cummins 
Haas-Michaels 

.  Starrett-Burnette   _.. 

F.  Langford-T.  Romano 

Kennedy-Willes     

Starrett-Burnette   

Autry-White 

Scott-Carter   ...... 

Derek-Da  Re 
Derek-Cobb 
Autry-Davis 
Bogart-Loran 
Starrett-Burnette 

Cummings-Hale   

Hayward-Knox 
Lane-Daniels 

Lancaster-Lawrence   

Geo.  Montgomery 

Henreid-Sutton 

Parker-Dexter 

Aatry-Burnette   

Montgomery -Long 
Hall-Castl3 
Autrv-BurneH- 
McAllister-Phillips  _ 


7-16 
5-21 
7-14 
.2-24 

7-30 


5-51 
4-51 
2-51 


L 1  P  PERT 

1950-51 

Completed  (23) 

In  Production  (0) 

-CMPLETED 

TITLE — Running  Time 
iandit  Queen   

cnoa  fiackmail 
Janger  Zone   

Bl   Girl  ...  ...   

•ingerprints  Don't  Lie    ... 

Jane  

Home  Town  Bov 

Kentucky  Jubilee  

eave  It  To  the  Marines   

'ttle  Big  Horn 
ost  Continent 
<1ask  of  the  Dragon 


RELEASE  CHART 

—  1950-51  — 


Vt>u  were 
oaring  City 
\avaa->  Drums  '701 
ky  Hiah 

|teel  Helmet.  The 
♦op  That  Cab 
Desperate  Men 


Cast 

Rel. 

No. 

Rev. 

Britton-Parker 

12-15 

5010 

Brent-Chapman 

Beaumont-Travis   

C.  Romero-G.  Evan 

5017 
5002 

1  ...    4-20 1 
s   9-7 

Travis-Ryan 

3-3 

5015 

Porter-Neal        .  _ 

5012 

H.   Lloyd.  Jr.   

  8-17 

5022 

Colonna-Porter 

_  S- 1 8  _ 

5007 

S.    Melton        .    _  . 

Ireland-Bridges   

Romero-Brooke 

 8-24  .. 

_  6-18 

5005 
5003 

  7-27 

5004 

Travis-Ryan   ;  

Beaumont-Savage 

  3-17  .. 

 5-11- 

5013 
5018 

9-14  . 

5023 

Beaumont-Travis 

  2-2  .. 

5016 

Sabu-Baron 

S.  Melton-M.  Lynn 

4-22 
_  9-21 

5001 
5024  . 

7.30 

Edwards-Brodie  _ 

 2-2 ... 

5004 

1-29 

Melton-Adrian   

 3-31- 

501 

Foster-Davis 
Rose-Carroll   

....     1-5  . 
-7-20 

5009 
5020 

F.  Miller 

7-13 

5019 

METRO-  COLD  WYN -MAYER 


1950-51    Features        Completed    (64)        In  Production  (5) 


IN  PRODUCTION 

TITLE — Running  Tin- 
Belle  of  New  York  IT) 
Enemy.  The 
Ivanhoe  (T) 
Singin'   In  The  Rail 
When  In  Rome 


RELEASE  CHART 

1950-51  — 


IT) 


Cast 

-Vera-Ellen 


Kelly-O'Connor 
Johnson-Douglas 


6  ,8  COMPLETED 


Across  the  Wide  Missouri  (T)  (95) 

American  in  Paris  IT)   

Angels   in  the  Outfield 
Bannerline 

Callaway  Went  Thataway 
Calling  Bulldog   Drummond  175) 

Cause  for  Alarm  175)  

County  Line 

Excuse  My  Dust  IT)  182) 


Gable-Hodiak 
Gable-Caron 
Douglas-Leigh 
Forrest-Braselle 
MacMurray-McGuire 
Pidgeon-Leighton 
Young-Sullivan 
Pidgeon-Hodiak 
Skciton-Forrest 


July 
Aug 
Sep 


Father's  Little  Dividend  182)  _  Tracy-Taylor 

Go  For  Broke    192)  Johnson-Anderson 

Great  Caruso.  The  IT)  1 1091  Lania-Blyth 

Grounds  For  Marriage  191)    Johnson-Grayson 

Home  Town  Story  (61)   Crisp-Reynolds   

Inside  Straight   190)        .    _        .  Brian-Dahl 

It's  A  Big  Country  _  _  All  Star 

Just  This  Once  Leigh-Lawford 


Feb 

June 
Apr 
May 
Apr 
Jan 
May 


2-24 

4-  9 
4-23 

12-18 

5-  7 


Kim  IT)  1112) 
Kind  Lady  178) 
Law  and  the  Lady.  The  I  1041 
Light  Touch,  The 
Lone  Star 

Love  Is  Better  Than  Ever   _  _ 
Magnificient  Yankee  189) 
Man  With  A  Cloak 
Night  Into  Morning  186) 

Mr.  Imperium  IT)  (871  

No  Questions  Asked  181) 
The   North  Country  IC) 


Flynn-Stockwell 
Barrymore-Evans 
Garson-Wilding 
Grainger-Angeli 
Gable-Gardner 
Taylor-Parks 
Calhern-Harding 
Cotten-Stanwyck 
Milland-Hodiak 
Turner-Pinza 
Sullivan-Dahl 
Granger-Corey 

Wild  North  Country.   The   IA)  Granger-Corey 
Painted  Hills.  The  IT)  148)     _  Williams-Keel 
Pandora  and  the   Flying  Dutchman 


Jan 

July 
July 


115 
134 
134 


12-18 

7-2 
7  14 


(T)  1123) 
People  Against  O'Hara  (103) 
Quo  Vadis  IT) 
Rain,  Rain,  Go  Away 
Red  Badge  of  Courage  181) 
Rich.  Young  and  Prettv  IT)  (95) 
Royal  Wedding  (T)  192) 

Show  Boat  IT)  (1081   

Soldier's  Three  (92) 

Strictly  Dishonorable  195) 

Strip,    The  185) 

Tall  Target,    The  (78) 

Teresa    1105)  _  _ 

Texas   Carnival  IT) 

Thin  Knife,  The 

Three  Guys  Named  Mike  190) 

Tor.  Y-„-~  To  Kiss  1911 

Two  Weeks  with  Love   (T)  192) 

Vengenance  Valley  (T)  (83) 

Watch  the  Birdie  170) 

Westward  the  Women 


Mason-Gardner 
Tracy-O'Brien 
Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
Astaire-Powell 
Gardner-Keel 
Granger-Pilgeon 
Pinia-Legih 
Rooney-Forrest 
Powell-Raymond 
Angeli-Erickson 
Williams-Skelton 
Pidgeon-Harding 
Wyman-Johnson 
Ailyson-Johnson 
Powell-Montaiban 
Lancaster-Walker 
Skelton-Britton 
Taylor-Darcel 


June 
Sep 

130 
131 

4-4 
4-4 

June 

132 

4  18 

May 

125 

 l-l 

iep 

Aug 
 Mar 

138 
121 

7-14 
2-24 

July 
Apr. 

135 
124 

7-2 

July 
Aug 

140 

Aug 

131 

 Julv 

137 

3-12 

 Julv  

Mar 

1  19 

■>_!•> 

Sen 

 Nov  

10-23 

Feb 

  Jan 

117 
i  1 1 

.  2-12 

MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (29) 
Completed   (  8) 


Production  (2) 
Production  (0) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Aladdin   and    His   Lamp  IC) 
Ghost  Riders 

COMPLETED 

According  to   Mrs.  Hoyle  140) 

Blazing  Bullets   

Bowery  Batalion 
Casa    Manana  73 

Cavalry  Scout  (C)  (781   

Counterfeit     _____ 

Elephant  Stampede   

Father  Takes  The  Air 

Father's  Wild  Game  (all   

Fort  Osage 

Ghost  Chasers  '491 

Gypsy  Fury  143)  

Joe   Palooka  in  Triple  Cross 


Cast 
Medina-Sands 
Brown-Ellison 


Byington-Chandier 

brown-Hall 

Gorcey-Hall 

Forbes-O'He-lihy 

Cameron-Long 

DeFoe-King 

Sheffield 


 5-20 

5122 

 7-2 

5.6 

_  1-21 

5111 

4-10 

7  30 

5-13 

5101 

5-21 

Walburn-Gray 

Walburn-Grav 

Cameron-Nigh 

Gorcey-Hall 

Viveca-Lindfors 

Kirkwood-Downs 


12-3      5125  . 


AUGUST     13,  1951 


21 


Joe   Palooka   in   the   Squared  Circl 

I63i   -  

Lonqhorn,  The 

Lion  Hunters.  The  (671 

Man  From  Sonora  154) 

Mexican  Silvpr 

Modern  Marriaqe.  A  (661 

Navy  Bound 

Nevada  Badman 

Oklahoma  Justice 

Rhvthm  Inn 

Sierra  Passage   

Stagecoach  Driver 

Trail  Dust  .  ._  

Vengeance  Trail 
Vicious  Years.  The  (79) 
Wild  Horse  Prairie 

Witness.  The   

Yellow  Fin   

Yukon  Manhunt 


Kirkwood-Gleason 

Elliott-Coates 

Sheffield-Whitfield 

Brown-Hall 

Wilson-Clyde 

Clarke-Field 

Neal-loomey 

vVilson-Knnht 

Brown-Ellison 

Fraiee-Grant 

Morris-Hale 

Wilson-Knight 

Albriqht-Winters 

Elliott-Stewart   

Cook-Moore 

Wilson-Kniqht 

Kirkwood-Gleason 

Morris-O'Flynn   

Grant-Davis   


SI99 
SI20 
5 1 52 


Babe  Ruth  Story,  The  ...   

Disc  Jockev 

Highwayman.  The  IC)   

Let's  Go  Navy 

I  Was  An  American  Spy  (85) 
It  Happened  On  Fifth  Avenue  DeFore-Storm 


ALLIED  ARTISTS 

 Bendix-Trevor 

Simms-O'Shea 
Hendrix-Coburn 
H.  Hall-G.  Gorcey 
Dvorak-Evans 


May 
8-23 
9-8 
7-29 
4-15 
May 


PARAMOUNT 


1950-51  Features       Completed  (46)       In  Production  (5) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

Warbonnet  IT) 
Anything  Can  Happen 


Heston-Hanson 
Ferrer-Hunter 
O'Brien-Hayden 
Payne-Morrow 
Ladd-Arthur 


The  Denver   &  Rio  Grande  (T) 
Green    Gold  of  Nevada  IT) 
Shane  (T)  

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT)  Shore-Younq 
Ace  in  The  Hole  1112)   _  Douglas- Sterlinq 

Appointment  With  Danger  (89)  ....... 

At  War  with  the  Army  (93)   

Branded  (T)  (103)  

Carrie  ...  

Crosswinds  (T) 

Darling,  How  Could  You!  (96) 
Dear  Brat  (82) 
Detective  Story 
Flaming  Feather  (T) 
Great  Missouri  Raid,  The  IT)  (85) 

Greatest  Show  On  Earth  (T)   

Here  Comes  the  Groom  (114)   

Honq  Konq  (T)   

Last  Outpost.  The  189) 

Lemon  Drop  Kid,  The  191)   

Matinq    Season.    The    I  101) 

Molly  (83)   

under  title:  The  Goldbergs 


Ladd-Calvert 

Martin-Lewis   

Ladd-Freeman 
Olivier-Jones 

Payne-Fleming   

Fontaine-Lund   

Freeman-Arnold 
Douglas-Parker 
S.  Hayden-G.  Russell 

Corey-Carey   

Stewart-Hutton   

Crosby-Wyman   

Reagan-Fleming   

Reagan-Fleming 

Hope-Maxwell   

Tierney-Lund 
Berg-Loeb 


4-23 
12-18 
12-18 


10-  51 

11-  51 
6-51 
1-51  


My  Favorite  Spy 
My  Son  John 

Passage  West  IT)  ISO)   

Peking   Express  1851 
Place  in  The  Sun,  A  (1221 

Quebec  (T)  (85)  

Raqe  of  the  Vulture.  The   

Redhead  and  the  Cowboy  182) 

Red  Mountain  IT)     

Phubarb  (941 

Samson  and  Delilah  IT)  (128) 
September  Affair  1104) 

Silver  City  IT)   

Something  To  Live  For 

Stooge,  The  

Submarine  Command 
That's   My  Boy  198) 

Trio  (91)  

Warpath  (T) 

When  Warlds  Collide  182)  IT) 


Hope-La  marr 

Hayes-Heflin  

Payne-O'Keefe  

Cotten-Calvet 

Clift-Winters 

Barrymore  Jr.-Calvet 

Ladd-Kerr 

Ford-Fleming 

Ladd-Kennedy 

Milland-Sterling   

Lamarr-Mature  

Fontaine-Cotten 

DeCarlo-O'Brien   

Fontaine-Milland   

Martin-Lewis   

.  Holden-Olson 
Martin-Lewis 

..Simmons-Rennie   

O'Brien-Jagger 
Derr-Rush 


SI  04 
5108 

5021 

5111 


5101 
5109 
5020 
5018 
5016 
50 1 1 

SI  10 


5103 
5010 

5012 


3-25 
1-29 
12-4 


10-51 

10-  51 
8-51 

6-5 1 
8-51 

1 1-  51 


7-2 
11-6 
6-18 


REPUBLIC 


1950-51   Features       Completed  (27) 
Serials  Completed   (    I  ) 

Westerns      Completed  (15) 


In  Production  (2) 
In  Production  (0) 
In  Production  (0) 


IN  PRODUCTION 

TITLE — Running  Time 
Quiet  Man.  The 
Oklahoma  Annie  (C) 

COMPLETED 

Adventures  of  Captain  Fabian 

Ariiona   Manhunt  (601 

Belle  La  Grand  190) 

Buckaroo    Sheriff   of   Texas  160) 

Bullfiqhter  and  the  Lady  187) 

Cuban   Fireball  178) 

Dakota  Kid.  The  160) 

Desert   of  Lost  Men 

Don   Daredevil   Rides  Aqain 

Fiqhtinq  Coast  Guard  186) 

Flight  from  Fury 

22 


RELEASE  CHART 

—  1950-51  — 


Cast 
Wavne-O'Hara 

Rel. 

No. 

Rev. 

Canova-Russell 

E.   Flynn-M.  Prelle 

Chapin-Janssen 

Ralston-Carroll 

9  15 
1-27 

5068 
5006 

Chapin-Janssen 

5-1 

5066 

Stack-Paqe 

5-15 

5009 

Estelita-Vincent 

3-5 

5007 

Chapin-Janssen 

  7-1 

5067 

Lane 

Curtis-Towne 
Donlevy-Tucker 

' 6-1 
6-1 

5084 
5010 

Edwards-Clark 

6-18 

Fort  Dodqe  Stampede  (60) 
Fuqitive    Lady  (78) 

Lane-Kay 
.  Pa  iqe-Barnes 

8-24 
7-  1  5 

5062 
501  1 

Havana  Rose   

Heart  of  the  Rockies  (67) 

Rogers-Rodrigues 
Rogers-Edwards 

5-15 

3-30 

5042 

In  Old  Amarillo  167) 

Rogers- Ed  wards 

5_|  5 

5043 

Insurance  Investigator  (60) 

Denning-Lonq 

5—23 

5026 

Lady  Possessed 

Mason-Havoc 

"Kinq  of  the  Rocket  Men" 

Coffin-Clarke 

7-25 

5031 

Million   Dollar   Pursuit  160) 

Edwards-Flaqq 

5-  30 

5028 

Missinq  Women  (60) 

Edwards 

2-23 

5025 

3  12 

Niqht  Raiders   of  Montana  (60) 

Lane 

2-28 

5059 

4-9 

Oh  Susanna   (Tr)  (90)   

Cameron-Tucker 

3-10 

5008 

3  26 

Pals  of  the  Golden  West 

Roqers-Evans 

Pride    of  Maryland 

Clemens-Stewart   

1-20 
7_20 

5023 
506  1 

1-29 

Rodeo  Kind   &   The  Senorita  167) 

Allen-Kay 

7-15 

5053 

1-30 

5058 

S^a^Hornet^The  ^Urdnq° 

cVmeron-Booth 

Silver  City  Bonanza 

South  of  Caliente  

Douglas-Hall 
Allen-Ebsen 
Rogers-Evans 

4Z20" 

  3-1.. 

June 

5051 

Spoilers  of  the    Plains  166) 

Rogers-Edwards 

  2  5 . 

5641 

3  12 

Thunder  In  God's  Country  167) 

Allen   

  4-8 

5052 

Utah  Waqon  Trail 

Allen-Tdwards 

WpIU   Friron  Gunmaster 

Lane-Chaoin 

5-15 

5061 

RKO  RADIO 

1950-51  Features       Completed  (55) 

In  Production 

(4) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 

Cast 

Rel. 

No. 

ev. 

Day  Without  End   

Lupino-Ryan 

Biq  Sky.  The 

Douglas-Martin 

Roaq  Aqent   

Holt-Martin 

1  Want  You   

Andrews-McGuire 

COMPLETED 

Alice  In  Wonderland   (T)  (76) 

Disney  Cartoon 

8-51 

292 

7-16 

Behave  Yourself 

Winters-Granger 

d 

Best  of  the  Badmen  (T)  (84)   

Ryan-Trevor 

6-51 

176 

Blue  Veil.  The 

Wyman-Carlson  

  9-51 

Company  She  Keeps  (831   

Crack  Down    

Cry  Danqer  179) 

Greer-O'Keefe   

1-51 

109 

1-15 

Williams- Armstrong 
Powell-Fleming 

2-5 1 

Z.7'i  5... ." 

2-2< 

Flyinq  Leathernecks   IT)  11021 

Wayne-Ryan 
Pear-Buttons 
Bendix-Mature 

8-51 

261 

Footlight  Varieties  (61)   

Gambling  House  (801  

116 
110 

2^7; 

Girl  in  Every  Port,  A 

Gun  Notches     

Marx-Wilson   

Holt-Martin 

Gun  Thunder  

HolV-Martin   

Haoov   Go  Lucky  (88) 

Half-Breed,  The   

Hard.  Fast  and  Beautiful  176)   

D.    Niven-Vera  Ellen 
Young-Carter  

  11-51. 

Z'io'i'ZZ 

Trevor-Forrest   

6-51 

M9 

...I'i-J 

His  Kind  of  Woman  1  1201 

Russell-Mitchum 

7  51 

 201  

7-311 

It's  Only  Money 

Sinatra-Russell  

  10-51 

Jet  Pilot  (T)   1118)  ... 

Wayne-Leigh  

  12-51 

................... 

Jungle    Headhunters    (T)  (65) 

Travel   

Travel   

Russell-Mature   

6-51 
5-51 

172 

 i  J 

Kon-Tiki  (731 

Las  Vegas  Story,  The   

  J 

Macao   

Russell-Mitchum   

1  i -5 1 .... 

On  Dangerous  Ground  

Ryan-Lupino 

8-51 

Whip  Hand,  The   

My  Forbidden  Past  (70)   

Reid-Tuttle 
Gardner-Mitchum 

4-51 

114 

On  The  Loose  

Overland  Telegraph  

Evans-Earl 
Holt-Martin 

8-51 

202 

Payment  on  Demand  (901 

Davis-Sullivan 

'.'.'."  2-51 

171 

3-1 

Pistol  Harvest  1601  

Holt-Martin 

Racket,  The    

_  Mitchum-Scott  

9-51 

Roadblock   

McGraw-Dixon        .  . 

Hustler's  Range   

Saddle  Leqion  (61)  

Sealed  Cargo  (89)  

Sons  of  the  Musketeers  IT)  

..Holt-Martin  .  .   

Holt-Martin 

117 

Andrews-Rains  

Wilde-O'Hara   

5-51 

 118  

4-2 

Target   

Tanan's  Peril  (79)     

Texas  Triqqerman     

Thing,  The  (87)  

McGraw-White 
Barker-Huston 

Holt-Martin  

Tobey-Sheridan 

ZZ/iwsT." 

172 
174 

Tokyo  File  212  (841   

Two  Tickets  to  Broadway  (T)  

Marly-Peyton  

Leigh-Martin  

 5-5 1 

...  10-51 

175 

5 

20th  CENTURY 

-FOX 

1.951   Features            Completed  (37) 

n  Production 

(5ij 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 

Elopement   

Cast 
Webb-Francis 

Rel. 

No. 

Re 

Fixed  Bayonets 

Basehart-O'Shea 

Pride  of  St.  Louis 

Dailey-Dru 

With  A  Song  In   My  Heart  

Hayward-Calhoun 
Widmark-Smith 

Red   Skies  of  Montana  IT)    

COMPLETED 

Anne  of  the  Indies  (T) 

Jordan-Paget 

As  Young  As  You  Feel  177)    

Woolley-Ritfer 

6  51 

120 

Bird  of  Paradise  (T)  (100)  

Jordan-Paget 

3-51 

109 

3-; 

Call  Me  Mister  (T)  195)    

David  and  Bethsheba  (T)  ._  

Day  The  Earth  Stood  Still.  The  

Grable-Dailey 
Peck-Hayward 
Rennie-Neal 
Merrill-Basehart 

2-51 
9-51 

104 

2-1 

8-51 

Desert  Fox.  The    

Mason-Younq 

10-51 

People  Will  Talk  . 

Follow  the  Sun  (901    

Grant-Crain 
Ford-Baxter              .  . 

9-51 
5-51 

112 

3-: 

Fourteen  Hours  (911 
Friendly  Island  ITI 

Douglas-Basehart 
Lundigan-Greer 

...  4-51 

Froqmen  1961 

Golden  Girl.  The  IT) 

Gulden  Goose.  The 

Guy  Who  Came  Back   The  (911  

Widmark-Andrewt 
Day-Gaynor 
MacMurray- Parker 
Douglas-Darnell 

7-51 

122 

;  7-si 

118 

FILM 

BUI. 

L  E  T  I  r 

Half  Angel   ITI  1801 
Hails  of  Monteiuma.  The  (T)  1113) 
House  on  Telegraph  Hill  193) 
House  On  the  Square 
I  Can  Get  It  For  you  Wholesale  1911 
I  d  Climb  the   Highest  Mountain 

IT  I  1881 
Journey    Into  Light 
Kangaroo  III 

Keiauver  Crime  Investigation 
Let  s  Make  It  Legal 
Love  Nes, 

Lucky  Nick  Cain  1871 
Lydia  8ailey  (T) 

Man  Who  Cheated  Himself,  The  1811 
Marriage  Broker,  The 
Meet    Me  After   The   Show  T  186) 
Millionaire    for  Christy 
Mr.  Belvedere  Rings  lhe  Bell 
Mudlark  19?) 
No  Highway  In  The  Skv 
Of  Men  and  Music  (851 
On  the  Riviera   ITI  (901 
Rawhide  1861 
Secret  of  Convict  Lake 
Sword  of  Monte  Cristo,    ISC)  180 
Take  Care  of  My  Little  Girl  IT)  (93) 
Thirteenth  Letter.  The  (85) 
Viva  Zapata 

You're  in  the  Navy  Nok  (931 

Rev   under  title:  U.S.S.  Teakettle 


Young-Cotten 
Widmark  Gardner 
Cortesa-Lundigan 
Power-Smith 
Dailey-Hayward 

Hayward-Lundigan 
Hayden-Lindfors 
O  nara-Lawford 
News  heature 
Colbert-Carey 
Haver-Lundigan 

Robertson-Francis 

Uoob-Uali 

J.  Crain-T.  Ritter 

oraole-Carev 

MacMurray-Parker 

WeDb-Dru 

Dunne-Ouiness 

Stewart-Dietrich 

Concert  Feature 

Kaye-Tierney 

Power-Hayward 

Ford-Tierney 

Montgomery-Cord  ay 

Crain-Peters 

Darnell-Boyer 

M.  Brando-J.  Peters 

Cooper-Albert 


6-51 
l-SI 
6  51 


Flame  of  Arabv  IT) 
Frenchit  III 

Francis  Goes  to  the  Races  188) 
•  ue    me  IT) 


III  4-9       Groom  W^. «  s^urs  180) 

Harvey  IIJl) 
105         I  29       Here   Come  The  Nelsons 

tioilywooo   Stoiy  |76| 

Iron   Man  182) 

rva lie  UiO  it  i  o  1 1 

Lady  from  Teias  IT) 

idd,  Olf.  The 

3-12       Lavender  Hill    Mob.  The 

Little  Egypt  ITI 
102         1-15       Ma  and  Pa  Kettle  at  the  Fair 

Ma  and  Pa  Kettle  Back  on  the  Fa 

Magnet.  The  178) 

Mark  of  the  Renegade  (Tl 
124  Meet  Danny  Wilson 

101        12-18       Operation  Disaster  1100) 
121  Pool  of  London 

Prince  Who  Was  A  Thief 
115         4-23       Raging  Tide,  The 
I  1 3         4-23       Reunion   In  Reno 
123  Smuggler  s  Island   ITI  175) 

106  3-26  Target  Unknown  190) 
119  __       Thunder  On  the  Hill 

107  2-12       Tomahawk  ITI  182) 

Treasure  of   Franehard.  The  IT) 
I  10  3-12       Under  the  Gun  1841 

Ud  Front  \V>  I 
Weekend  With  Father 
^^^^^^^  You   Never  Can  Tell 


Chjndler-O  Hara 
i...  -rea-Winters 
o  ^onnor-Laurie 
M)  ,ne  rarrer 
i\ogi-i  s  parson 
klaw*i  i  null 
Onie  and  Harriet 
Oon.e-Aoams 
Keyes-Chandler 

Hu'^Duh""*'" 
L-rnell-McNally 
Guinness-Holloway 
Heming-Stevens 
Main-Kilbrid* 
hiain  Kilbride 
Mui  ray-Walsh 
Montalban-Chdi  isse 
Sinatra-Winters 


Colieano-Shaw 
ITI    1851  Curtis-Laurie 
Winters-Conte 
Stevens-Dow 
Keyes  chandler 
Stevens-Nicol 
cOloert-Blyih 
Heflin-DeCarlo 
W.  Powell-J.  Adams 
Totter-Conte 
Wavne-Ewell 
Neal-Heflin 


UNITED  ARTISTS 


1950-51   Features       Completed   (42)       In  Production  (5) 
RELEASE  CHART 

—  1950-51  — 

IM  PRODUCTION 

TITLE — Running  Time 
Airican  Oueen 
Another  Man's  Poison 
Chicago  Calling 
Saturday  Island 
Big  Night.  The 
COtvlPLETEO 

Bad  Man's  Gold 
Blue  Lamp  184) 
Circle  of  Danger  1861 
Cloudburst 

Cyrano  De  Berqerac  1112) 
Fabiola 
First  Legion 
Fort  Defiance 
Four  In  A  Jeep  1971 

He  Ran  All  the  Way  (77)   

Hoodlum.   The   1 63 1 
I  Hotel  Sahara 

i  Korea  Patrol   157)  ........ 

Long  Dark  Hall.  The  186) 

i  Man  From  Planet  X  (70)   

I  Man  With  My  Face  175)  

1  Mister  Drake's  Duck   

,  Mr.  Peek-A-Boo 

Mr.  Universe  1901 

My  Outlaw  Brother  (82) 

Naughty  Ariette  186) 
I  New   Mexico   (A)  176) 
|  Oosessed 

Odette 

Oliver  Twist  1 105) 
|  Pardon  Mv  French 

Prowler,  The  (921 
,  Oueen  For  A  Day  I  107) 

Scarf,  The  193)   

River.  The 
j  Second.  Woman.  The  191) 
i  Skipalong  Rosenbloom 

So  Lonq  at  the  Fair  190)   

I  St.  Benny,  the  Dip  (80)   

Sun  Sets  at  Dawn.  The  171  ) 

Thev  Were  Not  Divided 

Three  SteDs  North 
!  Try  and  Get  Me  190)   -  

Two  Gals  and  a  Guy 
I  Underworld  Story 

Volcano   1 1 101 
I  Well.  The 

Wicked  City  176) 
I  When  I  Gi„w  Up  (90) 


UNIVERSAL-INTERNATIONAL 


1950-51   Features       Completed   (48)       In  Production  (I) 


Jan 

108 

July 

125 

6-4 

Mar 

1  14 

2  26 

Jan 

107 

10-23 

124 

5  21 

Aug 
May 

130 

7  16 

122 

5-21 

I  '. 

ill 

Apr 

117 

4  9 

Feb. 

181 

3-26 

Aug 

128 

Jan 

113 

1-29 

July 

126 

6  18 

May 

121 

5-2 

Feb. 

Feb 

1  10 

1  29 

Jan 

109 

l-l 

Apr 

118 

3-12 

Cast 
Bogart-Hepburn 
n.-ivit-Mprrill 

Rel. 

No. 
H  R 

Rev. 

J     Barrvmore-P.  Foster 

Carpenter-Lockwood 

Warner-Hanley 

Millond-Roc 

4-3 

3-1 
3-8 

Prest.ir  Sellars 
Ferrer-Powers 

8-3 
.  7-20 

Kr. 

1  1-20 

.  Mich^.p  Morgan 

6-1 
S-ll 

Lev 
Sirk 

Boyer-Bettger 

D.  Clark-B.  Johnson 

Lindfors-Meekcr 

8-24 

Garfield-Winters 

  7-13 

Reb 

7-16 

DeCarlo-Ustinov 

6-15 

6-18 

Jar 

tmory-rong 

1-15 

Harrison-Palmer 

4-10 

5-7 

Clark-Field 
Neison-Matihews 

4-27 
6  3 

Cor 

6-4 

Fairbanks-Donlan 

8-10 

Grsenwood-Bourvil 

Sach 

Carson-Paige 

Rooney-Hendrix 

Tettering-Williams  . 

Ayres-Marshall 

Farrar-Htzgerald 

Neagle-Howard 

1  —  1 0 
2-27 

3-9 
8  3 
8-17 
5-15 

Z'AinlZ 

6-18 

Newtcn-Guinness   

Oberon-Henreid 

4-  1 7 
7-27 

-  5-7 

Heflin-Keyes 

5-25 

Eag 

6-4 

Avery-McGavin 

4-13 

4-9 

Ireland-McCambridge 
American-Indian 
Young-Drake 
Baer-Coogan 

_  4-4 
9-14 
2-51 
4-3 

G-C 
Ren 
Pop 

3-26 
2-12 

_Simmons-Bogarde 
Roch-Haymes 
Parr-Shawn 

3-29 
__  6-22 
1-22 

Dan 

1-  29 
7-16 

2-  12 

Underdown-Clanton 
Bridges-Padavoni 
Lovejoy-Ryan 
Paige-Alda   

2-1 
6-15 

5-4 
6-29 

Wil 
Stm 

C-E 

12-18 

.  Duryea-Storm 
Maonani-Brazzi 

7-21 
5-1 

D.  Fairbanks 

Montez-Aumont 

Preston-Scott 

9-14 
1-2 
4-20 

Pop 

RELEASE  CHART 

—  1950-51  — 


I >J  PRODUCTION 

TITLE — Running  Time 
Bgnd  or   the  Snake  IT) 

comple.c  ) 

I  Abbott  &  Costello  Meet  the 

Invisible  Man  ....   

Air  Cadet  

Aoache  Drums  (Tl  175) 

Battle  of  Apache  Pass  (T)  

Bedtime  for  Bonzo  1831 
j  Bright  Victory  197) 
.Cattle   Drive    (Tl  1771 

Cave   The  ITI 
ICimarron  Kid.  The  IT) 

Comin'  Round  the  Mountain  (77) 

Door.  The 
I  Double  Crossbones   IT)  (751 

Pat  Man    The  177) 

Finders  Keepers 

AUGUST     13,  19 


Stewart-Kennedy 


Mar 


Abbott  &  Cos'ello 
McNally-Russell 
Grey-McNally 
Chandler-Lund 
keagan-Lvnn 
Dew-Kennedy 
McCrea-Stockwell 
Smith  Carey 
A.  Murphy-Y.  Duqay 
Abbott  &  Costello-Shay  July 
Laughton-Karloff 
O'Connor-Carter  Aor 
Smart-London  May 
Ewell-Adams   


Feb 
Aug 


127 

117 
120 


WARNER  BROTHERS 


1950-51   Features       Completed   (41)       In  Production  (5) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Where's  Charlie? 
I'll  See  You  In   My  Dreams 
Carson   City  IT) 
Big  Trees,   The  IT) 
Crimson  Pirate.  The 

COMPLETED 

Along  the  Great  Divide  188) 
Bugles  in  the  Aiternoon  (T) 
Close   To   Mv  Heart 
Come  Fill  the  Cup 


Cast 
Bolder-McLerie 
Do,-ihomas 
Scott-Massey 
Cochran-Aldon 
B.  Lancaster 


Douglas-Mayo 

...   and-H.  Carter 

Milland-Tierney 

Cagney-P  lhaxter 


Captain  Horatio  Hornblower  (T)  ll7Peck-Mayo 


Distant  Drums  IT) 
Enforcer,  The  187) 
Force  of  Arms 
Fort  Worth  IT]  180) 
Goodbye,  My  Fancy 
Highway  301  183) 
I  Was  A  Communist 
Inside  Walls  of  Folso 


E3 


Jim  Thorpe    All-American    I  1071 
Lightning  Strikes  Twice  191 ) 
Lullaby  of  Broadway  ITI  (92) 
On  Moonlight  Bay  195) 
North  of  the  Rio  Grande 
Only  The  Valiant  I  1051 
Operation  Pacific  ( 109) 
Painting  the  Clouds  with  Sunsh 
Raton  Pass  184) 
Storm  Warning  (91) 
Strangers  On  A  Train   1 101 ) 
Streetcar  Named  Desire.  A 
Sugarfoot  ITI  180) 
Tanks  Are  Coming,  The 
Tomorrow  Is  Another  Day 


Cooper-Alden 
Bogart-Roberts 
Holden-Olson 
Scott-Brian 
)  Crawford-Younq 
-  Cochran-Andre 
Lovejoy-Hart 
Prison   187]  Brian-Cochr 


Lancaster-Bick  ord 

Roman-Todd 

Day-Nelson 

MacKae-Day 

MacRae-Day 

Peck-Payton 

Wayne-Neal 

Mayo-Morgan 

Morgan-Neal 

Rogers-Reagan 

Walker-Roman 

Brando-Leigh 

Scott-Jergens 

S    Cochran-E.  Miller 

Roman-Cochran 


3-24 
7-28 
7  28 


019 
020 

029 
0  9 
022 
013 

021 
014 
027 


6-18 
2-12 


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THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
ths  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
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extends  hearty  congratulations  to 

Metro- Goldwyn-Mayer  Studios 

j^or  its  maani^icent  achievement 

"SHOW  BOAT" 

(in  Color  by  TECHNICOLOR) 


TECHNICOLOR 

IS  THE  TRADE  MARK  OF 

TECHNICOLOR    MOTION    PICTURE  CORPORATION 

HERBERT  T.  KALMUS,  PRESIDENT  AND  GENERAL  MANAGER 


BULLETIN 


AUGUST  27.  1951 


THE  SMALL 
EXHIBITORS 
WON'T  ACCEPT 
SECOND  -  CLASS 
CITIZENSHIP! 

teM  Warn*  fyaihJt  Plan 
£ell  Smaller  Theatre* 


THE  •OXOFFICK  UPSURGE  WHICH   IS  CURRENTLY   SWEEPING   THE  LAND   IS   REPRESENTED   BY  THE  CROWD   SCENES   SHOWN  ABOVE  OF  JAMMED  THEATR 


NOW  IT  IS  "DAVID  AND  DAT 

Twentieth  Century-Fox  proves  once  again  that  there  is  no  business  like  show  bush: 


THE  Motion  Picture  industry  is  on  the  march.  "David  and  Bath- 
sheba"  is  a  portent  of  its  future.  Backed  by  the  greatest  cam- 
paign in  20th  Century-Fox  history,  it  is  reaffirming  that  movies 
are  first  in  the  heart  of  the  American  people— their  best  amusement 
buy  at  the  lowest  cost. 

Here  is  the  word  on  David  and  Bathsheba:  "A  big  picture  in 
every  respect.  Has  scope,  pageantry,  sex,  cast  names,  color— every- 
thing. A  sure-fire  boxoffice  entry,  one  of  the  really  big  pictures  of 
the  new  selling  season  ["—Variety.  "Highest  rating.  Terrific  in  a 
colossal  way!  Peck  is  the  most  sensational  item.  Superb."— N.Y. 
Daily  News.  "Inspiring,  spectacular— a  wondrous  motion  picture 


J  ■ 
THE  GRASSR  I 

travelling  \1<>\  i< 


TS  turn  out  in  ioti 
Kxhibit.  Over  625  t 


to  view  Goliath  and  his 
were  covered  in  tour. 


of  dramatic  impact,  of  power.  Hayward  is  splendid  as  the  sii 
stained  Bathsheba  of  profane  love."  —  Journal-American.  "| 
masterpiece.  Emerges  from  the  screen  one  of  the  greatest  lo^ 
stories  of  all  time."— N.Y.  Daily  Mirror. 

"A  credit  to  its  makers!  Majestic,  sensual,  colorful,  forceful 
handsomely  mounted  and  resplendent  in  Technicolor.  Mr.  Peck 
performance  is  both  outstanding  and  singular.  David  emerg 
from  the  printed  pages  as  a  whole  man  —  human,  regal,  lustl 
poetic,  and  what  is  of  utmost  significance— mature.  Such  specta 
ular  phases  of  the  colorful  annals  as  the  slaying  of  Goliath,  t 
battle  before  the  gates  of  Rabbah  and  King  Saul's  defeat  on  Mou 
Gilboa  pass  in  review.  A  tempestuous  and  passionate  figure  h 
been  given  stature,  dignity  and  authentically  royal  dimensio 
on  film."— N.Y.  Times. 

"A  greatness  rarely  achieved!  20th  Century -Fox  and  Darryl 
Zanuck,  whose  personal  production  this  is,  have  done  much  mo 
than  present  tremendous  entertainment.  Under  Henry  Kind 
expert  and  sensitive  direction,  the  lyric  passages,  the  stoning 
sinful  women,  the  mob  scenes  of  battle  weave  a  colorful  ai 
inspiring  visualization  of  one  of  the  greatest  stories  from  i 
world's  greatest  Book.  It  is  a  picture  that  will  live  for  years  ail 
years!"— Louella  Parsons. 

"Deeply  moving,  robust,  worldly— it  is  quite,  quite  a  shov 
—N.Y.  Post  "It  fills  the  eye,  'David  and  Bathsheba'  is  about 
handsome  as  Hollywood's  production  opulence  could  make  i 
—Herald  Tribune. 

To  keep  the  momentum  rolling— Darryl  F.  Zanuck  and  Jos<  I 
L.  Mankiewicz,  the  men  who  gave  you  "All  About  Eve",  tak* 
new  look  at  life  with  Cary  Grant  and  Jeanne  Crain  in  "PeoP 
Will  Talk".  Betty  Grable  and  Macdonald  Carey  in  "Meet  t 
After  The  Show",  Technicolor,  is  America's  biggest  musical 
Fred  MacMurray  and  Eleanor  Parker  team  up  to  bring  a  mill  1 


KANSAS  CITY 


ATLANTA 


V  THAT  IS  SUPERCOLOSSAL 

ition  Pictures  are  America's  favorite  and  least  expensive  form  of  entertainment 


laughs  in  "A  Millionaire  For  Christy".  "The  Day  The  Earth  Stood 
Still"  is  one  of  the  most  amazing  science-fiction  dramas  of  all 
time.  Out  of  the  pages  of  a  great  best-seller  comes  the  startling 
story  of  Rommel,  "The  Desert  Fox",  starring  James  Mason. 
"Decision  Before  Dawn",  based  on  George  Howe's  Christophers 
Award-winning  novel,  "Call  It  Treason",  is  unlike  any  motion 
picture  you  have  ever  seen.  It  is  Director  Anatole  Litvak's  first 
since  his  precedent-shattering  "Snake  Pit".  "Kangaroo",  filmed 
in  Technicolor,  is  another  20th  Century-Fox  great.  This  spectac- 
ular outdoor  epic,  photographed  in  its  entirety  in  Australia,  was 
under  the  direction  of  Lewis  Milestone. 


FRANCIS  X.  BUSHMAN  (3rd  left  rear)  is  feted  by  San  Francisco 
Women's  Club.  Bushman  toured  U.S.  for  "David  and  Bathsheba." 


THE  SHRINERS  salute  Carol  Woods,  descendant  of  David  and 
Bathsheba,  as  Alexander  F.  Mitchell,  Deputy  Director  General, 
introduces  her  to  the  Imperial  Court  at  Madison  Square  Garden. 


THE  AUDIENCE  OF  TOMORROW  mobbed  Goliath.  Over  a  mil- 
lion kids  met  the  "heavy"  of  the  battle  between  David  and  Goliath. 


THE  GREAT  CARUSO 


GREAT! 


"97%  Will  Recommend5 


SHOW  BOAT"  * 


GREATER! 


"98%  Will  Recommend" 

V.  » 

A 

AN  AMERICAN 
IN  PARIS 


GREATEST! 


"98.1%  Will  Recommend 


Yes,  the  audience-reaction  poll  by  Film  Research 
Surveys  gives  "AN  AMERICAN  IN  PARIS"  the 
highest  "Will  Recommend"  mark  in  the  history  of 
M-G-M  musicals.  A  typical  neighborhood  audience 
at  the  Loew's  72nd  Street  Theatre  Sneak  Preview 
last  week  confirmed  all  the  advance  word-of- 
mouth  about  M-G-M's  magnificent  new  Techni- 
color musical.  This  mighty  attraction  will  have  its 
World  Premiere  at  Radio  City  Music  Hall.  Watch ! 
Wait!  Again  M-G-M  gives  your  industry  some- 
thing to  be  proud  of! 

TIP-OFF!  Also  screened  at  the  Preview:  "Car  of  Tomorrow"  an 
M-G-M  Technicolor  cartoon  short  subject.  A  riot!  Get  it  fast! 
Produced  by  Fred  Quimby. 


"^•"vA.mw.nl 


BULLETIN 


THINK  IT  OVER 

TO  LIE  IS  BLISS 
Take  away  from  man  untruthfulness 
nd  you  take  from  him  at  the  same 
me  happiness." 

—IBSEN 


it 


REVIEWS  in  This  Issue 


avid  and  bethsheba   

ncels  In  The  Outfield 

>morro\v  Is  Another  Day 

he  Highwayman  

coPLE  Against  O'Hara   

ed  Badge  of  Courage  

main  of  Circumstance  

vtlrday's  Hero   

ttle  Ecypt  

kt's  Go  Navy  


FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Taylor.  Pub- 
lication Manager:  Robert  Heath.  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave..  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


NO  SECOND-CLASS  CITIZENSHIP 

Some  nonsensical  talk  about  a  scheme  to  cut  down  sales  costs  at  the  expense 
of  smaller  theatres  has  been  making  the  rounds  of  late.  While,  on  its  face,  nonsense, 
the  idea  must  not  be  ignored,  for  the  history  of  our  business  records  how  several 
other  seemingly  fantastic  schemes  to  divest  exhibitors  of  their  privileges  and  their 
pocketbooks  were  slipped  into  the  modus  operandi  of  the  industry  while  the  victims 
were  blithely  looking  elsewhere.  You  may  recall,  for  one,  the  unconscionable  method 
of  identifying  pictures  by  numbers  under  the  old  block  booking  system.  Theatre- 
men  never  believed  that  could  happen  to  them,  but  it  did! 

The  latest  idea  is  designed  to  make  every  theatre  account,  no  matter  how 
small,  a  "paying"  one,  for,  we  are  told,  there  are  thousands  of  small  theatres  which 
show  the  distributors  very  little  or  no  profit  at  all.  It  is  the  aim  of  some  film  execu- 
tives to  devise  a  plan  by  which  these  houses  could  be  sold  the  products  of  all  film 
companies  (in  a  lump,  we  presume)  by  some  central  agency.  This  would  entail  the 
elimination  of  most  exchanges  and,  of  course,  a  sharp  reduction  in  the  number  of 
film  salesmen  required  to  cover  the  field.  Only  the  large,  influential  circuits  would 
retain  the  privilege  of  dealing  with  representatives  of  each  individual  film  company. 

The  thousands  of  little  exhibitors?  They  apparently  would  find  themselves 
in  the  position  of  being  required  to  pay  whatever  the  central  sales  representative 
asked  for  each  of  the  products  he  was  offering,  or  doing  without  any  of  them. 
Perhaps  the  little  guy  would  agree  on  the  terms  for  the  pictures  of  Company  Num- 
ber One,  Company  Number  Two,  Company  Number  Three  and  Company  Number 
Four,  but  if  he  balked  at  the  terms  asked  for  the  pictures  of  Company  Number  Five 
— well,  no  deal. 

A.  F.  Myers,  in  a  recent  Allied  bulletin,  had  something  pertinent  to  say 
about  this  scheme: 

"We  are  getting  a  little  tired  of  the  cracks  about  small  accounts,  how  unprofit- 
able they  are  to  handle,  and  how  75  %  of  any  distrib's  income  is  derived  from  110 
accounts  representing  3,509  to  4,000  houses.'  There  was  a  healthy  industry  before 
those  big  chains  were  forged.  This  so-called  'backbone'  of  the  industry  is  made  up 
of  a  lot  of  once  independent  vertebrae.  And  if,  in  spite  of  court  rulings,  the  chains 
are  to  be  put  in  a  preferred  class  and  allowed  to  negotiate  blanket  deals  with  top 
executives  at  convenient  points,  whilst  the  independent  exhibitors  must  deal  with  a 
joint  agency  operated  by  remote  control,  then  it  is  apparent  that  the  wheels  of 
justice  have  not  ground  fine  enough  and  that  there  must  be  still  further  divestitures. 

"If  the  distributors  are  out  looking  for  trouble,  this  is  where  they  will  find  it. 

"The  small  independent  accounts  are  important  or  insignificant  in  the  view  of 
some  distributors  depending  upon  the  exigencies  of  the  moment.  When  the  Govern- 
ment suits  were  filed  the  defendant  distributors  in  attempting  to  prove  the  existence 
of  strong,  active  competition  in  the  business,  accorded  great  importance  to  the  in- 
dependent exhibitors.  Indeed,  for  a  number  of  years  their  hearts  have  bled  (in 
public)  for  the  little  fellow.  But  in  recent  months  there  has  been  a  tendency  to 
revert  to  the  thinking  of  20  years  ago  when  one  general  sales  manager  referred  to 
the  independent  exhibitors  as  "cooties'." 

No  such  crude  epithet  would  be  hurled  today  by  any  reputable  sales  executive, 
we  are  sure,  for  in  the  crucible  of  the  intra-industry  wars  that  have  raged  over  the 
past  two  decades  the  film  men  have  learned  that  the  mass  of  little  exhibitors  are  a 
powerful  force  in  unity.  Furthermore,  it  is  inconceivable  that  any  film  company 
would  jeopardize  the  25  percent  of  domestic  revenue  reputed  to  be  represented 
by  the  thousands  of  little  theatres  throughout  the  land,  especially  in  this  stringent 
market.  Despite  the  fact  that  the  central-selling  idea  does  not  add  up  logically,  rank- 
and-file  exhibitors  must  keep  in  mind  that  our  industry  has  been  notorious  on 
occasions  for  plunging  into  half-baked  schemes,  and  they  would  do  well  to  keep  a 
close  watch  on  this  plan  to  relegate  them  to  an  inferior  status.  We  know  that  the 
vast  majority  of  these  little  fellows  will  never  accept  second-class  citizenship  in 
the  movie  business, 

MO  WAX 


there's  a  fortune 

FOR  YOU  IN  ; 


There's  No  Business  Like  2o  Business! 


CENTURY- FOX 


WHAT  A  LIFE! 

ftlagajihe  (feU  J)tA  /umpj  Jtw  Outraged  JthduJMeJ 


A  tremendous  tidal  wave  of  indignant  in- 
istry  protest  battered  the  doors  of  the  pub- 
ihers  of  Life  Magazine,  following  the  publi- 
tion.  in  the  August  13  issue,  of  its  feature 
tide  titled  "Now  It  Is  Trouble  That  Is 
ipercolossal  in  Hollywood,"  which  carelessly 
oclaimed  the  premature  demise  of  the  movie 
siness.  Heeding  the  volume  and  intensity  of 
jsent  pouring  in  on  him,  editor-in-chief  Henry 
Luce  has  consented  to  publish  an  "official" 
futation  by  Arthur  L.  Mayer,  executive  vice- 
esident  of   the  Council  of    Motion  Picture 


ARTHUR  L.  MAYER 

'A  Campaign  of  Falsehood' 


Iganizations.  which  is  intended  to  serve  as 
I  reply  for  the  entire  industry. 
Meanwhile,  there  have  been  many  unofficial 
jcries  by  industryites  against  the  Life  article, 
lluding  one  by  Mayer  blasting  both  the  Life 
|l  recent  Fortune  articles.  He  termed  them 
1  latest  and  most  sensational  in  a  series  of 
aries  which  have  done  our  business  great  in- 
Itice.  We  shall  try  of  course  to  obtain  a 
tjrection,  but  since  denials  never  catch  up 
<|h  the  original  lies,  we  must  use  other  means 
tjprove  their  falsity. 

Ve  must  exert  every  possible  effort,  by  the 
d.lity  of  our  pictures,  the  attractiveness  of 
d  theatres,  and  by  aggressive  showmanship. 
I  prove  to  the  American  people  that  this 
Staied  campaign  of  falsehood  is  without  foun- 

M.lost  of  the  protests,  like  Mayer's  have  been 
Ha  serious,  outraged  vein,  but  it  remained 
H  Twentieth  Century-Fox  to  tweak  Life's 
He  by  mimicking  the  format  of  the  anti-movie 
■iy  in  a  trade  advertisement  proclaiming  that 
law  It  Is  'David  and  Bathsheba'  That  Is 
I  Dercolossal."  It  is  not  known  now  whether 
I  Skouras  organization  will  place  this  ad 
I  the  Luce  publication.  .  . 


Following  is  a  resume  of  comments  from 
other  sources : 

A.  F.  Myers,  general  counsel  of  National 
Allied  :  "According  to  Life  the  movies  are  all 
washed  up  and  television  is  mainly  the  cause. 
What  the  author  (Robert  Coughlan)  of  the 
piece  overlooked,  or  did  not  care  to  face,  is 
that  weekly  news  magazines,  like  Life  and  its 
stablemate.  Time,  have  a  lot  more  to  fear  from 
television  than  the  movies. 

"Maybe  his  ignominious  failure  as  a  motion 
picture  producer  (failure  of  "March  of  Time") 
is  what  is  biting  Henry  Luce  and  explains  his 
malice  toward  the  industry.  His  mortician. 
Coughlan.  thinks  he  had  laid  out  and  buried 
the  movies,  but  he  had  the  wrong  corpse  in 
he  casket.  Our  guess  is  that  what  he  buried 
was  the  Luce  Publications  which  television 
has  made  'old  hat.'  The  news  event  which  the 
citizen  sees  on  television  todav  will  be  insipid 
when  Henry  tries  to  warm  it  over  in  his 
periodicals." 

William  Goldman.  Philadelphia  independent 
circuit  operator,  in  a  letter  to  Luce : 

"I  wish  to  register  with  you.  a  reputedly  res- 
ponsible editor,  my  most  vehement  protest 
against  the  public  dissemination  of  misleading 
information  to  create  a  wholly  false  impres- 
sion of  an  entire  industry. 

"Why  not  intelligently  present  a  true  picture 
of  our  business  using  facts  rather  than  fantasy. 
Show  the  growth  of  theatre  operation  despite 
TV,  how  new  post  war  theatre  construction 
more  than  offsets  closed  theatre  seating  capa- 
city, how  new  community  centers  are  growing 
up  around  new  theatres,  how  showmen  and 
Hollywood  are  using  TV  to  create  new  movie 
fans  as  evidenced  by  new  boxoffice  records 
on  worthy  pictures,  and  how  Hollywood  has 
recognized  its  obligation  to  make  better  films 
for  an  expanding  world  market  and  is  doing 
something  about  it  despite  its  prophets  of 
doom. 

"Let's  have  an  enlightened  approach  to  a 
subject  in  which  your  own  publishing  company 
has  a  very  substantial  stake.  Just  bear  in  mind 
we  haven't  used  our  screens  to  shout  to  your 
ex-readers  how  much  your  circulation  has 
been  affected  by  TV,  or  about  the  desolate  loft 
buildings  which  once  upon  a  time  housed 
thriving  publishing  firms!" 

Ernie  Emerling,  Loew's  Theatres,  in  a  let- 
ter mailed  to  movie  editors  in  cities  where  the 
circuit  operates : 

"If  you  read  this  Life  thing  analytically,  you 
can  get  yourself  some  laughs  and  giggles.  For 
instance,  it  does  its  best  to  prove  that  doom  is 
ahead,  especially  financial  disaster.  Calamity  is 
around  the  corner.  Then,  it  blithely  remarks 
that  the  financial  credit  of  the  big  companies 
is  excellent ;  'Any  of  them  could  go  into  finan- 
cial markets  and  raise  many  millions  more 
easily  than  the  average  man  could  finance  a 
new  car.'  Does  that  sound  like  a  business  on 
the  way  to  the  graveyard'  Just  to  make  you 


feel  that  this  statement  doesn't  make  you  feel 
too  good,  the  /.i/V-and-death  man  then  says: 
'Bankers  are  nervous  about  lending  to  any 
but  the  experienced  independents.'  Amazing ! 
Were  bankers  ever  eager  to  risk  their  dough 
with  inexperienced  borrowers?  How  biased 
can  a  writer  get? 

"The  best  answer  to  this  weird  exhibition 
of  editorial  integrity  will  come  with  the  show- 
ing of  the  new  Fall  and  Winter  pictures;  with 
the  reports  of  increased  attendance  (made 
available  to  Life  but  ignored  by  their  ('re- 
searchers') and  with  the  recognition  that  the 
movie  industry  is  on  the  march  again. 

"There  is  a  great  story  in  the  movie  situa- 
tion !  Not  the  story  of  a  leading  industry  going 
to  hell  on  roller  skates,  but  the  story  of  an 
American  institution  again  surviving  a  new 
competition  by  meriting  survival." 

Jack  Kirsch.  president  of  Allied  Theatres 
of  Illinois,  in  a  wire  to  Luce:- 

"Your  article  .  .  .  dealing  with  Hollywood 
is,  to  my  mind,  one  of  the  most  destructive 
pieces  of  journalism  that  I  have  ever  seen.  It 
is  an  unwarranted  attack  upon  the  movie 
industry  which  is  still  the  most  popular  form 
of  entertainment  for  millions  of  people  and  can 
only  lead  to  inference  that  the  motion  picture 
theatre  is  destined  for  oblivion  which  is  farthest 


WILLIAM  GOLDMAN 

'Facts  Rather  Than  Fantasy' 


from  the  truth.  In  direct  contradiction  to  this 
article  I  wish  to  cite  the  case  of  the  Com- 
modore Theatre,  Chicago,  which  ran  the  movie. 
"The  Great  Caruso,"  for  an  unprecedented 
six-week  engagement,  a  record  that  has  never 
been  equalled  in  the  more  than  thirty-year 
history  of  that  theatre.  This  fact  also  holds 
true  of  other  theatres  around  the  country  that 
have  enjoyed  similar  success  with  this  and 
many  outstanding  movies." 


J  Q.U.ST..  27, 


19  5  1 


'DAVID  AND  BATHSHEBA1  BIBLICAL  EPIC  OF  A  GREAT  LOVE  STORY 


Rates  •  •  •  •  generally 


20th  Century-Fox 
123  minutes 

Gregory  Peck,  Susan  Hayward,  Raymond 
Massey,  Kieron  Moore,  James  Robertson 
Justice,  Jayne  Meadows,  John  Sutton,  Dennis 
Hoey,  Walter  Talum,  Paula  Morgan,  Francis 
X.  Bushman,  Teddy  Infuhr,  Leo  Pessin, 
Gwynneth  Verdon. 
Directed  by  Henry  King. 

Paced  by  a  magnificent  performance  by 
Gregory  Peck  in  the  role  of  the  king  of  the 
Israelites,  "David  and  Bathsheba"  stands 
forth  as  one  of  the  fine  films  of  recent  years. 
It  is  a  big  picture,  although  it  may  not  be 
quite  the  spectacle  some  people  expected  it  to 
be;  but  it  has  what  few  spectacles  can  claim 
— a  deep,  intense,  moving  story  in  which  the 
principal  characters  stand  out  as  human  be- 
ings above  the  big  sets  and  the  pageantry.  It 
is  basically  a  love  story,  one  of  unsurpassed 
daring  and  passion,  one  of  history's  most 
famous. 

Producer  Darryl  F.  Zanuck  has  poured 
the  full  resources  of  20th  Century-Fox  into 
the  production;  in  details  of  research,  atmos- 
phere, costuming,  etc.,  it  is  superb.  Techni- 
color is  used  sparingly  and  most  effectively. 
"David  and  Bathsheba"  is  not  and  doesn't 
pretend  to  be  a  biblical  spectacle  in  the  De- 


•  POOR  •  •  FAIR 

•  •  •  GOOD  •  •  •  •  TOPS 


Mille  tradition.  The  pageantry  is  utilized 
simply  as  the  back  ground  for  this  rich,  pro- 
vocative human  drama.  Philip  Dunne's 
screenplay  is  literate,  frequently  poetic. 
Henry  King,  with  the  help  of  exceptionally 
fine  performances,  masterfully  merges  the 
story  line  with  the  sumptuous  panorama, 
weaving  a  vivid,  eye-filling  drama.  Without 
its  biblical  trappings,  this  story  of  a  man's 
lust  and  love  for  another  man's  wife  and 
subsequent  murder  of  the  husband  would 
never  have  passed  the  Johnston  office.  Box- 
office-wise,  it  will  play  a  merry  tune  in  all 
situations,  and  it's  a  natural  for  the  ex- 
ploitation talents  of  every  smart  exhibitor.  It 
has  everything — sex,  drama,  Technicolor, 
strong  stars,  and  a  story  known  to  everyone. 

Gregory  Peck  is  a  handsome  David,  and 
his  resonant  voice,  always  the  strong  point 
of  his  performances,  is  superbly  suited  to 
the  role.  His  reading  of  the  psalms  is  elo- 
quently simple.  He  never  falters  in  probing 
the  many  facets  of  the  David  character,  war- 
rior, king,  poet,  and  lover.  Susan  Hayward  is 
a  beautiful,  if  somewhat  shallow  Bathsheba. 
She  seems  too  modern  for  the  role,  although 


in  the  latter  stages,  she  effectively  gets  across  I 
the  characterization  of  a  woman  foolishly I 
and  helplessly  in  love.  Raymond  Massey,  as  I 
Nathan,  the  Prophet,  is  impressive.  Kieron  J 
Moore,  James  Robertson  Justice,  Jayne  I 
Meadows,  Francis  X.  Bushman,  and  Dennis 
Hoey  are  splendid.  Walter  Talum  is  a  terrify- 
ing Goliath. 

STORY:  Woven  from  the  story  of  David's 
love  for  Bathsheba  as  told  in  the  Book  ot 
Samuel,  the  story  begins  with  the  entry  of 
David  and  his  people  into  Israel,  bearing 
the  sacred  Ark  of  the  Covenant.  Enthroned 
as  King,  he  sees  Bathsheba  taking  a  bath, 
falls  in  love  with  her.  Their  love  produces 
the  promise  of  a  child,  which  exposes  their  j 
illicit  affair  and  bring  down  the  wrath  of  the 
people  on  Bathsheba.  David  sends  Uriah,, 
her  husband,  to  the  front  in  the  certain 
knowledge  that  he  will  be  killed.  He  makes 
Bathsheba  the  Queen.  Here  the  script  im- 
provises on  Samuel  in  that  the  people,  at 
Nathan's  prodding,  rise  up  against  Bathsheba 
and  demand  her  life.  David  goes  to  the  Ark. 
supplicates  himself,  promises  to  repent.  Dur-I 
ing  these  sequences  he  relives  his  boyhood 
days  and  we  see  David,  the  youth,  annointed 
by  the  prophets  and  chosen  by  Saul  to  be-}  j 
come  King.  Jonathan  figures  briefly  as  does! 
the  encounter  with  Goliath.  HANNA  (Holly  j 
wood). 


'ANGELS  IN  THE  OUTFIELD'  HIGHLY  ENTERTAINING  FANTASY 


Rates  •  •  •  —  except  in  action  spots 


Metro-Goldwyn-Mayer 
98  minutes 

Cast:  Paul  Douglas,  Janet  Leigh,  Keenan 
Wynn,  Donna  Corcoran,  Lewis  Stone,  Spring 
Byington,  Bruce  Bennett,  Marvin  Kaplan, 
Ellen  Corby,  Jeff  Richards,  John  Gallaudet, 
King  Donovan,  Don  Haggerty,  Paul  Salata, 
Fred  Graham,  John  McKee,  Patrick  J.  Moly- 
neaux. 

Directed  by  Clarence  Brown. 


"Angels  In  The  Outfield"  is  a  charmer  — 
real  movie  entertainment  that  deserves  to 
clean  up  among  a  wide  variety  of  fans.  The 
production  of  Clarence  Brown  is  a  boxoffice 
tonic,  a  show  that  entertains  from  start  to 
finish  with  its  bright,  whimsical  fantasy 
about  a  cellar  ball  club  that  climbs  into  the 
pennant  race  at  the  instigation  of  a  group  of 
angels.  The  script  develops  the  premise  in 
delightful  fashion,  skipping  tendencies  to  take 
itself  too  seriously  or  making  the  characters 
anything  but  likeable  guys  they  are.  Cast, 
from  Paul  Douglas  down  to  the  bit  player 
who  does  an  eyewitness  account  of  strange 
doings  at  the  ball  park,  is  composed  of  smart, 
smooth  actors  who  do  their  very  best  under 
the  happy  conditions.  The  use  of  the  Pirates 
ball  park  and  Pittsburg  as  the  locale  brings 

8 


a  welcome  note  of  realism  to  the  setting. 
Surprise  guest  appearances  by  Bing  Crosby, 
Harry  Ruby  and  others  indicate  the  extent 
to  which  Metro  and  Brown  have  gone  to  put 
"Angels"  right  into  the  firmament  as  enter- 
tainment and  as  a  boxoffice  attraction  that 
should  more  than  pull  its  weight  in  all  but 
the  strict  action  spots. 

Paul  Douglas  playing  the  Pirates'  tough 
guy  coach  with  a  vocabulary  consisting  only 
of  four  letter  words,  does  what  amounts  to 
his  best  job  since  landing  in  Hollywood.  It's 
a  tip  top  performance.  Janet  Leigh,  sweet  and 
pretty,  is  grand  as  the  newspaper  reporter 
who,  somehow  slips  into  his  life.  Keenan 
Wynn  is  the  snarling  heavy,  a  sour-puss 
radio  commentator.  Donna  Corcoran  a  new 
moppet,  is  one  child  player  who  won't  drive 
patrons  out  of  the  theatre;  she's  real  and 
natural.  Lewis  Stone  figures  briefly  in  an 
obvious  caricature  of  Judge  Landis.  Spring 
Byington  is  a  cheerful,  baseball-wise  nun, 
and  Bruce  Bennett  artfully  handles  the  spot 
of  a  once  great  pitcher.  Marvin  Kaplan,  Ellen 
Corby,  and  Jeff  Richards  render  sturdy  sup- 
port. 

STORY:  The  Pirates  are  at  the  bottom  of 
the  league  and  the  hue  and  cry  in  Pittsburgh 
is  awful  to  see  and' hear.  Much  of  the  blame 
is  attached  to  Paul  Douglas,  snarling  man- 


ager of  the  Pirates  whose  avowed  enemy  i; 
radio  spieler  Keenan  Wynn.  Among  th( 
newshawks  assigned  to  find  out  what'; 
wrong  with  the  Pirates  is  Janet  Leigh,  homt 
economics  editor.  She  pins  the  responsibility 
where  it  belongs,  on  Douglas.  Meanwhile  he'.- 
had  an  encounter  with  an  angel  who  tella 
him  if  he'll  behave,  stop  swearing  and  losing, 
his  temper,  things  will  go  better  for  the  teaml 
As  proof  there's  a  miracle  in  the  following 
day's  game  when  the  Pirates  pile  up  a  >erie- 
of  runs  in  the  third  inning.  Douglas  change^ 
his  ways  keeps  in  constant  touch  with  tht| 
angels,  never  tells  anyone  about  them.  The 
story  leaks  out  through  Miss  Leicjh  whet 
Donna  Corcoran,  a  child,  sees  Douglasi 
angels  and  those  of  the  other  members  o 
the  club  during  a  game.  Nationwide  interes'' 
inevitably  follows;  Douglas  is  held  up  to 
ridicule.  An  investigation  is  ordered  on  thd. 
eve  of  the  game  in  which  the  pennant  is  tcj 
be  decided.  Religious  leaders  testify  thai 
angels  exist — the  case  is  dropped.  On  the  dia{ 
mond,  Douglas  persists  in  using  old  tirmj 
pitcher  Bruce  Bennett  right  into  the  nintlj 
inning  although  he's  throwing  wild.  It  seenv' 
the  angel  has  told  him  this  will  be  his 
game.  Bennett  comes  through,  strikes  out  tli4 
deciding  batter,  the  Pirates  are  in.  At  thJ 
finale  the  Heavenly  Choir  takes  over  thn 
park,  plays  a  tough  but  invisible  game' 
HANNA  (Hollywood). 

FILM  BULLETIN! 


TOMORROW  IS  ANOTHER  DAY  ENGROSSING  MELLER 


Rates  •  •  +  generally. 


Warner  Bros. 
92  minutes 

Ruth  Roman,  Steve  Cochrane,  Lurene  Tuttle, 
Ray  Teal,  Morris  Ankrum,  John  Kellogg, 
Lee  Patrick,  Hugh  Sanders,  Stuart  Randall, 
Bobby  Hyatt,  Harry  Antrim,  Walter  Sande. 
Directed  by  Felix  Feist. 

That  perennial  Hollywood  heavy-hero,  the 
paroled  convict,  is  explored  anew  in  "To- 
morrow Is  Another  Day,"  but  if  the  char- 
acter is  familiar,  the  story  is  not,  The  script 
has  a  good  gimmick  in  identifying  the  parolee 
as  a  man  in  his  early  thirties  who  has  spent 
some  18  years  in  jail  for  the  killing  of  his 
father.  He  has  never  lived  in  a  modern  world, 
knows  nothing  of  meeting  responsibilities, 
nothing  of  women.  With  this  as  its  premise 
the  screenplay  evolves  into  taut,  engrossing 
suspenseful  drama  highlighted  by  a  provoca- 
tive and  somewhat  believeable  romance.  The 
quickly  changing  locales  are  accomplished 
with  splendid  atmospheric  detail  in  Henry 
.Blanke's  production,  the  players  are  good, 
their  performances,  in  some  respects,  out- 
standing. The  ending,  unfortunately,  is  banal 
and  stupid.  But  we  are  told  this  is  being 
-hanged;  that  a  more  logical  denouncement 
has  been  decided  upon.  Since  the  new  ending 
rouldn't  be  worse  than  the  old,  it  is  safe  to 
pport  that  "Tomorrow  Is  Another  Day"  will 
ulfill  efficiently  the  requirements  of  exhi- 
>itors  catering  to  the  public  which  enjoys 
lively  action  and  melodramatic  fare. 


Ruth  Roman,  as  pretty  as  her  acting  talent 
is  warm  and  vibrant,  is  splendid  as  the  dance 
hall  hostess  who  plays  on  the  ex-con's  credul- 
ity and  then  comes  to  love  him.  Steve  Coch- 
ran, a  strong,  he-man  actor,  makes  most 
sympathetic  his  character  of  the  parolee. 
Lurene  Tuttle  is  splendid  as  a  simple  house- 
wife who  turns  him  in  to  obtain  the  reward 
money  she  needs  desperately.  Ray  Teal  is 
fine  as  her  husband.  Supporting  players  do 
well  throughout. 

STORY:  Cochran,  released  after  his  long 
incarceration,  expects  to  resume  life  in  his 
home  town.  An  alert  reporter  who  frontpages 
the  story  of  the  parole  of  the  "state's  young- 
est murderer"  soon  puts  an  end  to  this  hope. 
Cochran  travels  to  Xew  York,  wanders  into  a 
dance  hall  and  takes  a  fancy  to  Ruth  Roman. 
She  agrees  to  show  him  the  sights.  At  their 
apartment,  Roman's  lover,  a  policeman, 
roughs  things  up.  In  the  fracas  the  lover  is 
killed.  Since  Cochran  has  blanked  out,  Roman 
pins  the  blame  on  him  although  he  had  not 
even  touched  the  gun.  They  make  a  getaway 
in  the  course  of  which  they  are  married. 
Roman  finds  herself  curiously  attracted  to  the 
man  and  undertakes  to  show  him  the  re- 
sponsibilities of  an  adult.  He  gets  a  job  in 
a  California  lettuce  field.  However,  they  live 
in  constant  fear  of  the  law.  Inevitably,  it 
catches  up  with  them,  but  the  police,  in  both 
the  new  and  old  endings,  let  them  off  be- 
cause they  have  the  victim's  statement  that 
the  shooting  was  accidental.  HANNA 
(Hollywood). 


jiiRRVi  HURRY.' 

H°  HURRY  FOR- 


THE  HIGHWAYMAN'  ACTIONFUL  COSTUME  ADVENTURE 

^ates  •  •  -(-  for  action  houses;  good  dualler  elsewhere. 


\llied  Artists 
i3  minutes 

Charles  Coburn,  Wanda  Hendrix,  Philip 
friend,  Cecil  Kellaway,  Victor  Jory,  Scott 
Forbes,  Virginia  Huston,  Dan  O'Herlihy, 
rlenry  Morgan,  Albert  Sharpe,  Lowell  Gil- 
nore,  Alan  Napier. 
Directed  by  Lesley  Selander. 

I  "The  Highwayman,"  adapted  from  Albert 
Koyes'  most  famous  poem,  is  a  handsome, 
iction-filled  Cinecolor  production  whose  ele- 
ments of  swashbuckling  adventure  will  please 
Uevotees  of  this  type  film.  Action  houses 
ihould  find  it  an  above-par  attraction;  else- 
jvhere  it  will  serve  as  a  good  dualler.  The 

tory  is  somewhat  on  the  involved  side,  and 
h  the  film's  present  form,  overlong.  This 

riticism  is  applicable  particularly  to  the  con- 

luding  sequences  in  which  a  lengthy  swords- 
manship display  turns  out  to  be  merely  an 

nti-climax  before  still  another  plot  tangent. 
Kowever,  for  what  it  is,  a  costume  saga  of 

eroism  and  derring-do,  the  piece  packs 
I'lenty  of  strong  entertainment  qualities.  The 
|layers,  if  short  on   boxoffice  appeal,  are 

turdy  mummers.  Lesley  Selander's  direction 

uts  them  through  their  paces  in  convincing 

ashion 

Charles  Coburn  is  well  cast  as  an  irascible 
^ord  who  wants  to  keep  the  English  colon- 

MJGUST    27,  1951 


ists  in  subjugation  as  dictated  by  Charles  II. 
Wanda  Hendrix  is  pert  and  pretty  as  the  in- 
keeper's  daughter  who  falls  in  love  with  "The 
Highwayman"  and  sacrifices  her  own  life  to 
protect  him  from  arrest.  Philip  Friend  is 
splendid  in  the  title  role,  handsome,  vigorous, 
deft  with  a  sword.  Cecil  Kellaway  is  on  hand 
to  portray  a  sympathetic  nobleman  admir- 
ably, and  Victor  Jory,  an  old  hand  at  mat- 
ters underhand,  is  in  top  form  as  the  heavy, 
Coburn's  aide. 

STORY:  Friend,  a  nobleman,  masquerades 
as  a  Quaker  to  conceal  his  real  identity  as 
a  highwayman  who  robs  from  the  rich  to 
give  to  the  poor.  In  the  course  of  his  ad- 
ventures he  comes  upon  a  scheme  to  inter- 
cept a  report  from  a  returning  Lord  who 
urges  more  lenient  dealings  with  the  Ameri- 
can colonists.  Coburn  wants  to  keep  the 
colonies  under  tight  control.  Friend  battles 
his  way  through  the  conspiracy,  extricates 
the  returned  dignitary,  lines  up  the  members 
of  Parliament  who  will  vote  liberally  and 
defeats  Coburn's  scheme.  As  he  rides  to 
claim  Miss  Hendrix,  the  soldiers  wait,  ready 
to  kill  him.  By  shooting  a  bullet  through  her 
own  heart  she  gives  the  signal  that  warns 
him  to  flee.  His  own  death,  however,  comes 
when,  learning  of  her  sacrifice,  Friend  travels 
again  over  the  very  same  road.  The  soldiers 
shoot  him  down.  HANNA  (Hollywood"). 


Mark  STEVENS  •  Rhonda  FLEMING 

with  Nancy  GUILD  •  Charles  DRAKE     >,  OSCAR  BRODNEY  *  DORIS  GOT  •  mm  >(  FREDERICK  de  CORDOVA  •  m  *  JACK  GROSS  •  A  UNIVERSAL  INTERNATIONAL  PICT 


'PEOPLE  AGAINST  O'HARA*  HELPED  BY  GOOD  TRACY  PERFORMANCE 


Rates  •  •  —  on  name  values  only. 


Metro-Goldywyn-Mayer 
102  Minutes 

Spencer  Tracy,  Pat  O'Brien,  Diana  Lynn, 
John  Hodiak,  Eduardo  Ciannelli,  James  Arn- 
ess,  Yvette  Duguay,  Jay  C.  Flippin,  William 
Campbell,  Richard  Anderson,  Henry  O'Neill, 
Arthur  Shields,  Louise  Lorimer,  Ann  Doran, 
Emile  Meyer,  Regis  Toomey,  Katharine 
Warren. 

Directed  by  John  Sturges. 


In  this  season  when  old  cycles  are  coming 
back  successfully,  a  brisk  account  of  a  crimi- 
nal lawyer  ought  to  fit  entertainingly  and 
profitably.  But  Metro's  "People  Against 
O'Hara"  is  far  from  brisk,  except  in  the  sus- 
penseful  concluding  episode:  not  very  en- 
tertaining, except  for  a  splendid  perform- 
ance by  Spencer  Tracy.  The  script  is  ob- 
scure, loose  and  rambling,  its  characters  lack 
depth  and  plausibility.  Aside  from  its  basic 
writing  structure,  this  William  Wright  pro- 


duction seems  sorely  in  need  of  terse  editing. 
Deletion  of  some  of  the  dead  wood  scenes 
might  account  for  livelier  pace.  John  Sturges' 
direction  shows  vivid  imagination  in  utiliz- 
ing the  New  York  background  effectively, 
and  the  man  knows  how  to  mount  a  sus- 
pense scene,  but  his  best  efforts  fail  to  offset 
the  story's  weaknesses.  Boxoffice  returns  are 
largely  a  matter  of  peddling  Spencer  Tracy 
and  Pat  O'Brien,  two  celluloid  stalwarts,  as 
a  hard-hitting  team. 

Tracy's  lawyer,  who  can't  abide  the  civil 
practice  his  daughter  insists  he  take  ofter  re- 
tiring from  criminal  law,  is  a  likeable,  real 
fellow.  Pat  O'Brien,  truth  to  tell,  has  little 
to  do  as  the  cop  who  aids  him,  but  in  the 
few  scenes  he  has  O'Brien  is  his  bright  Irish 
self.  Diana  Lynn  is  sympathetic  as  the 
daughter  and  John  Hodiak  fine  as  Tracy's 
adversary,  an  up  and  coming  young  district 
attorney.  Eduardo  Cianelli's  heavy  is  broadly 
effective.  James  Arness  registers  as  an  inno- 


cent victim  of  a  frame-up. 

STORY:  Arness,  worker  in  a  fishery,  is 
incriminated  in  a  murder.  His  parents,  old 
time  friends  of  Tracy,  call  on  the  lawyer  to 
help.  He  has  retired  from  criminal  practice, 
as  the  script  subsequently  explains,  because 
the  tension  of  trying  to  save  a  man's  life, 
drives  him  to  drink.  Seeing  that  he's  losing 
his  case,  Tracy  buys  off  a  purported  eye- 
witness to  the  murder.  Hodiak  quickly  puts 
the  kibosh  on  this.  The  boy  is  found  guilty. 
Subsequent,  painstaking  sleuthing  by  Tracy 
discloses  that  the  youth  really  has  an  alibi; 
he  had  spent  the  night  of  the  murder  with 
the  pretty,  young  Italian  wife  of  Eduardo 
Cianelli.  To  protect  her,  he  has  sacrificed 
himself.  Tracy  brings  these  facts  to  life, 
proves  the  boy  guiltless,  then  walks  into 
certain  death  in  order  to  show  that  the 
murder  was  the  work  of  a  narcotics  ring, 
that  a  certain  suitcase  involved  in  the  case 
actually  contained  a  huge  supply  of  dope. 
JAMES. 


THE  RED  BADGE  OF  COURAGE1  DISAPPOINTING  HISTORICAL  FILM 


Rates  •  •  as  dualler  generally;  more  in  class  spots 


Metro-Goldwyn-Mayer 
69  Minutes 

Audie  Murphy,  Bill  Mauldin,  John  Dierkes, 
Royal  Dano,  Arthur  Hunicutt,  Tim  Durant, 
Douglas  Dick,  Robert  Easton  Burke. 
Directed  by  John  Huston. 

Stephen  Crane's  Civil  War  novel,  "The 
Red  Badge  of  Courage,"  is  a  work  that 
might  reasonably  be  expected  to  be  excel- 
lent screen  material.  And  Metro  hsa  been 
at  the  job  of  filming  it  for  almost  a  year, 
through  dozens  of  previews  and  long  ses- 
sions in  the  editing  rooms,  but,  unfortun- 
ately, without  much  success.  It  now  plays 
some  69  minutes,  and  it's  plain  that  a  great 
deal  has  been  cut  away  from  a  huge  and 
expensive  production.  In  points  of  recreating 
the  era  of  the  Civil  War.  in  staging  the 
battles  as  they  must  actually  have  been 
fought,    "Red    Badge'    is  fine;   its  historic 


authenticity  is  impressive.  However,  this 
Gottfried  Reinhardt  production  is  a  moody, 
rather  tedious  episode  about  a  neurotic  sol- 
dier and  his  reactions  to  a  battle,  and  it 
does  not  add  up  to  popular-type  entertain- 
ment. The  direction  of  John  Huston  is 
highly  artificial,  highly  stylized,  "arty"  in 
tone.  And  Audie  Murphy  and  Bill  Mauldin 
prove  poor  choices  for  roles  requiring  the 
most  sentitive  of  acting  talents.  Fine  sol- 
diers themselves,  they  obviously  do  not  pos- 
sess the  talent  for  projecting  emotions  both 
of  them  must  have  felt  on  their  own  battle- 
fields. Consequently,  their  performances  are 
doctored  by  narrative  taken  from  Crane's 
book.  "Red  Badge"  will  require  special 
handling.  It  should  get  above-average  gross- 
es in  class  houses,  but  elsewhere  it  poses  a 
boxoffice  problem. 

An  unbilled  guest  bit  by  Andy  Devine  is 
the  nearest  thing  to  an  exceptional  acting 
moment    in     the    picture.     Douglas  Dick. 


though,  sustains  a  characterization  of  a 
lieutenant  with  aplomb.  The  others  are  just 
foggy  characters  in  a  foggy  drama. 

STORY:  Murphy  and  Mauldin  are  bud- 
dies in  a  training  camp.  Like  their  fellow 
rookies  they  look  forward  to  the  day  they'll 
see  action.  At  heart.  Murphy  is  afraid  and 
when  finally  he  faces  the  foe  for  the  first 
time  he  runs  away,  limps  back  to  camp  with 
a  file  of  wounded,  pretending  he  has  been 
hurt.  Consumed  by  remorse  he  enters  the 
next  day  of  fight  with  a  passion  to  prove 
himself  a  soldier.  He  is  the  hero  of  this 
stand.  And  in  the  next  encounter,  Mauldin 
steps  up  to  carry  on  the  fight  with  in- 
vincible courage.  It  is  then  that  Murphy 
confesses  his  cowardice,  learns  to  his  sur- 
prise that  Mauldin  also  ran  away.  The  dif- 
ference lay  in  the  fact  that  he,  the  tough 
soldier,  was  caught  and  forced  by  his  officer 
to  go  back  to  his  position.  JAMES. 


CHAIN  OF  CIRCUMSTANCES'  WEAK  PULP  MAGAZINE  YARN 


Rates  •  •  —  as  supporting  dualler  for  minor  situations  only 


Columbia 
68  Minutes 

Richard  Grayson,  Margaret  Field,  Marta 
Mitrovich,  Harold  J.  Kennedy,  Helen  Wal- 
lace, Connie  Gilchrist,  Larry  Dobkin,  Sum- 
ner Getchel,  James  Griffith,  Oliver  Blake, 
Percy  Helton,  Douglas  Fowley,  Carleton 
Young. 

Directed  by  Will  Jason 


"Chain  Of  Circumstances,"  second  in 
Columbia's  True  Stories  series,  is  going  to 
have  a  tough  time  making  the  grade,  even  on 
the  lower  half  of  double  bills.  Despite  a 
creditable  production  and  some  fairly  smooth 
acting,  the  story  is  too  incredible,  too  pat, 

AU  GUST   2  7,    1  9  5  1 


'too  obvious.  The  long  arm  of  coincidence, 
when  stretched  across  the  pages  of  a  maga- 
zine novelette,  doesn't  show  up  as  plainly 
as  it  does  in  an  hour-long  movie.  The  situ- 
ations telegraph  themselves,  and  the  prob- 
lems faced  by  the  principals  tend  to  the 
ridiculous  and  fail  to  arouse  any  sympathy. 
The  most  that  can  be  said  for  Will  Jason's 
direction  is  that  he  brings  the  performers 
through  their  roles  with  straight  faces. 

Richard  Grayson  is  satisfactory  as  a 
young  husband  catapulted  into  trying  diffi- 
culties, and  margaret  Field  is  attractive  as 
his  wife.  Marta  Mitrovich  figures  briefly 
but  effectively  as  a  woman  who  causes  all 
the  trouble.  Connie  Gilchrist  is  outstanding 


as  a  nasty  landlady. 

STORY:  Grayson  and  Margaret  Field 
lose  a  child  at  birth.  On  advice  of  their 
physician  they  adopt  a  baby,  but  on  the 
very  day  the  youngster  arrives,  Grayson  is 
asked  by  co-worker  Marta  Mitrovich  to 
pawn  a  ring  for  her.  The  gem  turns  out  to 
be  stolen.  Mitrovich  commits  suicide,  the 
pawn  ticket  is  taken  over  by  landlady  Gil- 
christ, and  the  police  don't  believe  his  story 
of  acting  as  a  third  party  in  the  transaction. 
After  a  long  haul  through  contrived  cir- 
cumstances, Grayson  establishes  his  inno- 
cence. The  baby,  taken  away  from  the  young 
people  pending  solution  of  the  crime,  is 
returned.  AXGEL. 


11 


'SATURDAY'S  HERO1  EXPLOITABLE  EXPOSE  OF  COLLEGE  SPORTS 

Rates  •  •  +  generally;  more  if  exploited. 


Columbia 
111  minutes 

John  Derek,  Donna  Reed,  Sidney  Blackmer, 
Alexander  Knox,  Elliott  Lewis,  Otto  Hulett, 
Howard  St.  John,  Aldo  Dare,  Alvin  Baldock, 
Wilbur  Robertson,  Charles  Mercer  Barnes, 
Bill  Martin,  Mickey  Knox,  Sandro  Giglio, 
Tito  Vuolo,  Don  Gibson,  Peter  Virgo,  Dan 
Garner,  Robert  Foulk,  John  W.  Bauer,  Mer- 
vin  Williams,  Peter  Thompson,  Noel  Rey- 
burn,  Steven  Clark. 
Directed  by  David  Miller. 

The  controversial  aspects  of  "Saturday's 
Hero"  insure  wide  audience  interest  in  this 
uneven  but  dramatically  effective  account 
of  the  seamier  side  of  the  college  gridiron. 
With  the  West  Point  scandal  fresh  in  the 
public  mind  and  interest  of  the  press  in  col- 
legiate commercialism,  the  film  is  a  natural 
exploitation  subject  and  should  be  played 
accordingly.  The  story's  punch  is  contained 
in  some  vivid  action  material,  in  the  perform- 
ances of  supporting  members  of  the  cast, 
and   the  pungency  of  the   dialogue.   In  its 


present  editing  it  is  overlong  and  some  of  the 
extraneous  stock  material  could  be  clipped 
advantageously. 

Story-wise,  the  script  emphasizes  the  big 
business  phase  and  corruption  of  big-time 
college  football  to  the  extent  that  the  personal 
story  thread  is  somewhat  overshadowed  by 
his  angle.  Two  of  the  characters,  the  neu- 
rotics of  Donna  Reed  and  Sidney  Blackmer, 
are  never  allowed  to  explain  the  purpose  be- 
hind their  behavior.  Physically  John  Derek  is 
hardly  the  husky  bootball  type,  psycholigical- 
ly,  he  fails  to  convey  the  lively  gridiron- 
hero  extrovert. 

But  the  others  of  the  company  are  first  rate, 
and  to  them  belongs  much  of  the  credit  for 
carrying  "Saturday's  Hero"  entertainingly 
through  its  unusual  plot.  Alexander  Knox 
offers  a  thoughtful  performance  of  a  professor 
who  is  powerless  to  prevent  the  damage  be- 
ing done  educational  standards  by  sports. 
Elliott  Lewis  is  splendid  as  a  newspaper- 
man. Otto  Hullet's  near-sadistic  coach  is 
outstanding.  Howard  St.  John,  Aldo  Dare, 
Alvin  Baldock,  Wilbur  Robertson — all  new- 


comers or  new  screen  faces  bring  vitality 
the  drama  with  their  accurate  performancei 
of  recognizable  types. 

STORY:  Derek,  a  high  school  footbal 
star,  accepts  the  offer  of  a  Southern  collegi 
to  play  under  an  athletic  scholarship  provide' 
by  Sidney  Blackmer.  a  wealthy  alumnus.  Hi! 
purposes  in  wanting  a  football  team  for  ol> 
alma  mater  are  never  fully  explained  on  th< 
screen,  but  the  svnopsis  reports  they  stea 
from  political  aspirations.  Derek  finds  him 
self  a  pawn  in  a  vicious  circle  of  commercial 
ism  and  ambition.  He  makes  creditable  grade 
the  first  year,  but  as  he  begins  to  play  q 
the  varsity,  the  round  of  social  engagement! 
rigors  of  training  begin  to  take  their  tol 
Trades  are  fixed  for  him  and  he  gets  througl 
His  disillusionment  climaxes  when  he  is 
in  to  play  although  injured.  He  suffers  a  rt 
lapse,  leaves  the  field,  and  the  college.  H 
goes  home,  chastened  by  his  experience  bq 
determined  to  continue  his  education  eve:1 
if  it  means  working  during  the  day,  studyinj 
at  night.  AXGEL. 


'LITTLE  EGYPT'  RELATES  HISTORY  OF  'HOOTCHY-KOOTCH' 

Rates  •  •  -|-  generally 


Universal- International 
82  minutes 

Mark  Stevens,  Rhoda  Fleming,  Nancy 
Guild,  Charles  Drake,  Tom  D'Andrea,  Minor 
Watson,  Steven  Geray,  Verna  Fe.'ton,  Kath- 
ryn  Givney,  John  Litel,  Dann  Riss,  Leon 
Belasco,  Jack  George,  Ed  Clark,  John  Gal- 
laudet,  Freeman  Lusk,  Fritz  Feld. 
Directed  by  Frederick  de  Cordova. 

"Little  Egypt"  belongs  to  that  Universal- 
International  cycle  of  films  in  which  exotic, 
scantily-clad  girls  cavort  against  a  bizarre 
background  bathed  in  Technicolor's  most  re- 
splendent hues.  This  time,  instead  of  the  fan- 
tasy formula,  the  story  has  been  based  on  an 
actual  incident  and  placed  in  Chicago  ci  the 
1890's.  The  screenplay,  written  by  Oscar 
Brodney  and  Doris  Gilbert,  deals  with  the 


phony  princess  who  duped  Chicago  society 
and  introduced  the  sensational  "hootchy- 
kootch"  dance  during  the  World's  Fair  of 
1893.  Done  mostly  in  tongue-in-cheek  style, 
it  offers  some  good  fun,  although  the  dia- 
logue could  have  been  saucier  and  Frederick 
de  Cordova's  direction  could  have  had  a 
lighter  satirical  touch.  The  production  by 
Jack  Gross  is  topflight,  aptly  catching  the 
atmosphere  of  the  period.  Good  exploitation 
angles  are  afforded  the  exhibitor  and,  if 
capitalized,  "Little  Egypt"  should  roll  up  at- 
tractive grosses  in  the  mass  houses. 

Mark  Stevens,  cast  as  a  fast  talking  pro- 
moter, turns  in  an  adept  performance. 
Rhonda  Fleming  knows  how  to  wiggle  her 
torso  and  looks  mighty  cute  doing  it.  Nancy 
Guild  plays  an  uppity  society  girl  with  some 
verve,  and  Charles  Drake  gets  by  as  her 
fiance.  The  characters  are  not  a  very  interest- 


ing lot,  so  it's  not  surprising  that  they  fail 
get  under  the  skins  of  either  the  actors  or  tl 
audience. 

STORY:  From  Egypt,  where  Rhoni 
Fleming,  an  American  girl  posing  as  a  prit 
cess,  and  Mark  Stevens,  a  sharpie,  eke 
a  precarious  living  preying  on  tourists,  tl 
action  moves  to  Chicago.  A  tobacco  mam 
facturer  seeks  to  obtain  Rhonda's  favor 
order  to  influence  a  reclamation  of  the  Ni 
project  so  more  Egyptian  tobacco  will  t 
grown.  He  makes  a  handsome  donation 
the  cause.  Meantime,  the  Fair  has  open< 
and  is  a  failure — too  highbrow.  Rhonda  offei 
to  perform  "encient"  Egyptian  dances,  whic 
turn  out  to  be  hootchy-kooch.  She  is  arres 
ed  for  indecent  performances.  At  the  tri 
she's  revealed  as  a  phoney.  She  and  Stevei 
leave  Chicago  for  new  pastures.  JAMES. 


LET'S  GO  NAVY'  ABOVE-PAR  ENTRY  IN  BOWERY  BOYS  SERIES 


Rates  •  •  as  dualler 


Monogram 
68  Minutes 

Leo  Gorcey,  Huntz  Hlal,  Allen  Jenkins, 
Tom  Neal,  Charlita,  Richard  Benedict,  Paul 
Harvey,  Jonathan  Hale,  William  Benedict, 
Bernard  Gorcey,  Buddy  Gorman,  David 
Gorcey,  Emory  Parnell,  Douglas  Evans, 
Frank  Jenks,  Dave  Willock,  Ray  Walker, 
Tom  Kennedy,  Murray  Alper,  Dorothy 
Ford. 

Directed  by  William  Beaudine 

"Let's  Go  Navy"  ends  the  association  of 
Jan  Grippo  with  the  Bowery  Boys  series 
which  he  has  produced  for  Monogram  over 
a  program  of  some  24  pictures.  Grippo 
makes  this  valedictory  one  of  the  best  in 


the  group — with  good  production  values, 
an  amusing  story  line,  action,  and  topflight 
performances.  It  will  satisfy  wherever  prior 
entries  in  this  series  have  been  accepted. 
William  Baudine's  direction  is  bright,  ener- 
getic and  imaginative  in  making  the  running 
gags  count  for  solid  guffaws. 

Leo  Gorcey  and  Huntz  Hall  share  their 
top  spots  with  characteristic  zest.  Gorcey's 
malapropisms  are  held  to  a  minimum,  and 
Hall's  "dumb  guy"  enjoys  the  usual  triumph 
of  coming  out  on  top  even  when  things  are 
at  their  worst.  Presence  of  Allen  Jenkins 
in  the  part  of  a  Chief  is  a  big  asset,  and 
the  veteran  comic  makes  the  most  of  the 
assignment. Charlita  and  Dorothy  Ford,  be- 
sides adding  a  decorative  note,  have  com- 
paratively little  to  do  in  the  picture's  two 


feminine  parts.  Richard  Benedict.  Paul  HarH 
vey,  Jonathan  Hale  and  others  render  goof 
support. 

STORY:  The  Bowery  Boys  are  robbe 
of  a  large  sum  of  money,  collected  U 
charity.  The  crooks  are  dressed  in  sailor 
uniforms,  so  Gorcey  and  Hall  decide  to  tal 
up  the  matter  with  the  Navy.  They're  in 
ducted  by  mistake  under  names  of  me, 
actually  called  up.  The  Navy  has  a  ruo 
awakening  when  it  discovers  the  Boys  arl 
not  the  specialists  their  papers  indicate.  Dui 
ing  the  year  they  save  enough  money  ti 
cover  the  loss  of  the  robbery.  On  their  lira 
night  home  they  meet  the  thieves,  but  thj 
time,  being  equipped  with  Navy  know-hovj 
they  give  them  the  trouncing  of  the 
lives.  JAMES. 


12 


FILM  BULLET 


FHRILL  AND  THUNDER  STORY  OF 
HE  DARE-DEVIL  SKY  MARINES! 


HOWARD  HUGHES 


presents 


JOHN  WAYNE  ROBERT  RYAN 


IN 


COLOR  BY 


ULdt 

TeCHMICOLOR 


ADS 


'n  28 


CARTER  -  JAY  G.  FL1PPEN  •  WILLIAM 


NICHOLAS  RAY    •    JAMES  EDWARD  GRANT 


Short  Subjects 


By    B  A  R  r 


A  GRATIS  OXE-REELER,  saluting  exhi- 
**  bitors  of  America,  will  be  offered  by  20th 
Century- Fox  as  a  major  weapon  in  the  "Movie- 
time  U.S.A."  campaign.  Entitled  "The  Magic 
Eye,"  the  short  will  be  available  in  every  Fox 
exchange  center  starting  September  30,  in  time 
for  the  kick-off  of  the  huge  boxofTice  building 
drive.  "Magic  Eye"  will  present  highlights  of 
scenes  from  several  Fox  fall  and  winter  re- 
leases, as  well  as  backstage  shots  of  the  com- 
pany's Beverly  Hills  studio,  showing  the  stars 
at  leisure  and  at  work  in  such  films  as  "David 
and  Bathsheba,"  "People  Will  Talk"  and  "The 
Desert  Fox." 

THE  NEW  YORKERS  are  still  talking  about 
that  sensational  premiere  tossed  by  the  20th- 
Fox  boys  to  kick  off  "David  and  Bathsheba"  at 
the  Rivoli  Theatre  on  the  14th.  It  was  a  real 
Hollywood  preem,  done  in  the  best  Charles  Ein- 
feld  style,  replete  with  kliegs  and  mikes  and 
celebrities  galore,  a  real  traffic-tier-upper. 

kAETRO'S  big  "Quo  Vadis"  is  set  for  a  big 
dual  premiere  in  New  York  sometime  be- 
tween November  1st  and  15th  at  the  Capitol 
and  Astor  Theatres.  The  latter  house  will  op- 
erate on  a  two-a-day  reserved  seat  basis,  while 
the  Capitol  will  run  on  its  regular  continuous 
policy. 

TAKING  THE  CUE  from  the  success  of  the 
"Show  Boat"replica  on  wheels,  which  is  cur- 
rently winding  up  a  tour  promoting  that  film, 
M-G-M  topper  Howard  Deitz  will  supervise 
other  ballyhoo  tours  on  behalf  of  the  company's 
forthcoming  epic,  "Quo  Vadis."  Morgan  Hud- 
gins,  who  made  the  rounds  last  spring,  showing 
slides  from  the  picture  and  discussing  its  pro- 
duction, will  retrace  his  steps  in  October,  this 
time  to  bring  his  story  to  larger  groups.  In  addi- 
tion, two  of  the  chariots  used  in  the  film  will 
race  at  a  number  of  state  fairs,  beginning  with 
the  fair  at  Salem,  Oregon,  from  September  1 
to  8.  Each  chariot  will  be  drawn  by  two  horses, 
the  drivers  garbed  in  togas  worn  in  the  M-G-M 
production. 

APTIMISM  DOMINATED  the  meeting  of 
V  district  managers  held  at  the  Warner  Bros, 
home  office  as  company  vice-president  Albert 
Warner  outlined  soon-to-be-released  product. 
"The  product  we  have  lined  up,"  Warned  told 
the  men,  "I  can  assure,  is  the  result  of  realistic 
thinking  and  the  type  needed  by  the  industry 
these  days." 

WHAT'S  IX  A  NAME?  is  answered  by  the 
results  of  the  exhaustive  pre-testing  trials 
conducted  in  Paramount's  search  for  a  title 
for  the  Kirk  Douglas  starrer  which  has  been 
shown  as  "Ace  In  The  Hole"  and  "The  Big 
Carnival."  The  choice,  "The  Big  Carnival,"  was 
announced  by  prexy  A.  W.  Schwalberg,  who 
said,  "In  order  to  determine  the  most  productive 
approach  for  the  film,  we  have  tested  separate 
advertising  campaigns  geared  to  the  two  titles. 
The  results  have  indicated  unequivocally  that 
'The  Big  Carnival,'  in  conjunction  with  the 
excellent  advertising  campaign  geared  to  this 
title,  has  produced  overwhelmingly  favorable 
box-office  results."   In  choosing  trial  engage- 


WINIKUS  UPPED  AT  UA 

CRANCIS  M.  WINIKUS,  who  has 
'  been  advertising  manager  for  United 
Artists  since  1947,  has  been  elevated 
to  the  post  of  assistant  to  Max  E. 
Youngstein.  vice-president  and  national 
director  of  advertising,  publicity  and 
exploitation.  Winikus,  who  joined  the 
company  in  1946,  after  a  stint  in 
Uncle  Sam's  Navy,  will  continue  as 
head  of  UA's  advertising  department. 
He  enjoys  a  wide  experience  in  jour- 
nalism and  radio  writing. 


ments,  Paramount  was  careful  to  include  smaller 
situations,  in  which,  Schwalberg  said,  "  'The  Big 
Carnival'  turned  in  spectacular  grosses,  the  high- 
est since  'At  War  With  The  Army.'  " 


Handshake  seals  the  deal  between  United  Artists 
and  Loeztfs,  Inc.,  clearing  the  way  for  the  world 
premiere  of  Harry  H.  Popkin's  "The  Well"  at 
Loext/s  State  in  Nezv  York  in  mid-September. 
Producing-writing-directing  leant  of  Clarence 
Greene  and  Russell  Rouse  are  brought  together 
-with  Loew's  Oscar  Doob  by  Edzvard  Peskay, 
/'uphill's  representative,  (left  to  right)  Rouse, 
Greene.  Peskay  and  Doolr. 


CONTINUING  THE  PACE  which  has  rJ 
suited  in  ten  consecutive  weeks  of  operatirl 
in  the  black,  Arthur  B.  Krim,  United  ArtisI 
prexy,  announces  that  his  company  has  inkJ 
a  deal  with  the  newly-formed  partnership  J 
Samuel  J.  Briskin  and  Sol  Lesser,  whereby  1 
minimum  of  six  "A"  pictures  will  be  delivem 
for  UA  release  during  1952.  The  partnership  i 
Briskin  and  Lesser,  in  which  Edward  Small 
expected  to  join,  has  engaged  Aubrey  Schenc] 
as  a  producer  and  is  negotiating  with  other  prcj 
ducers. 

ANE  OF  THE  SPECIAL  sports  page  ads  1 
v  "Iron  Man,"  prepared  by  Universal-Inte ! 
national  for  use  by  exhibitors  in  local  newj 
papers,  is  a  natural  for  display  on  the  televisicl 
page  as  well.  The  ad  carries  the  headline,  "Figlj 
fans !  The  'Coke'  Mason  Fight  will  not  be  cj 
Television!" 

ALL  BRANCHES  of  Confidential  Report 
Inc.  have  been  closed.  All  the  field  sta 
were  paid  including  severance  pay.  A  distribu 
or's  branch  Manager  has  been  appointed  in  eac 
branch  city  as  trustee  to  assume  responsibilii 
for  the  disposition  of  CRI  local  physical  projl 
erty  and  leases. 

Harold  L.  Groves,  Vice  President,  and  Hail 
old  Saxe,  Comptroller,  have  been  designate 
by  the  CRI  Board  of  Directors  to  wind  up  til 
corporate  business  of  the  company. 

Upon  completion  of  the  liquidation  and  dis<| 
lution,  an  announcement  will  be  made  concert 
ing  the  plans  of  Groves  and  Saxe. 

AF  MEN  AND  THINGS:  Twentieth  Ce; 
"  tury-Fox  exec  Al  Lichtman  has  been  narm| 
to  head  the  1951  Annual  Dinner  Committee  <« 
the  Motion  Picture  Pioneers  .  .  .  Grover  Pal 
sons,  former  Eagle  -  Lion  Atlanta  branch  mad 
ager,  landed  the  post  of  southern  district  nam 
ager  for  Souvaine  Selective  Pictures.  ParsoJ 
will  maintain  headquarters  in  Atlanta  and  covJ 
the  Atlanta,  Dallas,  New  Orleans,  Mempbl 
and  Charlotte  territories.  Allied  of  Illinois  ail 
nounced  the  election  of  Jack  Clark,  Tiffin  The:! 
tre,  Chicago,  and  Leonard  Bland,  Oak  Entei 
prises,  Chicago,  as  members  of  the  organizl 
tion's  board  of  directors  ...  A  block  of  82,51 
outstanding  shares  of  Monogram  stock  has  bea 
jointly  purchased  by  Monogram- Allied  ArtisI 
vice-president  Harold  Mirisch  and  G.  RalB 
Branton,  former  theatre  executive  recently  not 
inated  for  the  companies'  board  of  directors,! 
This  acquisition,  added  to  the  shares  alreadj 
held  by  the  two  men,  places  them,  together  wil 
Steve  Broidy,  president,  among  the  heavi« 
holders  of  Monogram  stock . .  .  Several  proml 
Hons  from  within  the  ranks  of  the  20th  Centura 
Fox  sales  department  were  announced  by  tl 
company's  director  of  distribution,  Al  Lichtnui 
Nat  Rosen,  Philly  sales  manager,  becona 
branch  manager  of  the  Albany  exchange,  oj 
placing  the  resigned  Dan  Houlihan.  John  Ffl 
oney  has  been  named  assistant  to  Ed.  X.  Call 
han,  Atlantic  division  manager,  and  Al 
nold  Monnette  has  been  promoted  to  assistal 
to  Central  division  manager,  Raymond  U 
Moon.  Ed.  X.  Callahan,  Jr.  will  succel 
Feloney  as  sales  manager  of  the  Boston  el 
change,  while  Herman  Hirschborn  takl 
Rosen's  place  in  Philadelphia. 


14 


FILM  BULLETI 


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ro 


o  light/ 

*  BIG-.CARNI VAL"  is  doing  BIG  business  in 

^ton,  N.  J.-Binghamton,  N.  Y.—  Mount  Vernon,  O. 

8*t  business  since  "At  War  With  The  Army." 


yourSf 


Norwich,  Conn. 


6XHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


CUT  RENTALS  NOW! 

North  Central  Allied 
Every  exhibitor  should  run  every  good  pic- 
ture available  to  him  if  he  is  to  keep  his  doors 
open  during  what  the  WALL  STREET  JOUR- 
NAL calls  "the  motion  picture  industry's  private 
depression".  That  statement  is  a  truism,  but  it 
has  a  corollary.  The  distributor  must  see  to  it 
that  the  exhibitor  has  the  opportunity  of  running 
every  top  picture  and  he  can  do  that  only  by 
being  fair  with  the  exhibitor  and  giving  him  a 
chance  to  make  a  profit.  The  attempt  of  most 
film  companies  to  keep  their  gross  revenues  up 
at  a  time  when  theatres  are  absolutely  unable 
to  pay  the  kind  of  money  they  used  to  pay,  is 
economic  suicide  for  all  branches  of  the  industry. 
Nice,  neat  home-office  formulas  and  hidden  in- 
creases in  film  rentals  through  misallocation  of 
pictures  should  be  forgotten.  The  distributor 
ought  to  look  at  today's  figures  instead  of  look- 
ing over  his  shoulders  at  the  grosses  of  a  few- 
years  ago. 

Putting  the  exhibitor  through  the  wringer 
means  pictures  simply  will  not  be  played,  and 
eventually,  the  non-playing  of  pictures,  like  the 
closing  of  theatre  doors,  is  going  to  hurt  the 
distributor.  If  the  distributors  are  realistic,  they 
will  do  everything  they  can  to  help  the  exhibitor 
live  and  thrive.  Otherwise,  it  is  going  to  be  a 
case  of  too  little  and  too  late. 


SHOE  ON  OTHER  FOOT 

Gulf  States  Allied 

"We  did,  but  now  we're  not  too  sure 
that  we  do"  seems  to  be  the  thinking  trend 
of  the  distributors  on  the  subject  of  Bidding. 
Like  proud  fathers  of  a  new  born  child  a 
couple  of  years  ago,  the  distributor-papas 
are  now  faced  with  the  realization  that  the 
status  of  the  birth  of  this  "brain-child  of 
Bidding"  may  be  "illegitimate"  in  effect  and 
produce  multiple  problems  of  which  there  are 
already  too  many. 

Certainly,  exhibitors  are  irritated  and  dis- 
satisfied because  of  Bidding.  In  some  cases 
bidding  has  wiped  out  the  existence  of  the 
theatre;  in  others  bidding  has  made  it  impos- 
sible for  the  theatres  to  equalize  their  over- 
head ;  and  above  all,  bidding  has  generally  done 
more  to  the  industry  than  for  it. 

The  consternation  that  has  besieged  the 
exhibitor-phase  of  the  movie  industry  be- 
cause of  bidding  is  basically  responsible  for 
the  lack  of  enthusiasm  or  the  time  need- 
ed to  get  out  and  sell  the  product  upon 
which  the  rental-price  is  speculative.  More 
exhibitors  today  than  at  any  time  in  the 
last  decade  are  working  on  a  one-man  army 
basis.  Plagued  with  financial  worries  and 
the  possible  loss  of  their  economic  security, 
the  ability  to  think  clearly  seems  to  have 
desertd  theem  altogether.  Can  we  blame  this 
on  bidding?  Of  course,  we  can!  Because 
bidding  represents  the  dollars  and  cents  be- 
tween our  "making  the  grade"  and  our  "not 
making  it."  Suffice  to  say,  the  "mores"  are 
m  the  "not-making-it-class." 

The    low    dark    cloud    of    bidding  must 


be  obliterated  by  the  sun  of  negotiation.  That 
the  distributors  are  beginning  to  turn  their 
minds  to  this  deducible  fact  is  becoming  daily 
more  apparent.  Their  claims  for  "the  about- 
face"  result  from  a  number  of  factors  such  as 
"certain  losses  because  of  'no-bids'  on  smaller 
pictures  and  other  conjectures  equally  un- 
sound." 

At  this  time  certain  indications  point  to 
the  fact  that  there  has  been  a  slip  'twixt 
the  cup  of  the  distributors  and  the  lip  of 
the  exhibitors.  And  the  slip  seems  to  be  the 
one  of  results  which  'has  been  brought  out 
by  close  analysis  from  their  experience  on 
bidding  to  date. 

The  conclusion  is:  "the  shoe  is  on  tht 
other  foot  and  it  is  beginning  to  pinch, 
painfully.' 

Even  in  business  the  policy  of  "doing 
unto  others  as  you  would  have  them  do 
unto  you"  is   not  without  its  merit. 


A  BARGAIN 

Indiana  A.  T.  0. 
There  is  a  growing  recognition  in  this 
business  for  more  institutional  advertising  at 
all  levels.  FILM  BULLETIN  magazine  has 
solicited  each  of  the  major  distributors  and 
they  have  responded  by  having  their  ad 
departments  prepare  a  fine  institutional  ad 
—  one  each  from  nine  companies.  These  are 
reprinted  in  the  July  16  issue  of  FILM 
BULLETIN  and  there  are  no  copyrights  or 
limitations  of  any  kind  on  their  use.  You 
may  do  anything  you  see  fit  with  them  in 
adapting  them  to  your  own  use.  If  you 
are  a  single  situation  operator  or  a  small 
circuit  with  no  advertising  personnel,  here 
is  a  bargain  —  9  fine  institutional  ads  for 
25  cents,  the  price  of  the  magazine. 


GUNS  IN  THE  BACK 

Allied  of  N.  J. 

During  the  past  two  years  the  exhibitors 
in  many  sections  of  the  country  have  been 
fighting  to  keep  their  doors  open.  They  have 
slashed  payrolls,  fought  unions  and  done 
without  many  things  personally  in  order  to 
keep  their  theatre  doors  open. 

During  this  difficult  period  many  reasons 
were  advanced  for  the  boxoffice  decline.  Part 
of  the  decline  can  be  attributed  to  lack  of 
quantity  and/or  quality  of  pictures  that  were 
released  by  many  companies.  The  public 
stopped  buying  what  we  had  to  sell. 

During  this  period  exhibitors  paid  what 
they  could  while  taking  loss  after  loss.  Some 
ugly  rumors  have  cropped  up  (and  we  hope 
they  are  just  rumors)  of  intended  sales 
policies  on  potential  boxoffice  attractions. 
These  pictures  coming  along  look  as  if  the 
public  will  buy  them.  However,  these  in- 
tended policies,  as  rumored,  of  forcing  in- 
creased admission  prices  and  premium  deals 
in  order  to  buy  the  picture  and,  in  general, 
the  putting  of  a  gun  to  the  exhibitor's  back 
because  of  a  picture  that  is  better  than  the 
run  of  the  mill  we  have   been  buying,  will 


result  in  the  schism  of  our  business  tha 
at  this  time  we  can  little  afford  to  have.  I 

How  the  distributor,  knowing  the  condil 
tions,  can  possibly  try  to  shove  down  th 
throats  of  the  exhibitors  increased  or  ex 
cessive  terms,  is  perhaps  an  example  of  th  I 
thoughtlessness  when  it  comes  to  the  well 
fare  of  our  industry.  If  the  distributor  pre 
vents  the  theatres  from  running  these  pic  | 
tures  of  better  quality  by  a  distasteful 
sales  policy,  he  will  again  be  harming  ui 
and  hurting  not  only  the  theatre  ownei 
small  or  large,  but  also  himself. 

Without  being  presumptuous  enough  t 
dictate  or  try  to  run  another  man's  business 
it  certainly  would  be  wise  for  the  film  com 
panies  to  think  twice  before  presenting 
greedy  and  gouging  policy  on  any  on 
picture.  If  tthis  policy  does  come  about 
the  distributor  may  face  a  resistance  tha! 
might  very  well  be  termed  a  "rebellion 
among  the  exhibitors  in  the  country. 

For  heaven's  sake,  let's  be  wise  and  ge 
the  movie-goer  going  to  the  movies  one 
more.  Don't  look  for  the  last  penny.  Le 
us  catch  our  second  wind  and  forge  ahea 
to  a  brighter  future. 


DRIVE-IN  PRINTS 

Allied  of  Indiana 
On  more  than  one  occasion  of  a  visit  t 
a  drive-in  theatre  we  have  heard  patron 
complain  about  poor  screen  light,  attributin 
the  reason  to  faulty  projection  equipmen 
In  every  instance  it  was  a  case  of  dar 
photography  —  night  shots,  interiors,  et 
Some  features  are  of  this  nature  almost  i 
their  entirety.  It  would  seem  to  us  th; 
drive-ins  are  imporant  enough  that  at  leas 
one  less  opaque,  or  lighter  print,  could  b 
alloted  to  each  exchange  to  meet  this  pecu 
iar  problem  of  drive-ins.  It  should  be  merel 
a  matter  of  development  time,  and  if  it  is  n< 
done  the  distributors  are  going  to  lose 
lot  of  revenue  on  good  pictures  with  tc 
much  dark  background  because  they  ai 
not  suitable  for  outdoor  exhibition. 

TAX  RULING 

/.  T.O.  of  Ohio 

We  have  a  copy  of  a  ruling  by  Charl 
J.  Valaer,  Deputy  Commissioner  of  Intern 
Revenue  in  Washington,  not  merely  a  loc 
collector,  which  plainly  holds  that  a  theat 
which  has  an  established  admission  pri< 
for  children  under  12  when  not  acconipanie 
by  their  parents,  and  collects  a  federal  a<w 
mission  tax  thereon,  may  nevertheless  adm? 
children  under  12  free  of  charge  when  a) 
companied  by  their  parents,  without  collec 
ing  any  tax  on  such  free  admission. 

In  other  words,  if  you  advertise  "Childn 
Under  12  Admitted  Free  When  Accompan 
ied  by  Parents",  but  still  retain  an  admissic 
price  for  unaccompanied  children,  you  mu* 
collect  federal  admissions  tax  from  an  ujl 
accompanied    child,    while    the    child  wtl 
comes  with  his  parents  is  admitted  free  and  i 
tax  need  be  collected. 


16 


FILM  BULLETI 


%   SOGERS  '      ^  ^d&> 


'L  ! 


^ftceOFARMS 
TV 


A  Proud  Anniversary  and 
a  glorious  Anniversary  Line-up 
to  make  every  Warner  exhibitor 
prouder  than  ever  of  his  product, 
his  industry  and  the  pleasure 
he  brings  his  community. 
1926   -  -  1951 


"QUOTer 


What  the  Newspaper  Critics  Sag  About  New  Films 


U-I'S  'BRIGHT  VICTORY' 
DRAW  N.  Y.  CRITICS'  RAVES 

"Bright  Victory,"  Universal-International's 
filmization  of  the  novel,  "Lights  Out,"  was 
the  recipient  of  unusually  high  praise  in  the 
review  columns  of  the  New  York  press.  The 
newspaper  critics,  while  finding  faults  here 
and  there  in  the  picture,  to  a  man  agreed  upon 
its  stirring,  dramatic  qualities,  specifically 
pointing  to  the  fine  direction  by  Mark  Robson 
and  the  remarkable  acting  achievement  by 
Arthur  Kennedy  in  the  role  of  the  blind  vet- 
eran. 

Bosley  Crowther,  in  the  Times,  reports  that 
it  "is  told  with  inspiring  portrayal  and  great 
objective  solicitude,"  calling  it  "on  the  whole 
...  (i  superior  job." 

Praising  Kennedy  for  "one  of  the  year's  finest 
motion  picture  performances."  the  Herald  Trib- 
une's Otis  L.  Guernsey  says  it  "is  no  mere  tear- 
jerker;  it  is  grim,  but  to  a  purpose."  offering 
"in  part,  a  superior  motion  picture  experience.' 

In  the  Post,  Archer  Winsten  calls  it  "a  rare 
picture"  which  "only  the  hypercritical  will  fail 
to  enjoy  .  .  .  in  the  fullest  degree."  He  points 
out  it  "way  'well  surprise  its  audience  with  more 
than  an  expected  amount  of  high,  good  humor." 

"Here  we  have  one  of  the  enthralling  pictures 
of  our  movie  year."  -writes  Alton  Cook,  in  the 
World  Telegram.  "With  the  arrival  of  this  pic- 
ture." he  concludes,  "I  think  we  can  scratch  off 
another  niche  in  the  \0-bcst  lists  to  come." 

Jim  O'Connor,  in  the  Journal- American,  finds 
it  "a  moving  motion  picture"  that,  though  "not 
a  pretty  picture  .  .  .  tells  an  important  story 
that,  I  suppose,  should  be  told."  He  stresses  the 
fact  that  "this  tense,  taut  story  .  .  .  is  no  Holly- 
wood glamor  picture." 

'RICH,  YOUNG  AND  PRETTY1 

M-G-M 

"Gay  and  young  and  pretty,  and  undoubtedly 
took  riches  to  make  it  .  .  .  Aimed  at  the  teen- 
agers, to  be  enjoyed  by  anyone,  who  likes  a 
feather-light  musical  romance."  —  Creel  man, 
X.  Y.  World-Telegram. 

"Has  at  least  three  reasonably  fresh  person- 
alities to  recommend  it  to  those  tired  of  the  old 
.  .  .  Has  its  own  candy-coated  charm." — Il'instcn, 
X.  Y.  Post. 

"Pretty  as  a  picture  postcard  and  just  about 
as  exciting  .  .  .  Call  it  a  standard  songfest  suit- 
able for  the  summer." — A.  W.,  X.  Y .  Times. 

"Runs  about  par  for  the  course  in  the  Techni- 
color musical  division  .  .  .  Unruffled  by  neither 
the  exciting  nor  the  unusual  .  .  .  Routine  musical 
goings-on." — BarstOW,  X.   Y.  Herald  Tribune. 

"Easy-to-look-at-and-listen-to  hot  weather  en- 
tertainment."— Pelswick,  X.  Y.  Journal- Ameri- 
can. 

'HAPPY  GO  LOVELY' 

RKO  RADIO 

"Unassuming,  good  natured  musical  .  .  .  You 
won't  write  home  about  this  one  but  you  are 
likely  to  be  medium  glad  after  a  drop-in  visit 
to  the  Astor." — Cook,  X.  Y.  World  Telegram. 

"Without  becoming  a  valuable  antique,  is 
decidedly  musty  in  plot,  dialogue,  and  comic  in- 
vention.  If  it   were  possible  to  look  without 


listening,  you  might  consider  it  harmless  and 
pretty." — Winsten,  N.  Y.  Post. 

"Hot-weather  entertainment  . .  .  Featherweight 
musical  .  .  .  About  as  original  and  inspiring  as 
an  old-fashioned  lemonade  .  .  .  Notably  light  and 
gentle  show,  all  done  up  in  Technicolor  as  though 
it  were  really  going  to  a  ball." — Crowther,  -V.  Y. 
Times. 

"Routine  collection  of  light  and  innocuous 
fancies  made  up  into  an  average  diversion."— 
Guernsey,  N.  Y.  Herald  Tribune. 

'ALICE  IN  WONDERLAND' 

SOUVAINE-BUNIN 

"More  of  a  horror  story  than  a  childhood 
fantasy  .  .  .  Terror  has  replaced  humor  as  the 
dominant  mood." — Cook,  N.  Y.  World  Telegram. 

"Completely  enchanting  .  .  .  Lewis  Carroll 
books  have  been  brought  to  the  screen  with 
charm  and  imagination  and  a  genuine  feeling  for 
the  classic  fantasy  .  .  .  It's  a  delightful  film." — 
Pels-wick,  X.  Y.  Journal- American. 

"Motley  visualization  .  .  .  Hodgepodge  of 
fiction  and  fantasy  .  .  .  Almost  any  'Alice'  placed 
alongside  of  Mr.  Bunin's  mishmosh  should  be 
able  to  put  it  in  the  shade." — Crowther,  X.  Y. 
Times. 

"Ranks  as  a  clever  and  amusing  rendition  .  .  . 
Eminently  satisfying  screen  translation."  — 
Guernsey,  X.  Y.  Herald  Tribune. 

'ALICE  IN  WONDERLAND' 

RKO-DISNEY 

"Unreined  improvisation  upon  the  fine  fancies 
of  Mr.  Carroll  .  .  .  Whooping-big  Disney  car- 
toon .  .  .  You  should  find  this  picture  entertain- 
ing. Especially  should  it  be  for  the  kids,  who 
are  not  so  demanding  of  fidelity  as  their  moms 
and  dads."— Crowther,  X.  Y.  Times. 

"Not  Disney  at  his  most  imaginative  .  .  .  But 
.  .  .  you  will  be  charmed,  delighted  and  delirious- 
ly amused."— Cook,  X.  Y.  World  Telegram. 

"Cheerful  and  vastly  entertaining  cartoon 
fantasy  .  .  .  Should  not  be  confused  with  the 
other  eerie,  clever  'Alice'  now  playing  in  town 
.  .  .  Fresh  and  pleasant  as  a  sunny  day."  — 
Guernsey,  X.  Y.  Herald  Tribune. 

'LITTLE  BIG  HORN' 

LIPPERT 

"Authenticity  is  considerably  watered  down 
by  routine  melodramatics  .  .  .  Turns  out  to  have 
been  a  fairly  serious  picture." — Winsten,  X.  Y. 

Post. 

"Action-filled  but  depressing  western." — Creel- 
man,  X.  Y.  World-Telegram. 

"Western  that  starts  off  on  the  right  hoof  and 
ends  up  right  back  in  the  old  tried-and-true  rut. 
Credit  the  picture,  though,  for  trying  hard  not 
to."—//.  H.  T.,  X.  Y.  Times. 

"An  innocuous  Western  .  .  .  Dialogue  is  earth- 
ly and  more  pungent  than  that  usually  encount- 
ered in  this  kind  of  a  picture." — McCord,  N.  Y. 
Herald  Tribune. 

"Robust  outdoor  drama  .  .  .  said  to  be  based 
on  an  actual  incident  and  set  back  in  the  days  of 
the  Custer  massacre." — Pelswick,  X.  Y.  Journal- 
American.  ' 


'ON  MOONLIGHT  BAY' 

WARNER  BROS. 

"Pleasant,  warmly  sentimental  and  often, 
amusing  .  .  .  It's  vulnerable,  but  if  you're  in  the 
mood  for  romantic  family  comedy,  it's  by  no 
means  a  total  loss." — Winsten,  X.  Y.  Post. 

"Coarse-grained  fun,  the  approximate  texture 
of  corn  .  .  .  Not  a  single  detail  of  the  picture 
is  outstandingly  good,  but  you  find  yourself 
saying  very  little  bad  about  it." — Cook,  X.  K.; 
World  Telegram. 

"Tuneful  Technicolor  comedy  .  .  .  Spun  out  at 
a  leisurely  tempo." — Pclszvick,  X.  Y.  Journals 
American. 

"Although  it  strives  to  develop  a  genuine 
nostalgic  mood,  all  that  'On  Moonlight  Bay 
seems  to  create,  sadly  enough,  is  the  feeling  that 
this  film  format  is  old  hat."— A.  W.,  X.  Y. 

Times. 

"He's  (Billy  Gray)  a  funny  fellow  who  holds 
together  a  motion  picture  which  might  very  well 
have  fallen  apart  ...  In  Technicolor,  but  itj 
doesn't  help  too  much." — Pihodna,  X .  Y .  Herald] 
Tribune. 


'COMIN'  ROUND  THE  MOUNTAIN 

UNIVERSAL-INTERNATIONAL 

"Brand  of  comedy  .  .  .  carried  far  beyond  the 
point  of  any  return  .  .  .  Worst  Abbott  and  Cos-) 
tello  to  date." — Winsten,  N.  Y.  Post. 

"Several  cuts  above  their  ( Abbott  and  Costello)! 
ordinary  level  and  the  whole  difference  is  Dor-J 
othy  Shay." — Cook,  N.  Y.  World-Telegram,  j 

"Boys  go  through  their  characteristically  slap- 
happy  clowning."  —  Pelswick,  X.  Y.  Journal*. 
American. 

"Although  movies  are  supposed  to  be  betten 
than  ever,  Bud  Abbott  and  Lou  Costello  offe< 
seventy-seven  minutes  of  film  time  .  .  .  toward 
disproving  the  slogan  .  .  .  Broad,  slap-sticH 
farce  .  .  .  merely  pushes  you  out  the  door."  — | 
O.  A.  G.,  X.  Y.  Times. 

"Unadulterated  Abbott  and  Costello." — Bar\ 
stow,  X.  Y.  Herald  Tribune. 


'PEKING  EXPRESS 

PARAMOUNT 

"Simple,  stark  and  familiar  .  .  .  perhaps  to>. 
familiar,  since  .  .  .  seems  to  be  making  practic 
ally  the  same  stops  as  'Shanghai  Express'  di'| 
some  years  back." — A.  W.,  X.  Y.  Times. 

"Melodramatic  hijinks  and  political  dogm| 
thrown  together  in  a  sloppy  remake  of  'Shangli;| 
Express'." — Barstow,  X.  Y.  Herald  Tribune. 

"Typical  Wallis  .  .  .  He's  done  pretty  muc 
the  same  thing  before,  and  many  times.  The  pub 
lie  likes  these  wild-eyed,  breast-beating  melc, 
dramas." — Creelman,  X.  Y.  World  Telegram. 

"Not  possible  to  recall  one  single  bit  of  fresj 
material  or  business  in  this  improbably,  hand 
somely  mounted,  propaganda-laden  film."  -j 
Winsten,  X.  Y.  Post. 

"Melodrama  with  an  Oriental  background  prrj 
vides  plenty  of  slam-bang  action." — Pelswick 
X.  )'.  Journal-American. 


18 


FILM  BULLETIN 


10VIETIME  USA'  DRIVE 
(TENDED,  MORE  RALLIES  SET 

The  Movietime  U.S.A.  drive  is  picking  up 
imentum  at  a  rapid  pace.  The  period  of 
5  initial  campaign  is  now  extended  to 
ree  months,  Octoher,  November  and  De- 
mber.  and  plans  arc  being  laid  for  year 
iund  activity  to  keep  theatre  boxoffices 
ot". 

In  making  the  announcement  of  the  exten- 
■n  of  the  COMPO  drive,  national  campaign 
airman   Robert  J.   O'Donnell  declared: 

We  dd  not  want  people  to  get  the  mi- 
ssion that  this  is  merely  a  shot-in-the- 
n  promotion  effort,  with  our  best  pictures 
nched  for  a  temporary  effect." 

O'Donnell  said  plans  are  being  laid  for 
series  of  special  events  to  hold  public  in- 
•est.  Prominent  among  these  will  be  a 
ption  picture  exposition  to  be  held  in 
l-w  York  in  the  Spring,  then  taken  on  tour 
nind  the  country. 

Pointin.tr  out  that  the  Movietime  U.S.A. 
ve  is  to  be  publicized  as  the  celebration 
i  the  movie  theatre's  golden  anniversary. 
|Donnell  set  the  slogans  "Movietime  U.S.A. 
I  Celebrating  the  50th  Anniversary  of  the 
1'ierican  Motion  Picture  Theatre"  or  "Cel" 
r  ating  the  Golden  Anniversary  of  the  Am- 
jcan  Motion  Picture  Theatre"  as  the  ones 
I  drive  will  carry. 

Meanwhile,  list  of  cities  lining  up  organi- 
aional  ra'lies  is  growing.  It  now  appears 
tit  every  film  territory  in  the  country,  with 
:   exception  of  two  or  three,  will  be  fully 

anized  to   put  over  the  COMPO  cam- 

gn.  come  October  1st. 

mother  important  development  was  the 
lance  of  instructions  to  all  branch  man- 
rs,  by  A.  W.  Schwalberg.  head  of  the 
'AA  Distribution  Committee,  to  have 
ir  salesmen  and  office  personnel  cooperate 
ilrive  activities. 


FULLY  EXHIBS  TO  'GO  IT 
(ONE'  IN  LOCALIZED  DRIVE 

I  group  of  Philadelphia  exhibitors,  represent- 
iijabout  95  per  cent  of  the  theatre  owners  in 
If  area,  decided  to  "go  it  alone"  by  agreeing 
tcjinance  a  localized  institutional  advertising 

S 
P 


paign  independently  of  the  Movietime  U. 
V.  campaign  sponsored  nationally  by  COM- 


f   a   meeting    attended    by  approximately 
H  ocal   exhibitors,  the  group  set  a  goal  of 
Ixj'een  $100,000  and  $150,000  to  finance  the 
with  each  participant  to  contribute  ap- 
mately  four  cents  for  each  hundred  dol- 
of  last  year's  grosses. 

ie  large  theatre  circuits  in  the  Philadelphia 
said  Albert  M.  Cohen,  chairman  of  the 

ing,  had  previously  agreed  to  go  along 
any  decisions  made,  provided  independents 

promise  their  support. 


BULLETIN 

Vol.  19,  No.  18  August  27,  1951 

and 
Opinion 


REPUBLIC'S  YATES 

Faces  Exhibitor  Resentment 


REPUBLIC  SELLS  TO  TV 
IGNORING  EHIBITOR  PLEAS 

Despite  the  potential  legal  entanglements 
and  exhibitor  resentment  that  might  result 
from  such  a  deal,  Republic  has  gone  ahead 
and  sold  175  features  and  serials  to  KPTZ, 
a  Los  Angeles  TV  station  owned  and  oper- 
ated by  the  Los  Angeles  Times. 

Approximately  $225,000  was  reportedly 
paid  for  the  group  of  oldies,  and  in  the 
deal  was  included  the  right  to  show  each 
film  twice  during  one  year. 

Significantly,  no  Roy  Rogers  or  Gene 
Autry  films  were  among  those  sold  to 
KPTZ. 

It  is  regarded  as  certain  that  the  film 
company  will  face  repercussions  from  ex- 
hibitor sources.  Herbert  J.  Yates,  Republic 
president,  is  known  to  have  received  many 
appeals  from  exhibitor  groups  not  to  take 
this  step,  since  it  is  felt  by  the  theatremen 
that  any  films  sold  to  television  stations 
is  bound  to  keep  people  away  from  movie 
houses.  Yates  could  not  be  reached  for 
comment,  having  left  for  abroad  on  the 
eve  of  the  deal's  disclosure. 


OUST    2  7,    1  9  5  1 


THEATRE  TV  BOOMS  WITH 
2  FIGHT  'NATURALS'  COMING 

The  fast-moving  field  of  theatre  television 
has  received  fresh  ininetus  with  the  ac- 
quisition of  two  fight  "naturals"  within  the 
next  month.  Rights  for  the  Sugar  Rav  Rob- 
inson -  Randy  Turpin  middleweight  title 
return  match,  September  12.  and  the  Willie 
Pep  -  Sandy  Saddler  bout  for  the  feather- 
weight crown.  September  26.  were  nego- 
tiated by  Theatre  Network  Television  for 
the  exclusive  theatre  channel. 

The  largest  number  of  theatres  to  parti- 
cipate thus  far.  at  least  20,  will  carrv  the 
Pep-Saddler  event,  sixth  boxing  match  to 
be  sent  into  theatres  vvi'hin  a  three-months 
period.  The  growing  TV  "circuit"  will  in- 
clude houses  as  far  west  as  St.  Loui  and 
Minneapolis,  according  to  TNT's  Nathan 
Halpem.  The  number  would  be  increased 
considerably  were  the  New  York  theatres 
included.  However,  they  are  blacked  out 
by  the  International  Boxing  Club,  since 
both  bouts  are  to  be  held  in  New  York. 

The  IBC  a'so  announced  the  purchase  <>f 
motion  picture  rights  to  the  two  fights  by 
RKO  Radio  Pictures. 

The  Joe  Louis  -  Jimmy  Rivins  clash,  car- 
ried to  15  theatres  from  Baltimore  on  August 
15th  proved  to  be  the  weakest  attraction 
yet  offered  via  theatre  television.  Desoite 
the  lack  of  general  public  interest,  most  of 
the  participating  houses  played  to  capacity 
or  near-capacity. 


SALES  MEETINGS  TO  SET  UP 
'PHASE  TWO'  OF  UA  PROGRAM 

To  kickoff  what  president  Arthur  B.  Krim 
likes  to  call  "Phase  Two"  in  the  revitalization 
of  United  Artists,  a  series  of  one-day  sales 
meetings  will  be  held  in  Chicago,  San  Fran- 
cisco, New  Orleans  and  New  York  this  week. 
The  confabs,  first  to  be  held  by  the  company 
since  their  "Blueprint  For  Tomorrow"  national 
sales  convention,  will  be  attended  by  William 
J.  Heineman,  vice-president  in  charge  of  dis- 
tribution; Max  E.  Youngstein,  vice-president 
and  director  of  advertising,  publicity  and  ex- 
ploitation, and  Bernard  G.  Krauze,  assistant  to 
Heineman. 

Plans  for  a  national  sales  drise  for  UA's  fall 
releases  will  be  discussed.  Among  the  pictures 
included  in  the  company's  schedule  are:  "The, 
Well,"  "The  River,"  a  Technicolor  production 
which  will  be  road  shown,  "Obsessed,"  "Mister 
Drake's  Duck,"  "Hotel  Sahara"  and  "Mr.  Peek- 
A-Boo." 


METRO  POSTS  PROGRAM 
OF  40,  ONE-HALF  IN  COLOR 

As  "one  of  the  most  successful  and  profit- 
able" years  in  Metro-Goldwyn-Mayer's  history 
draws  to  a  close,  Dore  Schary,  vice-president 

(Continued  on  Page  20) 

19 


\e$vs  and  Opinion 


{Continued  from  Page  19) 

in  charge  of  production  and  studio  operations 
announced  plans  for  the  "most  ambitious  pic- 
ture-making schedule  ever  undertaken  by  any 

company." 

At  the  meetings  of  the  executive  board  and 
MGM  producers  held  in  Hollywood  and  Chi- 
cago during  the  past  several  weeks,  a  minimum 
program  of  40  pictures,  half  of  which  will  be 
in  Technicolor,  was  decided  upon.  The  pros- 
pective lineup,  said  Schary,  "gives  the  studio 
the  largest  list  of  story  properties,  either  com- 
pleted or  in  final  stages  of  preparation,  in  the 
long  and  distinguished  history  of  the  company." 

Among  the  films  completed  during  the 
current  fiscal  year  and  awaiting  release  are 
the  widely  heralded  "Quo  Yadis."  "An  Ameri- 
can in  Paris."  "Across  the  Wide  Missouri," 
"Angels  in  the  Outfield."  "It's  A  Big  Country" 
and  several  others  totalling  26. 

Commenting  on  the  boxoffice  success  of 
products  in  current  release  and  prospects  for 
Metro's  future  slate,  Schary  said.  "We  take 
great  satisfaction  in  the  knowledge  that  we 
have  again  in  recent  months  delivered  pictures 
that  have  contributed  so  materially  to  the  up- 
surge of  box-office  returns  in  our  industry." 

Included  in  the  list  of  films  being  readied 
for  production  are:  "Because  You're  Mine," 
i  Mario  Lanza  Technicolor  musical :  "The  Merry 
Widow."  "Scaramouche,"  "The  Adventures  of 
Huckleberry  Finn."  also  a  Technicolor  musical 
starring  Danny  Kaye  and  Gene  Kelly. 

At  the  Hollywood  meetings,  which  were  pre- 
sided over  by  Nicholas  M.  Schenck.  president 
of  Loews.  Inc.,  it  was  announced  that  J.  J. 
Cohn.  vice-president  and  for  27  years  a  mem- 
ber of  the  executive  staff,  would  add  to  his 
duties  the  responsibility  of  working  with  Schary 
on  all  matters  concerning  the  physical  pro- 
duction of  pictures.  In  addition,  executive  board 
member  Lawrence  Weingarten  was  named  an 
executive  producer. 

FOX  4-MONTH  SLATE  SET 
AT  15,  4  IN  TECHNICOLOR 

Four  Technicolor  productions  will  be  in- 
cluded in  the  formidable  slate  of  fifteen  pic- 
tures to  be  released  during  the  next  four 
months  by  Twentieth  Century-Fox,  according 
to  Al  Lichtman.  the  company's  director  of  dis- 
tribution. 

The  Daryl  F.  Zanuck-produced,  Joseph  L. 
Mankiewicz-directed  "People  Will  Talk"  heads 
the  September  group,  which  includes  "A  Mil- 
lionaire for  Christ/'  and  "The  Day  the  Earth 
Stood  Still." 

The  October  schedule  features  "The  Desert 
Fox."  "No  Highway  in  the  Sky,"  "Anne  of 
the  Indies"  (Technicolor)  and  "Tourney  Into 
Light." 

In  November,  the  company  will  release  "Let's 
Make  It  Legal,"  "Love  Nest."  "Kangaroo" 
(Technicolor)  and  "Golden  Girl"  (Techni- 
color ) . 

"Man  of  Two  Worlds"  (Technicolor),  "The 
Bridge,"  "Elopement"  and  "Decision  Before 
Dawn"  comprise  the  releases  scheduled  for  De- 
cember. 

20 


RKO'S  DEPINET 

Great  Year  for  Movie  Going" 


36  SET  FOR  RKO  SEASON 
DEPINET  VOICES  OPTIMISM 

Voicing  the  belief  that  the  coming  year 
"is  going  to  be  a  great  year  for  movie 
going."  RKO's  president  Ned  E.  Depinet 
told  a  New  York  meeting  of  sales  executives 
that  the  company  will  release  36  feature 
films  during  July  1951  -  June  1952  season. 

"All  of  the  36  films.  '  said  Depinet.  "are 
either  completed  or  in  various  stages  of 
production."  18  will  be  released  during  the 
rest  of  the  calendar  year.  12  of  the  scheduled 
releases  will  be  in  color. 

The  program  will  include  films  made  by 
independent  producers  Walt  Disney.  Samuel 
Goldwyn,  Jerry  Wald  and  Norman  Krasna. 
as  well  as  others  who  have  been  releasing 
their  product  through  RKO. 

U.  S.  COURT  RULES  AGAINST 
EXHIB  IN  L.  A.  CLEARANCE  SUIT 

The  clearance  policies  of  the  motion  picture 
distributors  were  upheld  in  U,  S.  District 
Court  in  Los  Angeles,  as  Judge  Leon  R. 
Yankwich  ruled  against  Fanchon  &  Marco. 
Inc..  theatre  operators,  in  the  latter's  $300,000 
damage  action  against  six  major  distributors 
and  one  competing  theatre  chain. 

Holding  that  only  unreasonableness  in  clear- 
ances may  be  considered  a  violation  of  the  anti- 
trust laws.  Judge  Yankwich  found  that  it  is 
not  the  duty  of  the  court  to  obtain  "a  better 
bargain  for  a  dissatisfied  exhibitor,"  but  to 
"vindicate  the  anti-trust  laws." 

The  legal  hassle  began  when  the  plaintiff 
brought  suit  against  the  defendants  for  denying 
their  Baldwin  theatre  first  run  bookings  and 
allowing  only  a  21 -day  availability.  Judge 
Yankwich,  in  his  decision,  pointed  out  that 
"all  the  decisions  which  have  come  from  the 
higher  courts  postulate  the  legality  of  these 
(clearance)  restrictions,  condemning  only  un- 
reasonableness in  the  preference." 


Listed  as  defendants  in  the  suit  were  Parai 
mount  Pictures,  Inc.,  Paramount  Film  Dis 
tributing  Corp.;  Loew's,  Inc.;  RKO-Radi<| 
Pictures ;  Universal  Pictures  Co. ;  UniversaJ 
Flm  Exchanges:  United  Artists  Corp.;  Twenj 
tieth  Century- Fox  Film  Corp.;  and  Nations' 
Theatres  Corp.  and  its  affiliates,  the  Nat' 
Theatres  Amusement  Co.  and  Fox  West  Coas 
Theatres  Corp. 

It  was  announced,  by  the  attorneys  for  tb 
plaintiff,  that  the  decision  would  be  appealed 

WB  PROFITS  DIP  DUE  TO 
HIGH  TAXES,  LOWER  GROSSES 

Higher  taxes  and  lower  grosses  accounted 
for  the  approximated  SI. 500.000  dip  in  War 
ner  profits  revealed  in  the  company's  reporj 
for   the  nine  months    ended  May  26.  1951.) 

The  net  earnings  for  the  current  period  waj 
S5.8O8.00O.  after  provisions  of  $5,800,000  fcj 
taxes  and  $500,000  for  contingent  liabilities! 
as  against  a  net  of  $7,316,000  for  the  same  per 
iod  in  1950.  after  provisions  of  $4,500,000  fol 
taxes  and  $600,000  for  contingent  liabilities.  I 

Grosses  from  film  rentals,  theatre  admission-l 
sales,  etc..  for  the  nine  months  ending  in  1951 
amounted  to  $84,870,000.  compared  with  $94J 
504.000  for  the  corresponding  period  ending 
in  1950. 

PAR.  QUARTERLY  REPORT 
INDICATIVE  OF  UPWARD  TRENI 

The  estimated  earnings  of  Paramount  PicJ 
tures  Corporation  for  the  second  quarter  endei 
June  30.  1951  were  increased  by  $46,000  ord 
the  similar  period  in  1950.  while  the  compart 
also  reports  a  hike  in  earnings  of  an  estimate 
$6,000  for  the  initial  six-months  in  1951  ovt 
the  corresponding  half  year  in  1950. 

For  the  current  quarter,  the  consolidate 
earnings  were  estimated  at  SI. 421.000  aftt) 
taxes,  as  against  $1,385,000  for  the  quarto 
ended  July  1.  1950.  Figures  for  the  six  montn 
ended  June  30,  1951  were  estimated  at  $2,832) 
300  after  taxes,  compared  with  $2,826,000  U 
the  same  period  last  year. 

2ND  QUARTER  PROFIT,  6  MO! 
LOSS  SHOWN  IN  RKO  REPORT 

Although  a  net  loss  of  $734,720.  after  i, 
charges,  was  shown  by  RKO  Pictures  CorJ 
operations  for  the  first  six  months  of  19$  . 
the  company  reported  a  net  profit  of  $351,6j 
for  the  three  months  ended  June  30.  Since  tj  ! 
company    divorced    from   its   former  theatj 
holdings,  began  operations  on  January  1,  193  J 
no  comparable  figures  are  available  for  ccj  i 
responding  periods  in  1950. 

It  was  emphasized  that  a  revision  of  t|  j 
negative  amortization  table  for  feature  fib) 
and  the  conversion  of  unusually  large  amourj  | 
of  foreign  film  royalties,  previously  blocks  J 
had  a  favorable  effect  on  the  three-month  pd  4 
iod  earnings. 

FILM  BULLETIN 


'RODUCTIOn 
,  R€L€fiS€ 


R€CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  if  the  National  Release  Dat«. 

"No."  is  the  release  Number-  "Rev."  is  the  issue  in  which  the 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SC)  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


950-51  Features 
Serials 
Westerns 


Completed  (41) 
Completed  (  3) 
Completed  (13) 


In  Production 
In  Production 
In  Production 


RELEASE  CHART 

—  1950-51  — 


N  PRODUCTION 

TITLE — Running  Tim* 
rave  Warrior 

rigand.   The  IT)   

aptain  Blood  Returns  

uropean  Edition   

awk  of   Wild    River.  The  

ound  Off 

he  Mother   -  

COMPLETED 

iq  Gusher.    The  (681 

jots  Malone   

orn  Yeiterday      

ravt  Bulls.  The  1107)  

orky  of  Gasoline  Alley  

hina  Corsair  1781   

ongo  Bill  _  

hain  of  Circumstance  

riminal  Lawyer   

ark  Page  

lick  Turpin's  Ride  . —    

irefighters.  The     

ive  193)  

,ort  Savage  Raiders    

'ury  of  the  Congo  ... 

liarlem  Globetrotters,  The   

ler  First  Romance  (73)  

ler  Wonderful  Lie  

lurricane  Island  (C)  

ungle  Jim  in  the  Forbidden  Land 
jngle  Safari 

orna  Doone  IT)  

I  190)     

lagic  Carpet  

Ian  In  the  Saddle  

Hask  of  the  Avenger   (T)  183) 

jly  True  Story  168)  

'lever  Trust  A  Gambler  (79)  „.  

'peration  X  178)  

jckup  ISO) 

urple  Heart  Diary   

liders  of  the  Whistling  Pines  

ante  Fe  (T)  (87)  

laturday's  Here 

ecret,  The  

ilver  Canyon  170) 

rocco  198)   

Tcky  Canyon 

mall  Wonder  

ion  of  Dr.  Jekyll  

uflny  Side  of  the  Street  

en  Tall  Men  (T)  

exas  Rangers  

lief  r.f  Oamascu<  The 

alentino   (T)  103)  

alley  of  Fire 
'ar  Cry 

,'hen  the  Redskins  Rode  (C)  (78) 

'hirlwind  _ 

I'histle  at  Eaton  Falls,  The  (90)   


Cast 
Jon  Hall 
Dexter-Lawrence 
Louis  Hayward 
Glen  Ford 
Starrett-Burnett 
Mickey  Rooney 
Loretta  Young 


Morris-Foster   

Holden-Clements   

Crawford-Holiday   

Ferrer-Quinn  

S.  Beckett-J.  Lydon 

Hall-Farraday 

McGuire-Moore  

M.  Feld-R.  Grayson   

O'Brien-Wyatt   

Crawford-Derek   ..... 

Hayward-Medina    

Williams-Reynolds   

S.  Douqlas-W.  Phipps 

Starrett-Burnette  

.  Weismuller-Talbot  

Gomez-Dandridge   

O'Brien-Martin  

Kiepur^t-tngerth 

Hall-Windsor  .. 

Weissmuller-Ryan  

Weissmuller-Greene   

Hale-Greene    

Wayne-DaSilva    

Ball-Agar  _.. 

Scott-Leslie   

Derek-Ouinn   

Parker-Walker  

Clark-O'Donnell 

Robinson-Cummins  

Haas-Michaels 

F.  Langford-T.  Romano 

Autry-White 

Scott-Carter 

Derek-DaRe   

Derek-Cobb  

Autry-Davis 

Bogart-Loran 

Starrett-Burnette 

Cummings-Hale 

Hayward-Knox  

Lane-Daniels   

Lancaster-Lawrence  ..... 

Geo.  Montgomery  

Henreid-Sutton 

Parker-Dexter 

Autry-Burnette   

Montgomery-Long   _ 

Hall-Castl? 
.Autry-Burnette 

Bridges-Gish 


5-51 
7-51 


6-51 

5-51 
4-51 
8  51 


OMPLETED 

TITLE— Running 

indit  Queen   

onde  Blackmail 

anger  Zone  

II  Girl  HI' 

I.  Jane  

reat  Adventure,  The 
ighly  Dangerous 

ome  Town  Bov    

entucky  Jubilee  ZZ.ZZ 
tfve  It  To  the  Marines 

♦tie  Big  Horn  

>st  Continent  

ask  of  the  Dragon 
er  23 

esent  Arms 
■vage  Drums  '70) 
y  High 

eel  Helmet.  The 

op  That  Cab   

perman  and  The   Mole  I 
les  of  Robin  Hood 
iknown  World 
neties  On  Parade 
s  Sir.  Mr.  Bones  


RELEASE  CHART 

—  1950-51  — 

le  Cast 

  Britton-Parker   

Brent-Chapman 

 Beaumont-Travis  ..... 

 _   Romero-Totter 

.._   Porter-Neal 

Price-Hawkins 

 Clark-Lockwood 

 H.  Lloyd.  Jr. 

  Colonna-Porter  ._  

  S.   Melton-M.  Lynn 

 ..Ireland-Bridges   

  Romero-Brooke 

 Travis-Ryan 

 Beaumont-Savage  .„ 

 Tracy-Sawyer 

Sabu-Baron 

 S.  Melton-M.  Lynn 

 Edwards-Brodie   

  .  Melton-Adrian  

I   Reeves-Coates 

Clarke-Hatcher 

Kellogg-Nash 

.-  — Rose-Carroll    

 F.   Miller        .„  . 


12-15 

4-10 

10-19 
.  7-6 
10-26 
10-12 
I  1-23 
.  .5—18 ... 

10-5 
.6-18 ... 
8-27 
3-17. 


10-19 
7-20 
7-13 


No. 
.5010 

5017 

5002 
.5012 
5021 
5029 
5022 
5007 
5005 
5003  . 
5004 
5013 
5018. 
5023 
5001 
5024 
5006 

501  . 
5030 
5008 
5101 
5020 
5019 


(6) 

(I) 

(0) 


6-18 
8  13 


LIPPERT 

950-51 

Completed  (28) 

In  Production  (0) 

METRO-COLDWYN-MAYER 


1950-51   Features      Completed   (64)       In  Producti 


(II) 


IN  PRODUCTION 

TITLE — Running  Time 
Belle  of  New  York  (T) 
Big  Cast.  Ihe 
Enemy.  Ihe 
Family  Man 
Ivanhoe  IT) 
Merry  Widow,  The  (Tl 
R.S.V.P. 
Scarmouche 
Skirts  Ahoy 

Singin'   In  The  Rain  IT) 
When  In  Rome 

COMPLETED 

Across  the  Wide  Missouri  (T)  (95) 
American  in   Paris  IT) 
Angels   in   the  Outfield 
Bannerline 

Callaway  Went  Thataway 
Calling  Bulldog  Drummond  175) 
County  Line 

Excuse  My  Dust  (T)  (82) 

Father's  Little  Dividend  (82) 

Go  For  Broke  (92) 

Great  Caruso.  The  (T)  [1091 

Home  Town  Story  (61 ) 

Inside  Straight  (90) 

It's  A  Big  Country 

Just  This  Once 

Kind  Lady  (781 

Law  and  the  Lady,  The  (104) 

Light  Touch,  The 

Lone  Star  

Love  Is  Better  Than  Ever 
Man  With  A  Cloak 
Niqht  Into  Morninq  (86) 

Mr.  Imperium  IT)  (87)  

No  Questions  Asked  (81) 
Painted  Hills,  The  IT)  (68) 
Pandora  and  the  Flying  Dutchman 

IT)  1123)  

People  Against  O'Hara  (102) 

Quo  Vadis  (T) 

Rain,  Rain,  Go  Away 

Red  Badge  of  Courage  181) 

Rich,  Young  and  Pretty  (T)    (95)  . 

Royal  Wedding  IT)  (92)  

Show  Boat  IT)  (1081 

Soldier's  Three  192) 

Strictly  Dishonorable  195) 

Strip.    The  (85! 

Tall  Target,    The  (78) 

Teresa    (1051  .  . 

Texas  Carnival  (T) 

Three  Guys  Named  Mike  (90) 

Too  Young  To  Kiss  (91) 

Two  Weeks  with  Love  (T)  (92)  

Unknown  Man.  The 

Vengenance  Valley  (T)  183)  

Westward  the  Women 

Wild   North  Country,   The  (A) 


RELEASE  CHART 

1950-51  — 


Cast 

Astaire-Vera-Ellen 

Lanza-Whitmore 

Murphy-Davis 

Roman-Nype 

R.  Taylor-E.  Taylor 

Turner-Lamas 

Dorothy  McGuire 

S.  Granger-E.  Parker 

Williams-Blaine 

Kelly-O'Connor 

Johnson-Douglas 


Gable-Hodiak  Oct 

Gable-Caron  Nov 

Douglas-Leigh  Sep 

Forrest-Braselle 

MacMurray-McGuire 

Pidgeon-Leighton 

Pidgeon-Hodiak 

Skeiton-Forrest  June        133  6-4 

Tracy-Taylor  Apr        124  2-26 

Johnson-Anderson  May  129  4-9 
Lanza-Blyth                    _    Apr        127  4-23 

Crisp-Reynolds  May        128  5-7 

Brian-Dahl  Mar  123 

All  Star    . 

Leigh-Lawford 

Barrymore-Evans  July        134  7-2 

Garson-Wilding  July        136  7-16 
Grainger-Angeli 
Gable-Gardner 

Taylor-Parks  Oct 
Cotten-Stanwyck 

Milland-Hodiak  June        130  6-4 

Turner-Pinza  Sep        131  6-4 

Sullivan-Dahl  June        132  6-18 

Williams-Keel  May        125  l-l 


Mason-Gardner 

Tracy-O'Brien 

Taylor-Kerr 

Whitmore-Davis 

Murphy-Mauldin 

Powell-Damone 

Astaire-Powell   

Gardner-Keel 

Granger-Pilgeon 

Pinza-Legih 

Rooney-Forrest 

Powell-Raymond 

Angeli-Erickson 

Williams-Skelton 

Wyman-Johnson 

Ailyson-Johnson 

Powell-Montaiban 

Pidgeon-Harding 

Lancaster-Walker 

Taylor-Darcel 

Granger-Corey 


Sep 
Aug 
Mar 
July 
Apr. 
July 
Aug 
Aug 
July 


2-12 
10-23 
2-12 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (29) 
Completed  (  8) 


In  Production  (4) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Aladdin  and   His  Lamp  Id 
Ghost  Riders 
Lone    Star  Lawman 
Rodeo  IC) 

COMPLETED 

According  to  Mrs.  Hoyle  (60) 

Blazing  Bullets   

Oasa   Manana  (73 

Cavalry  Scout  (C)  178)    

Counterfeit  .    

Elephant  Stampede 

Father  Takes  The  Air      .   _ 

Fort  Osage 


Ghost  Chasers    (69)  _ 

Gypsy    Fury  (63) 

Joe   Palooka  in  Triple  Cross 


Cast 
Medina-Sands 
Brown-Ellison 
Johnny  Mack  Brown 
Jane  Nigh 


Byington-Chandler 

Brown-Hall   

Forbes-O'Herlihy 

Cameron-Long   

DeFoe-KIng 

Sheffield 

Walburn-Grav 

Cameron-Nigh 

Gorcey-Hall 


U  G  U  S  T    2  7,1  9  5  1 


Elliott-Coates 
Sheffield-Whitfield 
WNson-Clyde 
Clarke-Field 
Neal-Toomey 
vVilson-Knight 
Brown-Ellison 
Wilson-Knight 
Albriaht-Winters 
_Elliott-Stewart  _ 
Cook-Moore 
Wilson-Knight 
Kirkwood-Gleason 
Morris-O'Flynn  . 
Grant-Davis 

ALLIED  ARTISTS 


Babe  Ruth  Story.  The   -  _  -  Bendix-Trevor 

Disc  Jockev  _      Simms-O'Shea   

Highwayman.  The  ICI           _  Hendrix-Coburn 
Let's  Go  Navy                    _              H.  Hall-G.  Gorcey 
I  Was  An  American  Spy  (85)             Dvorak-Evans  — 
If  Happened  On  Fifth  Avenue  DeFore-Storm   


Longhorn,  The   .  _. 

Lion  Hunters.  The  (47)   

Mexican  Silver 

Modern  Marriage,  A  166) 

Navy  Bound      _   -  — 

Nevada  Badman 

Oklahoma  Justice  

Stagecoach  Driver  . 

Trail  Dust  _   

Vengeance  Trail 
Vicious  Years.  The  179) 
Wild  Horse  Prairie      _  _ 

Witness.  The   -  _ 

Yellow  Fin   

Yukon  Manhunt 


5-27 
8-1? 
7- 1 5 
12-31 


May 
8-23 
9-8 
7-29 
4-15 
May 


519? 
5120 
5152 


5107 
5151 


Fighting  Coast  Guard  1861 

Flight  from  Fury    _ 

Fort  Dodge  Stampede  160)   

Fugitive    Lady  1781 

Havana  Rose 

Heart  o:  the  Rockies  167) 

Honeychile  (Tr)  

In  Old  Amarillo  167) 
Insurance  Investigator  (60) 
Lady  Possessed 

Lost  Planet  Airmen   (Reedited  fron 

"Kinq  of  the  Rocket  Men" 
Million  Dollar  Pursuit  160) 

Oh  Susanna  (Tr)  (90)  

Pals  of  the  Golden  West 
Robinson-Vs.  Turpin  1531 
Rodeo  Kind   &   The  Senorita  167) 
Sea  Hornet.  The 

Secrets   of  Monte  Carlo   

Silver  City  Bonanza   

South  of  Caliente  

This  Is  Korea  1501 

Thunder  In  God's  Country    (67)  _ 

Utah   Waqon  Trail 

Wells  Fargo  Gunmaster 

Woman  In  The  Dark 


Donlevy-Tucker 

Edwards-Clark 

Lane-Kay 

Paige-Barnes 

Rogers-Rodrigues 

Rogers-Edwards 

Canova-Foy 

Rogers-Edwards 

Denning-Long 

Mason-Havoc 

Coffin-Clarke 

Edwards-Flagg 

Cameron-Tucker 

Rogers-Evans 

Fight  Pictures 

Allen-Kay 

Cameron-Booth 

Douglas-Hall 

Allen-Ebsen 

Rogers-Evans   

Documentary 

Allen     

Allen-Tdwards 


8-24  5062 

7-15  5011 

5-15   

3-30  5042 


7-25  5031 

5-30      5028  I 

3-10      5008  3- 


6-20  5030 
3-1  5051 

June   

8-10 


Edwards-Elliott 


PAR  AMOUNT 


1950-5!   Feautres       Completed   (46)       In  Production  (7) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Anything  Can  Happen   

Green    Gold  of  Nevada  IT) 
Shane  IT) 

Somebody  Loves  Me 

Son  of  Paleface 

The  Denver   &  Rio  Grande  (T) 

Warbonnet  IT)   

COMPLETED 

Aaron  Slick  from  Punkin  Creek  (T) 
Appointment  With  Danger  (89)  _ 

Big  Carnival.  The  (1121 
Rev.  under  title:  Ace 


Cast 
Ferrer-Hunter 
Payne-Morrow 
Ladd-Arthur 
Hutton-Meeker 
Hooe-Russell 
O'Brien-Hayden 
Heston-Hanson 


Shore-Young 
Ladd-Calvert 
Douglas-Sterling 
the  Hole 


At  War  with  the  Army  (93)  . 

Branded  IT)  (103)   

Carrie   

Crosswinds  (T)  

Darling,   How  Could  You  (951  

Dear  Brat  (82)  .  . 

Detective  Story 

Flaming  Feather  (Tl 

Great  Missouri  Raid.  The  IT)  185) 

Greatest  Show  On  Earth  IT) 

Here  Comes  the  Groom  (114)   _ 

Honq  Kong  IT)   

Last  Outpost.  The  (89)  

Lemon  Drop  Kid,  The  (91)   

Mating   Season.    The  1101)   

Molly  183)  .   

Rev.  under  title:  The  Goldberg: 

My  Favorite  Spy  

My  Son  John  .  

Passage  West  ITI  180)   

Peking  Express  (85)  

Place  in  The  Sun,  A   (122)  . 

Quebec  (T)  (85)  

Raqe  of  the  Vulture.  The 
Redhead  and  the  Cowboy  182) 

Red  Mountain  (T)  

Rhubard  (951 

Samson  and  Delilah  (T)  (128) 

September  Affair  (104)   

Silver  City  (T) 

Something  To  Lira  For  

Stooge,  The 


Submarine  Command  (89) 

That's  My  Boy  (98)   

Trio  (91)   


Warpath  195)  (T) 

When  Worlds  Collide  (821  (T) 


Martin-Lewis  _ 

Ladd-Freeman 

Olivier-Jones 

Payne-Fleming  

Fontaine-Lund  

Freeman-Arnold 
Douglas-Parker 
S.  Hayden-C.  Russell 
Corey-Carey 

Stewart-Hurton   

Crosby-Wyman   

Reagan-Fleming 

Reagan-Fleming     

Hope-Maxwell    

Tierney-Lund  _  

Berg-Loeb  

Hope-Lamarr   

Hayes-Heflin 

Payne-O'Keefe 

Cotten-Calvet 

Clift-Winters 

Barrymore,  Jr.-Calvet 

Ladd-Kerr 

Ford-Fleming 

Ladd-Kennedy 

Milland-Sterling 

Lamarr-Mature    

Fontaine-Cotten 

DeCarlo-O'Brien   

Fontaine-Milland 

Martin-Lewis 

Holden-Olson 

_  Martin-Lewis   

Simmons-Rennie 
O'Brien-Jagger 
Derr-Rush 


5-51 

7-51 

5023 

.  4-23 

7-2 

1-51 

1-51 

.5014  

5009 

12-18 

12-18 

10-51 

5 1 04 

11-51 

5108 

8-13 

6-51 
11-51 

-  5921  _ 
511 1  _ 

2-5 1. 

5013 

 l-l 

9-51  .5101 

12-51  5109 

5-5 1  5020 

4-51  5018 

3-  5 1  .5016 

4-  51  SOU 

12-51  5110 


3-25 
1-29 
12-4 


951 
4-51 

50  1  7 

7-30 

3-51 

5015  . 

:  m 

9-51 
3-51 
2-51 

5103 
5010 
5012 

8  13 
.11-21 
1-15 

10-51 

10-51   5107 

8-51  5026 
6-51 


7-2 
11-6 
6-18 


RKO  RADIO 


(76) 


176 


109 


1950-51   Features       Completed   (55)       In  Production  [A 
_______  _____ 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rf 

Big  Sky.  The  Douglas-Martin 

Day  Without    End    _  Lupino-Ryan 

I   Want   You  Andrews-McGuire 

Road  Agent  Holt-Martin   

COMPLETED 

Alice  In  Wonderland  IT) 
Behave  Yourself 
Best  of  the  Badmen  (T)  184) 
Blue  Veil.  The 

Company  She  Keeps  (83)  .  

Crack  Down       .   ....  

Cry  Danqer   (791   _    _  . 

Flying  Leathernecks  (T)  1102) 

Footliqht  Varieties  (61)   _ 

Gamblinq  House  (80)  

Girl  in   Every  Port,  A    

Gun  Notches   

Gun  Thunder  

Happy  Go  Lovely  (87)   

Half-Breed,  The  

Hard,  Fast  and  Beautiful  (761 
His  Kind  of  Woman  (120) 

It's  Only  Money  

Jet  Pilot  IT)  1118) 
Jungle    Headhunters  (T) 
Kon-fiki  1731 
Las  Vegas  Story,  The 
Macao  .  _  _ 

On  Dangerous  Ground 

Whip  Hand,  The   

My  Forbidden  Past  (70) 
On  The  Loose  (74) 
Overland  Telegraph 
Payment  on  Demand  (90) 

Pistol  Harvest  (60)   

Racket.  The   

Roadblock  (73) 
Hustler's  Range 
Saddle  Legion  (61) 
Sealed  Cargo  (891 


Disney  Cartoon  8-51  292_ 

Winters-Granger  _    8-51 

Ryan-Trevor     6-51  

Wyman-Carlson  _    .  9-51 

Greer-O'Keefe   1-51  

Williams-Armstrong  

Powell-Fleming     _  2-51  115 

Wayne-Ryan  8-51  261 

.Pear-Buttons  II. 

Bendix-Mature  1-51  110 


12-51 


2  62 


[65] 


Sons  of  the  Musketeers  (T) 

Target  

Tarzan's  Peril  (79) 
Texas  Trigqerman 
Thing,  The  (87) 
Tokyo  File  212   (841      _  _ 
Two  Tickets  to  Broadway  (T) 


Marx-Wilson 
Holt-Martin  _ 
Holt-Martin 

D.    Niven-Vera   Ellen  7-5 1 

Young-Carter  12-51 

Trevor-Forrest    6-51  119 

Russell-Mitchum  7-51  201 

Sinatra-Russell   10-51  

Wayne-Leigh   12-51 

-Travel  6-51  177 

Travel    5-51     _  172... 

Russell-Mature          .   .  11-51 

Russell-Mitchum   11-51 

Ryan-Lupino  8-51 

Reid-Tuttle  

Gardner-Mitchum  4-51  114 

Evans-Earl    8-51  202 

Holt-Martin  

Davis-Sullivan 
Holt-Martin 
_Mitchum-Scott 
McGraw-Dixon 
..Holt-Martin 
.Holt-Martin 
Andrews-Rains 
Wilde-O'Hara 
McGraw-White 
Barker-Huston 
Holt-Martin 


2-51 


Tobey-Sheridan   4-51  1 74_ 

Marly-Peyton   5-51  175 

Leigh-Martin  _    10-51   


1950-51  Features 
Serials 
Westerns 


REPUBLIC 


Completed  (27) 
Completed  (  I  ) 
Completed  (15) 


In  Production  (4) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 
Colorado  Sundown 
Oklahoma  Annie  IC) 

Quiet  Man.  The  L_  

Wyoming  Saddle  Pals 

COMPLETED 


Cast 

Rex  Allen  

Canova-Russell 
Wayne-O  Hara 
Chapin-Janssen 


Adventures  of  Captain  Fabian  1100) 

Arizona  Manhunt  1601   

Belle  La  Grand  190)  

Bu.keroo   Sheriff   of  Texas  160) 
i.  -.qhter  and  the  Lady  187) 

Cuban  Fireball  178)  

Dakota  Kid.  The  160)  .. 

D.urt  of  Lost  Man  

[*.     Carede.'l   Rides  Again 


E.  Flynn-M.  Prelle 
Chapin-Janssen 
Ralston-Carroll 
Chapin-Janssen  .... 
Stack- Page 

Estelita-Vincent   

Chapin-Janssen  ... 
Lane 

Curtis-Towne 


_  5101  

9-15  5068 

1-27  S006 

5-1  5066 

5-15  5009  5-7 

3-5  S007 

.   7-1  5067 


6-1  5084 


20th  CENTURY-FOX 


1951  Features 


Completed   (38)       In  Production 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 

Elopement  

Fixed  Bayonets   

Pride  of  St.  Louis 


Red  Skies  of  Montana  IT) 
COMPLETED 

Anne  of  the  Indies  IT) 
As  Young  As  You  Feel  (77) 
Bird  of  Paradise  (T)  ( 100) 
Call  Me  Mister  ITI  (95) 
David  and  Bethsheba  (T) 
Day  The  Earth  Stood  Still.  The 

Decision  Before  Dawn  

Desert  Fox  The   

People  Will  Talk    1 1  10) 

Follow  the  Sun  1901  

Fourteen  Hours  191)   

Friendly  Island  (Tl   

Froomen  196)   

Golden  Girl    The  ITI 

Guy  Who  Came  Back.  The  (91) 


Cast 
Webb-Francis 
Basehart-O'Shea 
D^iley-Dru 
Widmark-Smith 


Merrill-Basehart  

Mason-Young   

Grant-Crain   

Ford-Baxter   

Douglas-Basehart  

Lundigan-Greer  ...  

Widmark-Andrews  _  7-51 
Day-Gaynor  _     .  11-51 

Douglas-Darnell        .    _   .  7—5 1 


_I0-5I  

6-51  120 
3-51  109 
2-51  104 


9-51 
12  51 

10-51  130 
9-51  126 
5-51  112 
4-51 


FILM  BULLET 


Smart-London 

May 

120 

5-21 

F*t  Man^Tht  1771 

Flame  of  Arabv  IT) 

Chandler-O'Hara 

Francis  Go«s  to  tht  Racts  168) 

O  Connor-Laurie 
Blythe-Farrer 

July 

125 

6  4 

Golden  ^  *<S«.  The  IT] 

M  r 

1  14 

2  24 

Here   Come  The  Nelsons 

On  re'  'a^d '  M  a  r  r  i  e  t 

Hollywood   Story  (761 
Iron   Man  (82) 

k"  '  Ch  "d'l 

June 

1  30 

Katie  Did  It  1811 

May 

5-2* 

Lady  from  Texas  'T] 

Hull-Duff 

Lady  Pays  Off  The 

Carnell-McNally 

Lavender  Hill   Mob.  The 
Little  Eqyot  IT) 

Guinness- Hoi  Iowa  y 

Fleminq-Stevens 

Sept 

131 

Ma  and  Pa  Kettle  at  tht  Fair 

Main-Kilbrida 

Ma  and  Pa  Kettle  Back  on  the  Farm 
Mark  of  the  Renegade  IT)  (81) 

Main-Kilbride 

Auq 

117 
128 

4-9 
8-13 

Meet   Danny  Wilson 

"ollean'o-Shaw 

Prince  Who  Was  A  Thief.    ITI  I8S 

'"urtis-Lauri* 

July 

126 

6  18 

Winters-Conte 

Reunion  In  Reno 

Stevens-Dow 

Smuggler  s  Island   IT)  1751 

May 

121 

S-2 

Target  Unknown  1901 

Stevens-Nicol 

Feb 

Thunder  On  the  Hill  1851 
Treasure  of  Lost  Canyon.  The  IT) 
Ud  Front  1971 
Weekend  With  Father 
You  Never  Can  Tell 

Colbert-Blyth 

W.  Powell-J  Adams 

Sept 

133 

8  13 

Wayne-Ewell 
Nea'-Heflin 
Powell-Dow 

Apr 

1  18 

3-12 

Sept 

132 

WARNER  BROTHERS 


1950-51    Features        Completed    (30)       In  Production  (5) 


RELEASE  CHART 

—  1950-51  — 

Cast 
Cochran-Aldon 
Scott-Massey 
B  Lancaster 
Day-Thomas 


Bolger-McLerie 


Douglas-Mayo  

R.  Milland-H.  Carter 
lland-Tierney 


IN  PRODUCTION 

TITLE — Running  Tim 

Big  Trees,  The  IT)   

Carson   City  ITI 
Crimson  Pirate.  The  IT) 
I'll  See  You  In   My  Dreams 
Where's  Charlie?  IT) 

COMPLETED 

Along  the  Great  Divide  188) 
Bugles  in  the  Afternoon  IT) 
Close   To  Mv  Heart 

Come  Fill  the  Cup  J.  Cagney-P  Thaiter 

Captain  Horatio  Hornblower  IT)  H7Peck-Mayo 

Distant  Drums  IT)  Cooper-Alden 

Force  of  Arms  Holden-Olson  _ 

Fort  Worth  IT)   180)  Scott-Brian 

Goodbye,  My  Fancy  1 1071  Crawford-Young 

I  Was  A  Communist  (83)  Lovejoy-Hart 
Inside  Walls  of  Folsom  Prison   (87)  Brian-Cochran 
Jack  and  The  Beanstalk 
Jim  Thorpe.  All-American  11071 
Lullaby  of  Broadway  IT)  (92) 

North  of  the  Rio  Grande  

On  Moonlight  Bay  195)   

Only  The  Valiant  1 105) 
Painting  the  Clouds  with  Sunshine 

Raton  Pass  (84)   

Starlift   

Strangers  On  A  Train   1 101)   

Streetcar  Named  Desire,  A  

Tanks  Are  Coming,  The  

Tomorrow  Is  Another  Day 


Abbott-Costello 
Lancaster-Bickford 

Day-Nelson   

McCrea-Mayo 

MacRae-Day 

Peck-Payton 

Mayo-Morgan  

Morgan-Neal   

Cagney-Mayo 

Walker-Roman 

Brando-Leigh 

S.  Cochran-E.  Miller 

Roman-Cochran 


7-14  028 

5-  19  024 
5-5  023 

6-  16  026 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236   N.  23rd  St.,   Phila.  3  —1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


23 


BEST  BUSINESS 
IN  YEARS  AT 
BROADWAY'S 
CRITERION! 

SENSATIONAL  in  Chicago,  Washington,  Boston,  Providence, 
Denver,  Kansas  City,  New  Orleans,  Baltimore  . . .  and  60  other 
openings! . .  .  Theatres  everywhere  using  long-closed  balconies  ai 
extra  boxoffices  to  accommodate  the  biggest  crowds  since 
"Cinderella"!  ...  As  one  happy  showman  puts  it:  "Exhibitors  wh 
dream  with  'Alice1  will  make  a  fortune"  .  .  .  How  about  YOU? 


.  .  .  and  the  big  companion  attraction  is 
WALT  DISNEY'S  latest  True  Life  Adventure, 
"NATURE'S  HALF  ACRE".  Print  by  Technicolor. 


COPYRIGHT 
WAIT  DISNEY 
PRODUCTIONS 


S3  per  Year 


BULLETIN 


SEPTEMBER  10,  1951 


Joe  Exhibitor  Speaks 

DON'T  SELL 
WHAT  YOU 
CAN'T 
DELIVER! 

b'atributwA  £ell  tfuitJ  (jalcre 
-  Sut  Wkei-e  Ate  Ike  PrinU? 


Page  Five 


OVlMdlR  S 

IMPORTANT  PLAYING  TIME  DEMANDS 
THE  IMPORTANT  ATTRACTIONS  OF 

ARAMOUNT'S  ^m 


And  for  your  immediate  requirements,  play  all  the  ten 
champion  grossers  available  now  and  in  October  in 

Paramount's  List  With  The  Boxoffice  Lift: 


DATE 

TITLE 

CAST 

PINE  and  THOMAS 

Passage  West  mmtnw 

I0NN  PAYNE                 DENNIS  O'KEEFE 
ARLEEN  whelan 

JULY 

eilLY  WILDER'S 

The  Big  Carnival 

KIRK  DOUGLAS                 IAN  STERLING 

HAL  WAUIS 

Peking  Express 

JOSEPH  COTTEN             COSINNE  CALVET 
EDMUND  GWENN 

AUGUST 

That's  ¥y  Boy 

DEAN  MARTIN                   IERRY  LEWIS 

NAT  HOLT S 

Warpath  technicolor 

EDMOND  O'BRIEN               DEAN  IAGGER 
FORREST  TUCKER           HARRY  CAREY  li 

FRANK  CAPRA  S 

Here  Comes  The  Groom 

SING  CROSBY                   IANE  WYMAN 
FRANCHOT  TONE               ALEXIS  SMITH 

SEPTEMBER 

GEORGE  STEVENS 

A  Place  In  The  Sun 

MONTGOMERY  CLIFT      ELIZABETH  TAYLOR 
SHELLEY  WINTERS 

PERL8ERG  ANO  SEATON  S 

Rhubarb 

RAY  MILLANO                  IAN  STERLING 

PINE  and  THOMAS 

Crosswinds  3£S» 

I0HN  PAYNE                RHONDA  FLEMING 
FORREST  TUCKER 

OCTOBER 

Darling,  How  Could  You! 

I0AN  FONTAINE                   I0HN  LUND 
MONA  FREEMAN 

GEORGE  PAL  S 

When  Worlds  Collide  So. 

NOVEMBER 

Submarine  Command 

WILLIAM  HOLDER              NANCY  OLSON 
WILLIAM  KNDU 

mm  ham  vmER  S 

Detective  Story 

RIM  DOUGLAS              ILEANOR  PARKER 
WILLIAM  BENCH*           CATHY  OOONNEll 

DECEMBER 

PINE  and  THOMAS 

Hong  Kong  ZZ^o, 

RONALD  REAGAN           RHONDA  FLEMING 

???Hope  Comedy 

ITO  BE  TIILID  at  THE  PUBLIC  IN  BIG  COAST  TO  COAST  POLL) 

BOB  HOPE                      HEOY  LAttARR 

Yes,  November 
is  a  vital 

boxoffice  month— 
with  its  three 
holidays:  Election 
Day,  Armistice  Day, 
Thanksgiving. 
Paramount's  three 
great  November 
releases  are  the 
outstanding 
merchandise  you  need. 


SPECTACLE  OF  INTERPLANETARY  THRILLS! 

Most  amazing  of  all  science- fiction  entertain- 
ment. From  the  producer  of  "Destination  Moon." 


color  by  TECHNICOLOR 

Produced  by  Directed  by 

GEORGE  PAL  •  RUDOLPH  MATE 

Screenplay  by  Sydney  Boehm 
Based  on  a  novel  by  Edwin  Balmer  and  Philip  Wylie 


The  Korean  adventure  of  the  U.S.S.  Tiger  Shark  — Filmed  in  co- 
operation with  the  U.  S.  Navy  and  the  Department  of  Defense. 

UBMARINE  §0MMAND 

Starring 

WILLIAM  HOLDEN  NANCY  OLSON 
WILLIAM  BENDIX  •  DON  TAYLOR 

A  JOHN  FARROW  Production  .  Produced  by  JOSEPH  SISTROM 
Directed  by  JOHN  FARROW  ■  Story  and  Screenplay  by  Jonathan  Latimer 


1> 


The  tense,  terrific  Broadway  hit-play  becomes 
a  screen  attraction  of  top  boxoffice  stature. 


KIRK 


ELEANOR 


WILLIAM 


DOUGLAS  PARKER  BENDIX. 

WILLIAM  WYLER'S  production  of  sidney  kingsley's 

detective  Story 

.„»„„  CATHY  O'DON  NELL  1 

Produced  and  Directed  by  WILLIAM  WYLER  •  Screenplay  by  PHILIP  YORDAN 
and  ROBERT  WYLER  ■  Based  on  the  play  by  SIDNEY  KINGSLEY 


DON'T  DO  ANOTHER  THING 

until  you  have  read  every  word  of  this  advertisement! 


The  SKY's  The  Limit! 


How  BIG  is  M-G-M's  new  triumph? 

The  possibilities  are  endless  as  they  were 
in  the  case  of  such  immortal  masterpieces 
of  heart -appeal  as  Paramount's  "Going 
My  Way,"  RKO's  The  Bells  of  St.  Mary's 
and  M-G-M's  "The  Stratton  Story." 

It's  good  for  all  of  us  in  film  busines 
when  a  picture  appears  with  Bigness  of  in 
spiration,  humor,  tears  and  thrills !  Words 
cannot  describe  this  story  of  a  toug 
baseball  manager  who  "talked  to  angels 
the  little  girl  who  "actually  saw  them 
and  the  pretty  news-gal  who  put  both 
the  headlines. 

When  you  book  "Angels  In  The  Out 
field"  put  a  glowing  endorsement  int 
your  lobby  at  once!  We  guarantee  yo 
just  as  you  guarantee  your  patrons,  that 
is  one  of  the  year's  greatest  entertai 
ments  packed  with  exciting  action  an 
laughs  and  soul-satisfaction! 


M-G-M's 


ANGELS 
IN  THE 
OUTFIELD 


IP1 

M  (7  /VI  pn  iNC     S  IN  THE  OUTFIELD-  starring 

PAUL  DOU(,l  IS  -  J,  i'J  T  LEIGH  •  with  Keenan  Wynn 
Leuis  Stone  •  Spring  «>/»..  -  Brutt  Bennett  •  and  introducing 
Donna  Corcoran  •  Screen  I'l.r,  I  D<,rotby  Kingsley  and  George 
Veils  •  Based  on  a  Story  by  Ri:hard  Conlm  •  Produced  and 
Directed  by  Clarence  Brou  n 


BULLETIN 


fDITOBl 


Vol..  19.  No.  19 


.MHKK    10,  19.' 


Pd«r  Five 


THINK  IT  OVER 

NARROW  MINDS 

There  are  those  -who  so  dislike  the 
nude  that  they  find  something  in* 
decent  in  the  naked  truth." 

—FRANCIS  HERBERT  BRADLEY 


REVIEWS  in  This  Issue 


Peopi.k  Will  Talk  7 

You  Never  Can  Tell   

Tins  Is  Korea   

  7 

The  Well                                                   •  K 

Journey  Into  Light 

  8 

Lost  Continent  _  

  8 

Lady  and  The  Bandit 

  13 

Pardon  My  French  

  13 

Criminal  Lawyer 

  13 

FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  T^onard  Coulter. 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa.. 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Tavlor.  Pub- 
lication Manager;  Rohert  Heath.  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave..  Paci- 
fic Palisades,  Calif..  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00' 
IB  the  United  States;  Canada,  $7.50; 
Europe.  $9.00. 


JOE  EXHIBITOR  SPEAKS 

ABDUL  THE  PRINT  PROBLEM 

September  3,  1951 

Mr.  Mo  Wax,  Editor 
FILM  BULLETIN 
Dear  Sir: 

This  being  Labor  Day,  it  seems  fitting  that  I  mount  my  soap  box  and  once 
again  call  upon  the  column  of  your  worthy  publication  to  "do  a  job"  for  the 
thousands  of  small-fry  exhibitors  around  the  country.  They  seem  to  be  getting 
a  boot  in  the  bottom  from  certain  of  the  film  companies. 

"The  print  shortage"  has  been  a  perennial  subject  of  complaint,  but  I've 
always  suspected  it's  been  just  one  of  those  petty  things  that  every  exhibitor 
likes  to  bellyache  about  when  the  shoe  pinched  him  a  bit.  I've  raised  my  voice 
occasionally,  maybe  once  or  twice  a  year,  just  to  let  off  a  little  steam.  But  now 
I'm  in  dead  earnest,  for  never  in  my  25  years  in  this  business  have  I  encountered 
so  acute  a  print  shortage  as  exists  today,  and  I  know  that  it  is  not  just  my  situa- 
tions that  are  suffering,  for  I've  heard  from  enough  of  my  fellow  exhibitors  to 
be  firmly  convinced  that  this  has  become  pretty  much  of  an  industry-wide  problem. 

You  don't  have  to  be  a  seer  to  grasp  the  situation  at  a  glance.  The  method 
employed  by  certain  film  companies  in  playing  off  their  pictures  has  been  radically 
altered  in  the  past  year  or  two.  You  remember,  I'm  sure,  when  the  key  runs  in 
the  larger  cities  numbered  six  to  eight  houses.  Now  we  have  the  so-called  "satura- 
tion" play-offs  by  which  five  or  six  times  that  many  theatres  are  being  given  day- 
and-date  runs.  Whatever  the  merits  of  that  system  (frankly,  if  you're  interested, 
I  don't  like  it!),  the  fact  remains  that  if  a  distributor  sees  fit  to  accept  so 
many  runs,  prints  should  be  provided  to  accommodate  them  all.  This  is  not 
being  done. 

The  multiple-run  system  has  intensely  increased  competition  between  proxi- 
mate theatres,  with  each  house  striving  to  play  all  releases  "on  the  nose."  The 
result  is  a  "rat  race"  between  theatre  bookers  to  get  pictures  dated  before  the 
film  exchange  informs  them,  "No  more  prints  available." 

I  don'e  envy  the  exchange  bookers  their  jobs  these  days.  They  are  being 
besieged  and  abused  by  irate  exhibitors,  who  ask  what  good  is  the  run  they 
bought  if  they  can't  get  prints  on  the  dates  of  availability.  And  it  is  inevitable 
that  charges  of  favoritism  would  be  hurled  at  the  distributors,  particularly  when 
an  independent  exhibitor,  like  myself,  cannot  obtain  a  print  while  he  sees  circuit 
houses  in  the  same  area  adequately  supplied. 

This  situation  needs  attention,  and  quickly.  Either  the  number  of  simultaneous 
runs  must  be  reduced,  or  the  number  of  prints  increased.  Since  the  latter 
alternative  will  probably  horrify  the  distributors,  who  are  pleading  the  cause  of 
economy  these  days,  may  I  suggest  a  third  choice:  a  system  of  staggering 
releases  in  the  various  film  territories  throughout  the  country  in  order  to  make 
a  maximum  number  of  prints  available  in  each  area  at  a  given  time.  Would  it 
be  possible,  in  order  to  avoid  losing  the  impact  of  valuable  national  publicity 
realized  from  nation-wide  premieres,  to  have  such  saturation  premieres  and  then 
stagger  the  subsequent  play-offs? 

Not  being  an  expert  in  distribution  matters,  I  hastily  step  aside  after  these 
suggestions  and  turn  the  issue  over  to  those  who  know  more  about  it  than  I. 
But  it  is  an  issue  that  should  be  resolved  without  delay.  The  present  system  of 
selling  runs  without  an  adequate  supply  of  prints  to  satisfy  them  is  fomenting 
a  condition  that  is  mighty  unhealthy. 

If   I   have    offered    anything   here    that    might  be  useful  to    the  industrv, 
I   hope  you  will  pass  it  along  to  the  people  who  make  policy  in  such  matters. 
Regards  to  you  and  the  Film  Bulletin  crew. 

Sincerely, 

JOE  EXHIBITOR 


STANLEY  KRAMER'S  PRODUCTION  OF 


rVfrano 


EVERYWHE 


IN  BIG  CITIES 

BOSTON -Five  Weeks 

HOUSTON -Biggest  Opening  Week  in  6  Months 
SEATTLE— 2nd  Week  Holdover 
WASHINGTON -Two  Weeks 
SAN  FRANCISCO -Fifth  Week 
LOS  ANGELES— Two  Weeks  and  Moveover 
PHILADELPHIA— Three  Weeks 
BROOKLYN  ALBEE-Two  Weeks 
MONTREAL- Second  Week 
SALT  LAKE  CITY -Second  Week 
RKO  Metropolitan  Circuit  j 
Skouras  Metropolitan  Circuit  '  Heldover 
Randforce  Circuit  (  All  over 

Century  Circuit  / 

BIG  AND  LITTLE  SITUATIO 


IN  SMALLER  CIT 


It's  Big  Business  All  The  Way  Down  The  Line- 
SYRACUSE  •  ROCHESTER  •  DES  MOINES 
CLEVELAND  •  COLUMBUS  •  FORT  WAYNE 
FAIRBANKS,  ALASKA  •  ATLANTIC  CITY 
ASBURY  PARK  •  NEWPORT  •  STAMFORC 
GREAT  BARRINGTON  •  PLYMOUTH 
HUNTINGTON,  L.  I. 


IGHTY  BIG!  thru 


m 


"PEOPLE  WILL  TALK'  SOCK  BOXOFFICE  ATTRACTION 


Rates  •  •  •  + 


Twentieth  Century-Fox 
110  minutes 

Cary  Grant,  Jeanne  Crain,  Finlay  Currie, 
Hume  Cronyn,  Walter  Slezak,  Sidney  Black- 
mer,  Basil  Ruysdael,  Katherine  Locke,  Will 
Wright,  Margaret  Hamilton,  Esther  Somers, 
Carleton  Young,  Larry  Dokin,  Ray  Mont- 
gomery, Joe  Glbert,  Ann  Morrison ,  Julia 
Dean. 

Directed  by  Joseph  L.  Mankiewicz 


Once  again  the  outstanding  talents  of  Dar- 
ryl  F.  Zanuck  and  Joseph  L.  Mankiewicz 
have  been  merged  and  the  result  is  a  wonder- 
ful, slick,  smart  comedy  drama.  In  many 
respects  this  is  better  than  "All  About  Eve", 
and  because  it  carries  more  elements  that 
reach  the  human  heart,  it  should  enjoy  even 
greater  boxoffice  success.  Some  people,  hear- 
ing that  the  story  deals  with  an  unmarried, 
pregnant  girl,  who  falls  in  love  with  her 
doctor  and  marries  him  before  her  baby  is 
born,  may  have  doubts  about  the  wisdom  of 
such  a  theme  for  the  mass  market.  But,  "Peo- 


ple Will  Talk",  is  handled  in  such  good  taste, 
so  subtly,  and  in  such  good  humor,  that  it 
will  be  impossible  for  anyone  to  take  offense. 
To  the  contrary,  it  will  he  generally  accepted 
as  superb  entertainment. 

The  Zanuck  production  is  top  drawer  in 
every  respect  and  Mankiewicz  has  worked 
wonders  with  Curt  Goetz's  play,  "Dr.  Prae- 
tor i  u  s . "  The  dialogue  sparkles  with  humor 
and  a  considerable  degree  of  suspense  keeps 
the  plot  at  a  pitch  right  up  to  the  Surprise 
climax. 

Cary  (irant,  as  the  doctor,  and  Jeanne 
Crain,  as  his  patient  and  bride,  give  this  pic- 
ture more  than  marquee  value.  They  lend 
it  distinction,  with  performances  which  are 
tops  for  this  kind  of  job.  Finlay  Currie  as  the 
sinister  Shunderson,  Grant's  friend  ami  con- 
stant companion,  and  Sydney  Hlackmer  as 
Jeanne's  father,  contribute  outstanding  sup- 
porting stints. 

STORY:  One  of  Cary  (irant's  doctor  as- 
sociates at  the  university.  Hume  Cronyn,  dis- 
likes his  "human  approach"  and  inspires  an 


investigation  bj  the  faculty  board.  Cronyn's 
ba  is  for  his  unfitness  charge  i-  the  mystery 
surrounding  (irant  s  friend.  Finlay  Currie. 
While  Cronyn  is  surreptitiously  digging  up 
evidence  against  (irant  and  Currie.  the  for- 
mer continues  to  demonstrate  his  "unortho- 
dox approach"  in  his  classes.  During  a  lec- 
ture, Jeanue  Crain,  one  of  the  students,  faints. 
She  is- unmarried,  and  thinking  she  is  preg- 
nant, k»1's  to  Grant's  clinic  for  pregnancy 
tests.  When  the  tests  confirm  her  fears,  she 
tries  to  kill  herself.  To  prevent  her  trying 
^uicidr  again,  (irant  tells  her  she-is  not  preg- 
nant. They  fall  in  love  and  marry.  Three 
weeks  later  she  tells  him  she  is  pregnant, 
then  realizes  she  had  been  that  way  all  along, 
(irant  convinces  her  he  loves  her,  and  just 
as  that  situation  is  ironed  out.  he  i.  called 
before  the  faculty  board  to  face  Cronyn's 
charges.  Currie  testifies  in  behalf  of  (irant. 
clearing  up  the  mystery  that  has  surrounded 
him.  He  tells  how  he  was  revived  by  (irant 
after  having  been  hanged  for  a  crime  he  never 
committed  and  the  faculty  dismi  ses  the  char- 
g  s  against  (irant.  LEONARD. 


'YOU  NEVER  CAN  TELL'  HILARIOUS  FANTASY-FARCE 

Rates  •  •  •  —  with  exploitation 


Universal-International 
76  Minutes 

Dick  Powell,  Peggy  Dow,  Joyce  Holden, 
Charles  Drake,  Albert  Sharpe,  Lou  Polan, 
Frank  Nelson,  Will  Vedder,  Frank  Gerstle, 
Otto  George,  Watson  Downs,  Sara  Taft, 
Freeman  Lusk,  "Flash". 
Directed  by  Lou  Breslow. 


The  cycle  of  animal  stars  is  not  without" 
its  variations,  and  "You  Never  Can  Tell" 
explores  one  such  twist  in  highly  entertain- 
ing fashion.  Acting  on  the  premise  that  turn- 
about is  fair  play,  that  if  animals  can  pos- 
sess human  characteristics,  the  privileges 
of  vice  versa  belongs  to  two-legged  mum- 
mers. Thereupon  "You  Never  Can  Tell" 
shows  what  happens  when  a  dog  is  murdered 
and  allowed  to  return  from  the  animal  here- 
after disguised  as  a  human  in  order  to  solve 
the  mystery  of  his  own  killing.  As  developed 
in  Lou  Brselow's  screenplay  and  directed  by 
him  with  much  comedv  inventivenes  ,  this 


U-I  release  looms  as  a  solid  money  maker 
if  properly  exploited,  the  kind  of  picture 
people  will  talk  about  and  recommend.  Some 
of  the  gags  are  hilariously  funny:  the  charac- 
terizations are  good,  and  the  whole  affair 
is  peppered  with  an  atmosphere  that  pro- 
vokes delight  and  chuckles. 

Dick  Powell  as  the  canine-human  who 
sets  himself  up  as  a  private  e\"e  gives  a 
delightful  performnace.  his  best  in  a  long 
while.  Powell  never  overworks  the  doggy 
personality  traits,  so  when  they  do  show 
up.  the  results  are  fantastically  funny.  Joyce 
Holden  is  superb  as  a  Southern  filly  who  is 
given  the  job  of  watching  over  him  during 
his  earthly  sojourn.  Some  of  the  best  scenes 
in  the  show  are  hers,  notably  one  in  which 
she  races  a  bus  at  forty  five  miles  an  hour. 
Peggy  Dow  is  pretty  as  the  mistress  who 
is  wooed  by  her  former  "dog."  Charles 
Drake's  heavy  is  well  done,  and  supporting 
players,  drawn  from  types,  are  top  notch. 

STORY:  When   an   eccentric  millionaire 


dies  and  leaves  his  vast  fortune  to  "Flash", 
a  dog.  the  next  in  line  of  inheritance  is 
Peggy  Dow.  his  secretary.  The  girl  wards 
off  most  of  the  promoters  but  falls  for  the 
routine  by  Charles  Drake,  a  visitor  who 
knows  "Flash"  from  their  days  together  in 
the  Canine  Corps.  When  "Flash"  is  poisoned, 
suspicion  falls  on  Miss  Dow.  "Flash"  begs 
to  return  to  earth  and  clear  her  of  the  crime. 
Transformed  into  Powell  he  makes  the  trip 
only  to  discover  the  case  has  been  dropped 
because  of  lack  of  evidence.  Powell  deter- 
mines to  expose  the  truth  anyhow.  He 
meets  one  misadventure  after  the  other,  in- 
cluding a  pair  of  humorous  encounters  with 
the  police,  before  he  is  able  to  steal  another 
veteran  of  the  Canine  Corps  whose  savage 
reaction  to  Drake  shows  him  up  for  what 
he  is  —  a  heel  who  poisoned  "Flash"  in 
order  to  get  his  hands  on  the  money.  Powell 
accepts  his  "worse  than  death"  fate  of  be- 
coming a  human  in  order  to  stay  on  earth 
and  marry    Peggy.   HAW  A  (Hollvwood) 


'THIS  IS  KOREA*  EXCITING  WAR  DOCUMENTARY 

Rates  •  •  4-  generally 


Republic 
5C  Minutes 

Supervised  by  John  Ford 


"This  Is  Korea."  printed  in  Trucolor 
under  the  supervision  of  John  Ford,  is  an 
exciting  documentary  of  the  Korean  War — 
a  valuable  and  important  added  attraction 
on  any  exhibitor's  double  bill.  It  centers  on 
the  activities  of  the  7th  Fleet  and  1st  Marine 
Division — showing  their  part  in  the  Korean 
Conflict  over    a  years    period.    The  ubjvct 


shrewdly  avoids  political  aspects  of  the  mess 
in  the  Orient  but  makes  it  graphically  clear 
that  this  is  no  "police  action"  but  a  full 
fledged  war  in  which  men  are  sacrificing 
their  lives  every  daw 

Eye-openers  are  the  new  weapons,  mode 
of  supply,  use  of  helicopters  as  ambulances. 
Film  goes  right  up  to  the  front  door  of  the 
war,  only  a  valley  separating  the  audience 
from  the  enemy.  Shots  of  Communist  pris- 
oners being  interrogated  are  highlights  a  ;  are 
those   showing    the    wounded  being  moved 


out  by  the  tiny  flying  machines  to  hospital 
ships.  The  terrible  impact  of  the  war  on 
the  Koreans  is  illustrated  in  scenes  showing 
long  fi!es  of  displaced  persons  crowding  the 
roads,  children  separated  from  their  parents, 
and  homeless  youngsters  who  are  given 
shelter  in  improvised  orphanages. 

John  Ford  rates  much  commendation  for 
his  earnest  work  in  assembling  this  subject 
which  is  being  handled  for  release  by  Re- 
puhlic.  Photographers  of  the  armed  forces 
are  credited  with  the  excellent  camera  work. 
HANNA  (Hollvwood). 


S  E  P  T  E  M  B  E  R    10.    1  9  5  1 


7 


THE  WELL'  IMPRESSIVE,  EXCITING 


Rates  •  •  •  —  generally,  if  exploited. 


United  Artists  (Harry  M.  Popkin) 
90  minutes 

Richard  Rober,  Barry  Kelly.  Henry  Morgan. 
Christine  Larson,  Tom  Powers,  Robert  Os- 
terloch.  Maidie  Norman,  George  Hamilton, 
Ernest  Anderson,  Dick  Simmons,  Pat  Mitch- 
ell, Wheaton  Chambers,  Michael  Ross,  Jess 
Kirkpatrick,  Roy  Engel,  Alfred  Grant. 
Directed  by  Leo  Popkin  and  Russell  Rouse 


This  Harry  M.  Popkin  production  for  Uni- 
ted Artists  is  an  off-beat  attraction  that 
should  enjoy  a  very  good  response  in  class 
houses  and  average  or  better  elsewhere.  The 
boxoffice  story  on  this  racial  theme  film 
will  depend  largely  on  the  push  behind  it  in 
individual  situations;  no  doubt  it  will  get 
heavy  duty  explotation  at  the  UA  source. 
This  is  a  fine  film,  carefully  produced,  de- 
signed to  stir  the  emotions,  and  succeeding. 
In  some  sequences,  it  is  violent,  the  riot 
scenes  particularly  being  bru'ally  realistic. 
The  story  idea  is  a  shewd  one  in  depicting 
how  racial  tensions  in  a  community  can  be 
dissipated  when  a  little  child,  trapped  in  a 


well,  gives  the  populace  a  sing*e  human  in- 
terest objective  -  to  rescue  her. 

Directors  Leo  Popkin  and  Russell  Rouse 
have  done  a  spendid  job  of  making  this  story 
smoke  with  fury  and  brim  with  tears.  Ernest 
Laszlo's  camera  work  rates  a  sprig  of  laurel. 
And  a  cast  of  comparative  unknowns  turns 
in  galaxy  of  performances  that  rank  with 
the  best  of  recent  seasons.  Maidie  Normon, 
as  the  mother  of  the  Negro  child  who  falls 
down  the  well  while  picking  flowers,  gives  a 
superb  characterization,  and  the  youngster, 
Gwendolyn  Lester,  is  a  most  promising  mop- 
pet. The  father,  Ernest  Anderson,  is  almost 
as  impressive.  Richard  Rober  as  the  sheriff 
who  tries  to  prevent  the  town  being  torn 
apart  by  the  battling  mobs,  and  who  insists 
on  jusice  being  done,  makes  his  part  com- 
pletely convincing.  Barry  Kelly,  wealthy  con- 
tractor who  sparks  off  the  riots,  and  Henry 
Morgan,  falsely  accused  of  the  lost  child's 
kidnapping,  give  the  picture  rugged  reality. 
And  if  we're  not  mistaken  a  young  lady 
headed  for  stardom  is  Christine  Larson,  in  a 
splendid  supporting  role. 

STORY:   Gwendolyn    Laster,  pretty  five 


year-old  Negro  child,  tumbles  down  a  for- 
gotten well.  Sheriff  Richard  Rober  arrests 
on  suspicion  a  white  man,  Henry  Morgan, 
nephew  of  the  town's  biggest  contractor,  Bar- 
ry Kelly.  Mob  whispers  begin  to  circulate. 
Angry  crowds  range  the  streets.  The  colored 
folk  wonder  whether,  in  view  of  the  accused 
man's  race  and  connections,  he  will  be  dealt 
with  adequately.  A  couple  of  trivial  incidents 
spark  an  outbreak  of  violence.  The  sheriff 
calls  for  the  militia,  but  before  it  can  arrive 
the  little  girl  is  discovered  in  the  well,  bur- 
ied 60  feet  down.  The  riots  subside  as  the 
townsfolk  flock  to  the  meadow  to  watch  the 
rescue  attempt  and  render  whatever  aid  they 
can.  The  accused  kidnapper  volunteers  to  risk 
his  life  in  the  bid  to  save  the  child.  The  con- 
tractor who  had  set  off  the  riot-  to  save  his 
own  reputation  brings  in  his  drilling  equip- 
ment and  an  army  of  warkmen.  In  the  glare 
while  the  distraught  mother  and  father  stand 
of  care  headlights  the  rescue  shaft  is  sunk, 
by.  Hours  pass  and  then  comes  the  word  to- 
the  breathless  citizens  to  end  the  tension  — 
the  well  has  been  reached,  the  child  recov- 
ered. LEONARD. 


JOURNEY  INTO  LIGHT"  SORDID,  TALKY  DRAMA 


Rates  •  •  +  generally 

20th  Century  -  Fox  (Bemhard) 
88  minutes 

Cast:  Sterling  Hayden,  Viveca  Lindfors, 
Thomas  Mitchell,  Ludwig  Donath,,  H.  B. 
Warner,  Jane  Darwell,,  John  Derkes,  Peggy 
Webber,  Paul  Guilfoyle,  Charles  Evans,  Mar- 
ian Martin,  Everett  Glass,  Raymond  Bond, 
Billi  Beird,  Z.  Whithead,  Myron  Healy, 
Byron  Keith,  Kathleen  Mulqueen,  Leslie 
Turner,  Fritz  Feld. 
Directed  by  Stuart  Heisler. 


Under  its  original  title,  "Skid  Row,"  this 
independent  production  of  Joseph  Bernhard 
for  20th  Century-Fox  would  have  stood 
much  better  chances  of  provoking  audience 
and  exhibitor  interest  than  with  the  present 
handle,  "Journey  Into  Light."  In  either  case, 
however,  the  film  fails  to  take  advantage  of 
its  skid  row  setting  beyond  utilizing  it  as 


background  and  atmosphere  for  an  unbe- 
lievable story  of  a  minister  who  is  reduced 
to  a  life  of  a  bum.  Script  is  verbose,  the 
characters  talk  constantly  and  say  very  little 
that  makes  sense.  The  performances  are  me- 
diocre, particularly  that  of  Sterling  Hayden 
who  is  ill-suited  to  the  role  of  a  man  of 
the  cloth.  The  direction  of  Stuart  Heisler 
accounts  for  a  few  moments  of  genuine  emo- 
tional impact,  but  hardly  enough  to  overcome 
the  depressing  story  and  excess  of  dialogue. 
With  its  limited  appeal  and  morbid  audience 
reaction,  boxoffice  reception  is  doubtful,  at 
most. 

Hayden  never  for  a  moment  convinces 
either  as  the  minister  or  derelict.  Viveca 
Lindfors'  vibrant  personality  accounts  for 
some  interest  in  her  performance  as  a  mis- 
sion worker.  Thomas  Mitchell  tries  his  very 
best  to  make  sense  of  a  loquacious  re- 
sourceful skid  row   dictator,  but   the  actor 


never  quite  achieves  his  mark.  Ludwig  Do- 
nath, H.  B.  Warner,  and  Jane  Darwell  are 
just  a  few  in  this  large  cast  of  normally 
competent  actors  who  work  valiantly  to 
imbue  it  with  sincerity,  but  the  material  just 
isn't  there. 

STORY:  Hayden,  promising  young  mini- 
ster, quits  his  church  after  the  suicide  of  his 
wife,  an  alcoholic.  He  blames  the  congrega- 
tion for  her  act  because  of  their  intolerance. 
Arrested  out  ide  a  bar  where  he  faints  from 
sheer  exhaustion,  Hayden  is  booked  as  a 
common  drunk,  makes  the  acquaintance  of 
Thomas  Mitchell,  neighborhood  big  wheel, 
and  embarks  on  a  life  as  a  skid  row  habitue. 
In  a  brawl  he  meets  Ludwig  Donath,  a 
preacher,  and  Viveca  Lindfors,  his  daughter. 
They  nurse  him  back  to  health,  and  eventu- 
ally he  is  able  to  return  to  his  pastorate. 
He  elects  the  mission  and  Miss  Lindfors, 
instead.  ANGEL. 


'LOST  CONTINENT'  EXPLOITABLE  BUT  LACKS  PUNCH 

Rates  •  •  in  action  houses,  more  where  exploited. 


Lippert 
82  minutes 

Cesar  Romero,  Hillary  Brooke,  Chick  Chand- 
ler,  John    Hoyt,  Acquanetta,   Sid  Melton, 
Whit  Bissell,  Hugh  Beaumont,  Murray  Al- 
per,  William  Green. 
Directed  by  Samuel  Newfield 

Because  of  its  title  and  the  pseudo-scienti- 
fic nature  of  its  story,  "Lost  Continent"  lends 
itself,  of  course,  to  exploitation  ingjnuity. 
The  green  photography,  with  its  eerie  atmos- 
pheric values,  and  the  "another  world"  set- 
tings and  props  are  sizeable  advantages  to 
this  Lippert  production.  Unfortunately,  auth- 
entic entertainment  values  an  not  achieved  in 


the  writing,  direction  and  acting  of  this  nar- 
rative which  deals  with  a  mysterious  part  of 
the  world  where  time  has  stood  still  and  pre- 
historic monsters  still  stalk  the  earth.  Too 
much  time  is  spent  on  exposition  and  in  re- 
cording the  difficulties  of  reaching  the  remote 
area.  The  special  effects  material,  consequent- 
ly, plays  a  too-short  role  in  the  proceedings. 
Another  failure  is  the  absence  of  strong  aud- 
ience interest  in  the  characters  themselves. 
Properly  bolstered  by  ballyhoo,  this  will 
make  a  good  attraction  for  action  and  novel- 
ty houses.  Without  selling  and  in  general  runs 
it's  little  more  than  a  fair  dualler. 

Cesar  Romero  walks  through  the  role  of 
the  pilot  as  does  Chick  Chandler,  playing 


the  part  of  the  aide.  Johny  Hoyt,  spotted  as 
a  scientist,  holds  his  own  more  expertly  than 
the  headliners.  Hillary  Brooke  and  Acqucna— 
tta  perform  what  literally  add  up  to  bits.  Sid 
Melton's  comedy  is  restrained  for  a  change. 

STORY:  Romero  as  an  Air  Corps  pilot  as- 
signed to  search  for  a  part  of  scientists  who 
have  disappeared  in  a  rocket  ship.  Their  craft 
is  believed  o  have  crashed  in  an  unknown 
part  of  the  world.  With  much  difficulty  the 
plane  reaches  the  locale;  with  more  difficulty 
the  boys  reach  the  wrecked  rocket  ship,  ex- 
tract the  valuable  papers  and  scurry  home. 
Two  of  their  number  are  lost  —  one  because 
of  a  fall;  the  other  as  the  rsult  of  an  encount- 
er with  a  monster.  JAMES 


8 


FILM  BULLETIN 


HOWMANSHIP  CONTEST 

On  the  20th  Century-Fox  Showmanship  Sensation  j 


THE  DAY 


adver- 
e 


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WHO  COME  UP  WITH 


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STORIES... STILLS... REPRODUCTION  ART... 
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how  to  sell  and  exploit  THE  DAY  THE  EARTH  STOO 

STILL"  on  the  screen,  in  the  lobby,  out  front, 
on  the  billboards,  in  newspaper  advertising  and 

public!'      tv.- radio -direct  mail! 

EXPLOITATION  DEPARTMENT 
Oth  Century-Fox  Film  Corp. 

(  56th  St.,  New  York  Cit] 


- 


"fowPo/mi. refer < 
Tdis       _  7 


5,000  FOR  $HOWMEN 
CKO  C A MRAiGNS  ON 


First  Prize 

lOOO 

U.  S.  SAVINGS  BOND 

Second  Prize 

$7SO 

U.  S.  SAVINGS  BOND 

Third  Prize 

$SOO 

U.  S.  SAVINGS  BOND 

Fourth  Prize 

$ 


U.  S.  SAVINGS  BOND 

Fifth  Prize 

$MO 

U.  S.  SAVINGS  BOND 

Sixth  Prize 

$150 

U.  S.  SAVINGS  BOND 

Vexf  70  Prizes 

$ioo 

U.  S.  SAVINGS  BOND 

Vexf  15  Prizes 

$ 


U.  S.  SAVINGS  BOND 

fexf  100  Prizes 

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50 


U.  S.  SAVINGS  BOND 

fexf  195  Prizes 

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25 


THE  PICTURE 


IS  TERRIFIC  I  WILL  LIVE  UP 
TO  EVERY  EFFORT  YOU  MAKE 
TO  PUT  IT  OYER  BIG  !  ! 

Study  the  title!  Magnetic!  Arouses  cu- 
riosity! The  theme  is  in  the  domain  of 
science-fiction.  Off  the  beaten  path ! 
Space  ships,  thinking  robots,  disinte- 
grating rays,  life  machines,  all  those 
weird  and  strange  things  that  appeal 
to  the  untold  millions  who  enjoy  the 
unusual  in  screen  entertainment. 


RULES  FOR  $15,000  CONTEST  ON 
THE  MY  THE  EARTH  STOOO  STILL 


l*  v  c.  c.  .  : 


•  ••••••••••• 


EHTRY  DATE'  All  entries  must  be  postmarked  on  or  before  midnight  of  January  15,  1952. 

THE  JUDGING:  Judg  ing  will  be  based  upon  the  best  and  most  productive  advertising,  ex- 
ploitation and  publicity  campaigns  for  "The  Day  the  Earth  Stood  Still." 

In  judging  winners,  consideration  will  be  given  to  the  nature  of  the  run,  the  class  of  house, 
its  location  and  business  produced,  in  order  to  permit  equal  competition  between  small  town 
theatres,  neighborhood  houses  and  downtown  de  luxe  theatres. 

HOW  TO  ENTER:  1.  Submit  a  written  summary  of  the  advertising,  exploitation  and  publicity 
campaign  you  stage  for  your  engagement  of  "THE  DAY  THE  EARTH  STOOD  STILL,"  docu- 
mented with  newspaper  tear  sheets,  photos  and  other  specimens. 

This  summary  may  be  in  any  form  you  elect,  whether  letter,  memo,  scrapbook,  folder, 
etc.,  and  may  be  of  any  length  or  dimension.  However,  judging  will  be  done  solely  on  the  basis 
of  the  factors  outlined  in  these  Rules.  Elaborateness  of  campaign  books  or  of  presentations  will 
have  no  bearing  whatever  on  the  decision  of  the  judges. 

2.  This  summary  must  in  all  instances  include  the 
following  specific  information,  in  addition  to  an 
outline  of  the  campaign  activities  themselves: 
(a)  Size  of  theatre  (seats)  


ROBERT 

Circuit  *or 


f 


President 
Company 


of  Berger  Arn 


M'mneap 


rAinn. 


SOL  SCWNMM 

Theatres,  Inc., 

MITER  BROOW 


urn 

Y. 


Manage" 


Roona 
terald" 


CHESTER  ™mM 


m 


(b)  Population  and  type  of 

community  

(c)  Run  given  "THE  DAY  THE  EARTH  STOOD 
STILL"  

(d)  Percentage  of  normal  business  

(e)  Receipts  for  engagement  (optional) 

3.  Send  your  summary  by  first  class  mail  to 
THE  DAYTHE  EARTH  STOOD  STILL  COMMITTEE 

Twentieth  Century-Fox  Film  Corp. 
444  West  56th  Street,  New  York  19,  N.Y. 


cision  will  be  final  and  the  winners  will  be  notified 
by  telephone  or  telegraph.  Entrants  agree  that  all 
summaries  submitted  in  the  contest  are  the  property 
of  Twentieth  Century-Fox  Film  Corporation  and  that 
the  same  and/or  material  or  ideas  therein  con- 
tained may  be  freely  copied  or  otherwise  used  by 
or  through  said  corporation. 

In  case  of  a  tie,  duplicate  prites  will  be  awarded. 
This  contest  is  subject  to  federal,  state  and  local 


There's  Ho  Business  Like  2& 


CENTURY- FOX 


'THE  LADY  AND  THE  BANDIT'  FAMILIAR  COSTUME  ADVENTURE  FARE 


Rates  •  •  -)-  for  action  houses;  OK  dualler  elsewhere 


Columbia 
78  minutes 

Louis  Hayward,  Patricia  Medina,  Suzanne 
Dalbert,  Tom  Tully,  John  Williams,  Malu 
Mowbray,  Lumsden  Hare,  Barbara  Brown, 
Malcolm  Keen,  Sheldon  Jett,  Stapleton  Kent, 
George  Baxter,  Ivan  Triesault,  Norman  Lea- 
vitt,  Frank  Reicher. 
Directed  by  Ralph  Murphy. 

This  swashbuckling  tale  of  England  of 
olden  clays  when  highwaymen  roamed  the 
countryside  plundering  the  unwary  fi t >  snug- 
ly  into  the  cycle  of  costume  adventure  pic- 
tures. Where  sagas  of  knaves  and  lords  have 
enjoyed  popularity  previously  Columbia's 
adroit  adaptation  of  Alfred  Xoyes'  poem, 
"Dick  Turpin's  Ride,"  may  be  expected  to 
garner  fairly  good  grosses.  The  production  is 
a  fine  job  atmospherically,  and  if  the  screen- 
play is  formula,  the  characters,  stereotyped, 
the  whole  affair,  nevertheless,  is  developed 


with  an  eye  toward  emphasizing  the  action 
and  romantic  values.  They  are  expertly  ful- 
filled in  the  performances  of  top  man  Louis 
Hayward  and  a  cast  of  highly  competent 
featured  and  supporting  players.  Ralph 
Murphy's  direction  is  brisk,  emphatic  in  the 
melodrama,  glib  in  the  several  rather  good 
comedy  sequences  that  dot  the  narrative.  Best 
suited  for  action  spots,  it  will  also  serve  ade- 
quately as  a  dualler  generally. 

Hayward,  a  skilled  hand  with  cloak  and 
dagger,  plays  Dick  Turpin  with  authority 
and  conviction.  His  metamorphasis  from 
highwayman  to  gentleman  is  credibly  accom- 
plished. Patricia  Medina  is  a  handsome  and 
dramatically  effective  leading  woman.  And 
for  sex  appeal  there  is  frenchy  Suzanne  Dal- 
bert to  display  fiery  jealousy  and  an  appeal- 
ing plunging  neckline.  Tom  Tully  is  fine  as 
Turpin's  buddy.  Alan  Mowbray  makes  the 
most  of  his  sides  as  the  nobleman  who  has 
incurred  Turpin's  enmity,  and  Malu  (iatica  is 


as  provocative  an  Austrian  spy  as  you're 
likely  to  find  this  side  of  the  Danube. 

STORY:  After  meeting  I'atricia  Medina  at 
a  theatre  where  he  is  fleeing  the  law,  Dick 
Turpin  decides  to  become  a  gentleman  in 
order  to  woo  and  win  her.  He  accomplishes 
both,  but  their  happy  life  ix  interrupted  when 
he  discovers  that  Alan  Mowbray,  a  diplomat 
attached  to  England's  Austrian  Embassy,  has 
returned.  Mowbray,  it  seems,  condemned  the 
highwayman's  father  to  death  for  a  slight 
theft  years  before.  So  Turpin  rides  again.  His 
wife  discovers  his  identity;  mother-in-law 
begs  him  to  keep  away  to  prevent  the  girl's 
disgrace.  In  the  course  of  his  plundering  he 
discovers  Mowbray  is  involved  in  a  scheme 
to  assist  the  Austrians  in  an  English  con- 
quest. He  gets  this  news  to  the  proper  au- 
thorities in  time  to  nip  the  plot  but  at  the 
risk  of  his  own  neck.  A  royal  pardon  fails  to 
arrive  in  time  to  prevent  his  hanging.  JAM  FS 


PARDON  MY  FRENCH'  DULL  COMEDY  FILMED  IN  FRANCE 


Rates  •  •  —  on  names  only 


United  Artists   (Cusick  International) 
86  Minutes 

Paul  Henreid,  Merle  Oberon,  Paul  Bonifas, 
Maxmilliene,   Jim    Gerald,   Alexandre  Rig- 
nault,  Martial  Rebe. 
Directed  by  Bernard  Vorhaus. 


"Pardon  My  French"  is  passable  secondary 
fare,  a  slight  and  dull  comedy  whose  fluffy 
story  barely  holds  together.  It  \-  made 
palatable  only  by  the  performances  of  stars. 
Merle  Oberon  and  Paul  Henreid  and  the 
striking  photography  of  the  French  Riviera 
and  the  Centuries-old  chateau  about  which 
the  action  revolves.  Although  produced  and 
directed  by  Bernard  Vorhaus  in  the  leisurely, 
studied  manner  of  most  imports,  "Pardon 


My  French"  isn't  all  European  —  the  em- 
ployment of  American  nuances  helps  sub- 
stantially. Film  is  still  in  want  of  tighter 
editing  to  make  it  more  acceptable  to  aud- 
iences, and  from  the  exhibitor's  viewpoint, 
to  get  it  in  line  with  the  running  time  of 
the  usual  lower  half  show.  Its  present  length 
would  indicate  I'A  has  higher  hopes  for  the 
attraction.  They  are  unlikely  to  be  ful- 
filled. 

Paul  Henreid  and  Merle  Oberon  are  the 
only  names  known  to  U.  S.  audiences.  Hen- 
reid employs  all  his  Continental  charm  to 
make  the  most  of  a  vagabond-musician  part 
who.  under  the  stress  of  financial  difficulties, 
is  holed  up  in  a  Riviera  chateau  with  a 
group  of  working  people.  Playing  a  prim 
Boston  school  teacher.  Merle  Oberon  is  at- 


tractive, projecting  easily  her  metamorphasis 
from  stuffy  class  room  ma'rm  to  a  romantic 
girl  who  finds  much  more  in  her  European 
adventure  than  the  average  tourist. 

STORY:  Oberon  inherits  a  chateau,  comes 
to  the  Riviera  to  claim  it  and  live  the  genteel 
life  of  which  she  has  always  dreamed.  Her 
resources  arc  few.  She  is  chagrined  to  find 
the  house  over-run  by  countless  families.am- 
ong  them  Henreid.  She  orders  them  to  move, 
but  the  eviction  is  delayed  pending  police 
action.  In  the  meantime  they  try  to  freighten 
her  out  of  the  place.  By  the  time  he  eviction 
order  is  signed  she  has  come  to  love  and 
understand  the  people,  insists  they  stay  and, 
of  course,  she  is  deeply  in  love  with  Henreid 
whose  career  as  a  composer  has  been  re- 
vived. JAMES. 


'CRIMINAL  LAWYER'  ORDINARY  COURTROOM  MELODRAMA 


Rates  •  •  as  dualler 


Columbia 
73  minutes 

Cast:  Pat  O'Brien,  Jane  Wyatt,  Carl  Benton 
Reid,  Mary  Castle,  Robert  Shayne,  Mike  Ma- 
zurki,  Jerome  Cowan,  Marvin  Kaplan,  Doug- 
las Fowley  Mickey  Knox,  Louis  Heydt,  Har- 
lan Warde,  Wallis  Clark,  Mary  Alan  Hokan- 
son,  Lewis  Martin,  Charles  Lane,  Guy  Beach. 
Grandon  Rhodes,  Darryl  Hickman. 
Directed  by  Seymour  Friedman 

With  its  title  and  star  Pat  O'Brien.  "Crim- 
inal Lawyer"  may  have  some  value  to  the 
neighborhood  and  action  exhibitor,  but  the 
story  of  this  Columbia  production  fails  to 
live  up  to  its  possibilities.  Narrative  of  a 
criminal  lawyer  who  is  disappointed  in  his 
hopes  for  a  judgeship  is  an  involved  story 
in  which  three  separate  trials  take  place. 
This  emphasis  on  courtroom  stuff  precludes 


ning  time.  The  total  impression  is  that  of  a 
blurred,  episodic  movie.  The  direction  of  Sey- 
mour Friedman  is  undistinguished,  frequently 
artificial  and  overly  melodramatic  in  the  sta- 
ging of  the  key  scenes.  Just  a  fair  attraction 
for  the  duallers. 

Pat  O'Brien  is  his  usual  likeable  self  as 
the  mouthpiece,  and  Jane  Wyatt  handles  her 
Girl  Friday  role  spendidly.  Carl  Benton 
Reid  figures  commendingly  in  the  proceed- 
ings as  a  big  shot  lawyer  who  comes  to 
O'Brien  for  help  after  participating  in  the 
vote  that  nipped  the  judgeship.  Robert 
Shayne   rather  overplays  the  heavy;  Mike 


•  POOR  •  •  ' 

•  •  •  GOOD  ••••!< 


action  elements:  consequently  "Criminal 
Lawyer"  just  talks  its  way  through  the  run- 
Mazurki  is  top  as  O'Brien's  friend,  body- 
guard and  cook. 

STORY:  O'Brien,  after  winning  an  impor- 
tant case  for  the  brother  of  a  gangster,  an- 
nounces his  retirement  in  anticipation  of  a 
judicial  appointment.  The  good  fortune  is 
blasted  by  bar  association  whose  members 
question  O'Brien's  ethics.  He  goes  on  a 
bender.  One  of  the  lawyers  asks  help  when 
his  son  is  held  in  a  manslaughter,  hit-run 
charge.  O'Brien  masterminds  the  case  and 
by  the  trick  of  involving  all  the  jurors  in 
an  accident  during  the  trial  is  able  to  get 
this  boy  off.  Next,  the  gangster  is  murdered 
and  Mazurki  held  for  the  crime.  O'Brien, 
roused  From  another  binge,  gets  into  court, 
uses  legal  skill  and  tricks  to  point  to  the 
actual  killer  as  Robert  Shayne.  AXGEL. 


SEPTEMBER    10.  1951 


13 


Short  Subjects 


By  BARN 


UATIONAL  SCREEN  SERVICE  deserves 
a  deep  how  for  its  cooperation  with  the  Al- 
lied National  Convention  Committee  to  make 
individual  personalized  trailers  for  each  exhibi- 
tor  attending  the  convention,  Oct.  30,  Nov.  1. 
at  the  Piltmore  Hotel  in  New  York.  All  regis- 
tered exhihitors  will  be  photographed  individ- 
ually by  regular  35mm  motion  picture  cameras 
and  sound  equipment  at  the  NSS  studio  booth. 
Each  theatreman  will  have  the  opportunity  to 
record  on  film  a  personal  message  to  his  patrons 
and  provision  will  be  made  for  the  inclusion  of 
titles  of  forthcoming  pictures.  The  processing 
will  take  place  almost  immediately  eo  that  the 
exhibitor  can  screen  it  in  his  theatre  upon  his 
return  or  soon  thereafter.  There  will  be  no 
charge  for  the  filming  or  the  print,  Convention 
Chairman  Wilbur  Snaner  enthuses,  and  arrange- 
ments can  be  made  with  NSS  for  additional 
prints  in  those  instances  where  more  lhan  one 
theatre  will  require  prints.  So  .r.uch  lias  this 
idea  caught  fire  that  many  '.heatremcn  -ire  ar- 
ranging with  managers  of  their  houses  to  come 
to  the  convention  for  the  personalized  '  take- 
home"  trailer.  The  clip  will  be  so  designed  as 
to  enable  the  exhibitor  to  include  it  in  his  news- 
reel  for  additional  impact,  and  is  also  intended 
to  include  specific  reference  to  the  "Movietime 
USA"  campaign  which  will  be  in  full  swing  by 
convention  time.  Snaper  is  so  hepped  up  about 
the  idea  that  he  feels  the  trailer  will  he  "the  hit 
of  the  convention,  and  may  well  be  the  big  gun 
in  our  Fall  campaign  to  stimulate  business." 

U1HITE  COLLAR  workers  are  no  longer 
on  the  economic  level  to  warran;  concentra- 
ting selling  emphasis  on  their  category,  record- 
ing to  Jerry  Wald  and  Norman  Krasna,  pro- 
ducers releasing  through  RKO  Fadio.  The 
sales  stress  must  be  placed,  lather,  on  the  skilled 
workers,  they  say,  whose  spending  i.ower  has 
increased  some  400  per  cent  over  the  past  12 
years.  The  white  colla rites,  ci.  the  other  hand, 
have  been  forced  to  dip  into  their  savings  for 
$10,000,000  in  1950  alone,  to  meet  cverhead, 
Wald  stated.  "During  the  past  12  years,"  he 
said,  "the  white  collar  workers  of  America, 
the  mainstays  of  theatres,  have  suffered  con- 
stantly from  increasing  living  costs  while  their 
incomes  have  remained  at  a  relatively  fixed  lev- 
el ..  .  On  the  other  hand,  the  skilled  worker 
has  had  many  rounds  of  pay  raises.  He  enjoys 
a  400  per  cent  increase  in  spending  power.  Last 
year  he  put  more  money  into  ravings  lhan  the 
white  collar  worker  withdrew.  This  tr..up. in- 
cludes 21  million  American  families."  While 
the  producers  will  continue  to  appeal  to  the 
white  collar  people,  they  say,  "we're  going  to 
place  heavy  emphasis  on  the  skilled  workers, 
by  far  America's  richest  market"  The  i  icrease 
in  population  and  in  the  number  of  theatres, 
says  Wald,  has  convinced  him  that  "ihe  irdus- 
try  hasn't  taken  advantage  of  ihe  sweeping  eco- 
nomic changes  that  are  constantly  going  on. 
business  is  there  for  those  who  :,re  willing 
to  go  after  it." 


Golding  Joins  Goldwyn 

0AYTD  GOLDING,  erstwhile  20th-Fox 
eastern  publicity  director,  became  the 
new  director  of  advertising  and  publicity 
for  Samuel  Goldwyn  Productions  last 
Tuesday  (4th).  His  new  assignment 
brings  Golding  back  to  ihe  company  he 
represented  in  Great  Britain  during  VA6 
and  1947.  Martin  S.  Davis  remains  as 
assistant  director. 


THIS  IS  quite  a  year  for  the  Warner  brothers. 

In  addition  to  ihe  Silver  Anniversary  of 
Talking  Pictures  which  lias  heaped  upon  them 
a  bevy  of  well-deserved  honors,  comes  word 
that  Harry,  Jack  and  Albert  have  been  voted 
"pioneers  of  the  year"  by  the  Motion  Picture 
Pioneers,  Inc.,  prominent  industryites  of  at 
least  25  years  service.  Selection  of  the  three 
brothers  marks  the  first  time  in  the  history  of 
the  organization  that  more  than  cue  individual 
has  been  named  to  the  honor.  Tribute  will  take 
place  at  the  annual  dinner  of  the  Pioneers  on 
the  Waldorf  Astoria's  Starlight  Roof  in  mid- 
November. 

THAT  EDICT  from  the  British  board  of  film 
vendors  directing  that  an  additional  six  in- 
ches of  dress  be  added  to  Jane  Russell  in  the 
oil  painting  being  used  on  ad  posters  for  "His 
Kind  of  Woman"  was  hotly  contested  by  Marie 
Zamparelli,  the  artist  who  created  the  illustra- 
tion for  the  ad.  "Suppression  of  the  brush" 
was  the  way  Zampareli  characterized  the  order, 
which  he  called  "an  insult  to  all  w<  manhood" 
and  which,  he  charged  was  issued  because 
"the  physical  splendors  of  Jane  Russell  rie  too 
brilliant  for  the  austerilv-living  British  to  face." 
The  trouble  with  Great  Britain,  pays  the  artist 
is  that  it  "is  simply  not  keeping  jbreast  of  the 
times",  which,  to  our  mind,  is  one  of  the  most 
pointed  remarks  yet  made  about  John  Bull. 


gXPLOITATION  CAN  pay  off  in  more 
ways  than  at  the  boxofficc.  Over  at  20th- 
Fox,  ad-publicity  vice  president  Charles  Ein- 
feld  revealed  plans  for  a  $15,000  prize  contest 
on  ballyhoo  campaigns  for  "The  Day  the  Earth 
Stood  Still".  The  competition.,  to  run  from 
October  1  to  the  end  of  the  year,  will  have  a 
first  prize  of  $1000  in  defense  bonds,  plus  scores 
of  additional  bond  awards  for  runncrs-up,  with 
a  soon-to-be-announced  panel  of  "outstanding 
showmen"  acting  as  judges  for  the  campaign. 
The  company  is  offering  quite  an  assist  on  a 
national  basis  to  bolster  the  local -level  chives. 
The  picture  is  currently  being  heralded  with  a 
giant  teaser  campaign  which  ;s  expected  to 
have  a  readership  impact  of  450,000.000;  free 
24-sheets  will  go  to  every  first-run  theatre 
buying  billboard  space ;  there  ^  ill  be  a  satura- 
tion air  buildup ;  three  teaser  trailers  plus  the 
regular  trailer  will  be  available  for  strong  ad- 
vance selling,  and  a  special  "Showman's  Kit" 
will  be  sent  to  every  theatre  requesting  it, 
detailing  every  phase  of  the  campaign  from 
booking  to  last  day  of  engagement. 

AAK  RIDGE,  Tennessee,  had  another  atomic 
v  blast  on  Friday,  Aug.  31,  hut  it  was  in 
the  form  of  a  forld  premiere  of  "Mister 
Drake's  Duck",  the  Douglas  Fairbanks,  Jr., 
UA  comedy  about  a  fowl  that  lays  "atomic 
egg"-."  With  the  producer-star  on  hand  to 
join  in  the  festivities,  the  preem  made  more 
news  in  the  atomic  center  than  the  bomb  it- 
self. Dignitaries  from  all  over  the  state  came 
to  Oak  Ridge  to  participate  as  the  town's 
newspaper  laid  clown  a  steady  barrage  of 
page  one  stories  about  the  fabulous  duck 
and  the  film. 


AF  MFX  AND  THINGS:  Realart's  product 
"  will  now  be  available  through  the  newly] 
opened  New  York  City  exchange,  with  Al 
B'roder  as  president,  Carroll  Puciato,  vice  presi- 
dent and  treasurer,  and  Jack  Bellman  as  sales 
manager.  The  latter  was  most  recently  Metro- 
politan sales  manager  for  Eagle  Lion  Classics}? 
Broder  and  Pucitao  are  presently  executives 
in  Realart  Pictures,  Inc.,  and  will  continue  their 
home  office  affiliations  as  well  as  their  ne^ij 
exchange  duties.  In  addition  to  Realart  reissue 
product,  the  exchange  will  handle  distribution' 
of  the  Jack  Broder  new  feature  product  .  .  . 
Mort  Nathanson,  publicity  manager  of  Para] 
mount  Pictures,  will  leave  the  company  Septem^ 
her  14,  after  four  years  in  the  publicity  posfl 
Former  publicity  director  of  Liberty  Films,  h« 
joined  Paramount  in  1947  at  the  time  of  th« 
company's  acquisition  of  Liberty  .  .  .  Lynn] 
Farnol,  public  relations  director  for  the  New 
York  Organization  of  the  Motion  Picture  III 
dustry,  will  handle  "Movietime  U.S.A."  canfJ 
paign  publicity  in  the  Metropolitan  area  as  ha 
relates  to  N.  Y.  exhibtors.  He  will  serve  afl 
campaign  contact  with  the  N.  Y.  dailies  and] 
will  aid  in  the  star  p.  a.'s. 


14 


FILM  BULLETIN 


ACROSS  THE  NATION 
AND  IN  PLAYDATE 
AFTER  PLAYDATE 

ZOOMING 

BOXOFFICE  RETURNS 
FOR  SMASH  RESULTS! 


JOHN  GARFIELD        SHELLEY  WINTERS 


dynamite 


A  ROBERTS  PRODUCTION 


m 


JOHN  GARFIELD  •  SHELLEY  WINTERS 

HE  m  ALL  THE  WAY"  V,  running  all  the  way  thm 


•ill  WALLACE  FORD  •  SELENA  ROYLE  »"d  Boot*  Hyitt 
•«td  on  a  no»ti  or  Sim  Rott  •  Simnpljy  br  Cuy  f  ndme 
•nd  Huio  Bulltc  •  Olncled  by  John  B«riy  •  Pioductd  t>r 
•<*  Roo*iti  -Rtiuttd  Ihiouin  Umttd  Aitlitt 


A 


6XHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


FINGER,  NOT  ARM 

ATO  of  Indiana 

Last  week  we  wished  RKO  success  in  dis- 
tributing their  reel  of  the  forthcoming  Robin- 
son-Turpin  fight  picture  and  said  that  exhibi- 
tors should  give  support  in  keeping  top  box 
office  attractions  off  home  and  bar  room  TV 
sets.  After  they  were  set  back  on  their  heels 
by  the  terms  RKO  asked,  no  less  than  a 
dozen  members  called  to  inquire  how  far  we 
thought  that  "support"  ought  to  go.  We  think 
that  because  this  is  an  industry  wide  cause  ex- 
hibitors should  make  an  effort  to  giVe  the  reel 
a  playdate  at  reasonable  rentals  so  that  RKO 
will  not  have  to  take  a  financial  loss.  We 
think  that  under  such  a  policy  the  distributor 
would  get  good  distribution.  The  present  policy 
of  extreme  high  rental  demands  is  bound  to 
result  in  such  few  playdates  that  RKO  is  not 
going  to  come  out  nearly  so  well.  According 
In  Variety  magazine,  RKO  and  the  Boxing 
Commission  split  50-50  after  costs  and  an  ad- 
vance payment  of  $30,000  are  deducted.  The 
cruise  of  "industry  service"  does  not  conceal 
the  complexion  of  their  avaricious  policy. 

Regardless  of  a  quarrel  over  the  Robinson- 
Turpin  terms,  it  is  still  a  good  idea  for  this 
industry  to  skim  off  the  top  box  office  attrac- 
tions for  exclusive  showings  in  theatres.  Be- 
tween the  high  points  home  TV  will  lose  its 
momentum  and  appeal.  But  if  it  is  good  for  all 
then  the  other  distributors  should  also  under- 
write the  company  that  undertakes  to  bid 
these  attractions  away  from  the  advertising 
sponsors  instead  of  leaving  it  entirely  up  to 
a  single  distributor  and  the  exhibitors.  One 
ATOI  fnember  who  said  that  we  was  very 
anxious  to  help  in  keeping  the  big  attractions 
in  the  theatre  stated  that  he  would  be  willing 
to  pay  more  than  ordinarily  equitable  prices 
if  there  was  some  plan  whereby  his  deal  could 
be  reverted  in  the  event  that  the  sum  total  of 
all  rentals  exceeded  a  reasonable  return  for 
the  distributor.  This  exhibitor  cited  the  rental 
plan  on  the  public  relations  series,  "The 
Movies  And  You".  You  will  recall  in  that  case 
that  while  cash  reimbursements  were  not 
made  the  exhibitor  did  receive  the  final  four 
reels  gratis  after  an  audit  disclosed  that 
rentals  from  the  first  eight  films  in  the  series 
had  sufficient  returns  to  meet  production  costs 
on   thhe  entire  twelve. 


EIGHT  QUESTIONS 

ITO  of  Ohio 

Why  should  an  independent  exhibitor,  par- 
ticularly one  in  a  small  town  or  city,  or  one 
with  a  subsequent  run,  participate  in  MOVIE- 
TIME.  U.  S.  A.,  pay  1/10  of  1%  of  his  film 
rental  for  what  ever  the  assessment  may  be) 
toward  its  support,  and  then  be  forced  to  play, 
during  the  campaign  and  after,  only  pictures 
of  the  type  made  available  to  him  this  summer 
because  of  extortionate  film  rentals  and  other 
onerous  terms  demanded  by  the  distributors 
for  their  occasional  boxoffice  hits  and  in  addi- 
tion to  an  active  revival  and  Intensification  of 


many  of  the  other  trade  abuses  so  obnoxious 
and  detrimental  to  his  best  interests? 

Here  are  some  questions  only  your  replies 
to  which  can  bring  us  up  to  date.  We  need 
this  data.  Our  national  convention  will  be  held 
at  the  Biltmore  Hotel,  New  York  City,  Oct- 
ober 30,  31  and  November  1.  Your  answers 
can  there  be  put  before  the  sales  managers 
of  the  various  film  companies. 

1.  How  many  exhibitors  today  can  buy  every 
major  company's  product,  select  the  pictures 
he  desires,  and  get  them  at  prices  at  which  he 
can  make  a  profit? 

2.  If  you  were  given  the  opportunity  to  select 
the  pictures  you  want,  and  only  the  pictures 
you  yourself  want,  would  you  be  willing  to 
do  business  with  every  film  company  that  re- 
leases pictures, 

3.  Don't  you  think  you  could  put  on  a  ter- 
rific "Back  To  The  Movies"  campaign  if  you 
could  play  top  attractions  each  week  so  as  to 
prove  to  your  patrons  that  "Movies  Are  Bet- 
ter Than  Ever"?  Our  suggestion  for  a  better 
boxoffice  is  to  be  able  to  give  our  patrons  only 
the  BEST  Hollywood  has  to  offer  and  play 
every  company's  product. 

4.  How  many  exhibitors  arc  there  on  whom 
certain  distributors  never  send  a  salesman  to 
call?  Do  film  salesmen  call  on  you  at  regular 
intervals  ? 

5.  How  many  exhibitors  have  been  told, 
"This  is  the  deal.  Take  it  or  leave  it"? 

6.  If  you  have  bought  a  block  of  8,  10, 
or  12  pictures  or  a  complete  deal  of  16,  21, 
or  32  pictures,  do  you  find  that  every  pirture, 
or  almost  every  picture,  is  designated  in  a 
bracket  or  two  higher  than  is  justified?  Your 
true  answer  to  this  question  is  necessary, 
as  these  deals  are  so-called  "Security  Deals  for 
the  Small  Exhibitor." 

7.  If  you  sign  a  contract,  do  you  receive  an 
approval  within  the  prescribed  14  days,  or  do 
you  get  your  approval  and  then  find  no 
dates  available  for  60  to  120  days,  thereby  mak- 
ing a  new  picture  old  by  the  time  you  play 
it? 

8.  fa)  Have  you  been  offered  Warner  Bros.' 
CAPTAIN  HORATIO  HORNBLOWER? 
This  spectacle,  billed  as  the  "Greatest  Picture 
Since  GONE  WTTH  THE  WIND",  was 
made  in  England  with  frozen  funds,  broke  in 
the  Cleveland  territory  on  August  17,  and  was 
plaved  on  a  double  bill  with  KENTUCKY 
JUBILEE  at  the  RKO  Palace  in  Columbus 
during  the  first  week  of  release!  Were  the 
terms  offered  you  fair,  or  were  you  asked  40  to 
50%? 

(b)  Have  you  been  offered  Paramount's 
THAT'S  MY  BOY  with  Martin  and  Lewis, 
and  at  fair  terms?  It,  too,  was  released  Aug- 
ust 17.—  LEO  T.  JONES 

AS  WE  BELIEVE 

Allied  Theatres  of  Michigan 

"As  A  Man  Thinketh  So  Is  He".  This  old 
adage  is  as  true  today  as  it  was  when  it  was 
first  written.  If  we  believe,  "Our  Business  Is 
Going  To  The  Dogs",  it  is.  If  we  believe, 
"Movies   Are   Better  Than   Ever",  they  are. 


If  we  believe  that  by  banding  together  and 
taking  advantage  of  the  work  that  already  has 
been  done  by  outstanding  showmen  in  the 
preparation  of  campaigns  we  can  increase  our 
business,  we  can.  If  we  believe  an  organization 
is  as  strong  as  our  participation  in  it  and  by 
increasing  our  interests  and  activities  it  can 
become  of  major  importance  to  us,  it  will. 

Let's  think  these  things  over.  Let's  satisfy 
our  own  minds  that  an  organization  is  neces- 
sary and  beneficial.  Let's  satisfy  our  own  minds 
that  some  sort  of  a  campaign  is  necessary  and 
will  ultimately  benefit  all  of  us.  Then,  with 
a  firm  determination  to  DO  SOMETHING 
we  will  have  nothing  to  fear  from  any  form 
of  competition  and  our  business  will  begin  to 
look  up. 

This  may  appear  to  be  some  sort  of  a  preach- 
ment, maybe  it  is,  but  the  writer  agrees  whole- 
heartedly with  Abram  Myers  when  he  says 
that  we  can  win  if  we  will  continue  to  plan 
and  work  for  territorial  campaigns  to  increase 
theatre  attendance.  From  this  office  in  the  not 
too  distant  future  will  come  such  a  campaign 
which  we  believe  will  surpass  anything  that 
has  ever  been  suggested. 


NO  SERVICE  CUTS 

ITO  of  Ohio 

With  the  industry  surging  forward  and  with 
prospects  of  a  great  year  ahead,  this  is  not 
the  time  to  consider,  much  less  publicly  discuss, 
plans  for  consolidating  distribution  outlets  and 
curtailing  service  to  the  exhibitors. 

Rerent  trade  paper  stories  indicate  that  some 
companies  are  considering  a  plan  to  eliminate 
the  existing  exchanges,  plant  a  few  sales  ex- 
ecutives at  strategic  points  to  handle  circuit 
deals,  and  then  create  some  sort  of  joint 
agency  — ■  like  Confidential  Reports  or  Sargoy 
&  Stein  —  to  represent  all  the  companies  in 
handling  the  smaller  accounts. 

These  stories,  no  less  than  the  loose  (no 
pun)  article  in  "Life",  advertise  to  the  world 
that  the  movies  are  in  trouble,  lower  morale 
within  the  industry,  and  throw  road  blocks 
in  the  way  of  the  "Movietime,  U.  S.  A." 
campaign. 

Also,  we  are  getting  a  little  tired  of  the  cracks 
about  small  accounts,  how  unprofitable  they 
are  to  handle,  and  how  "75%  of  any  distrib's 
income  is  derived  from  110  accounts  represent- 
ing 3,500  to  4,000  houses."  There  was  a 
healthy  industry  before  those  big  chains  were 
forged.  This  so-called  "backbone"  of  the  in- 
dustry is  made  up  of  a  lot  of  once  independent 
vertebrae.  And  if,  in  spite  of  court  rulings, 
the  chains  are  to  be  put  in  a  preferred  class 
and  allowed  to  negotiate  blanket  deals  with 
top  executives  at  convenient  points,  whilst  the 
independent  exhibitors  must  deal  with  a  joint 
agency  operated  by  remote  control,  then  it  is 
apparent  that  the  wheels  of  justice  have  not 
ground  fine  enough  and  that  there  must  be 
still  further  divestitures. 

If  the  distributors  are  out  looking  for  trouble, 
this  is  where  they  will  find  it. 


16 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
Cxclu^e  ^4  BULLETIN  Jeatun 


COLUMBIA 

KRAMER  RELEASES  BOLSTER 
COLUMBIA'S  50-FILM  PROGRAM 

Thanks  to  a  large  degree  to  the  Stanley 
Kramer  Company  which  is  now  releasing 
through  Columbia,  the  Harry  Cohn-domina- 
ted  organization  is  beginning  to  show  some 
evidence  of  keeping  pace  with  the  overall 
trend  toward  higher  calibre  movies  coming 
out  of  Hollywood  these  days. 

Cohn  has  announced  that  his  company 
will  release  a  total  of  50  films  during  the 
new  fiscal  year,  starting  this  month.  Of  that 
number,  30  will  fall  in  the  "A"  production 
category.  The  Kramer  company  will  turn 
over  a  total  of  four  pictures  within  seven 
months,  to  be  included  in  this  new  group  of 
releases. 

There  can  be  no  doubt  that  the  five  pic- 
tures going  into  production  this  month  are 
on  a  vastly  higher  plane  than  has  been  nor- 
mal for  Columbia  in  recent  years.  The  pro- 
ductions are  sparked  by  superior  casts,  and 
carry  budgets  more  in  keeping  with  present- 
day  Class  A  movie-making. 

Two  of  the  five  September  starters  are 
from  the  Kramer  unit,  and  are  budgeted  at 
slightly  higher  figures  than  his  previous  hits 
turned  out  for  United  Artists  release.  Both 
start  today  (September  10),  and  both  will 
be  produced  personally  by  Kramer.  "Death 
of  A  Salesman"  (Fredric  March),  is  based 
on  the  popular  Broadway  hit  and  is  being 
directed  by  Laslo  Benedek.  "Fourposter,"  a 
Technicolor  Rex  Harrison-Lilli  Palmer  star- 
rer, is  directed  by  Irving  Reis. 

Topping  the  list  of  Columbia's  own  pro- 
ductions for  the  month  is  "The  Marrying 
Kind,"  Judy  Holliday's  second  picture  for 
the  company,  to  be  produced  by  Bert  Granet 
and  directed  by  George  Cukor.  The  picture 
rolls  September  11,  and  carries  a  32  day 
shooting  schedule  and  a  budget  in  the  mil- 
lion dollar  bracket.  On  the  same  day,  Lor- 
etta  Young  goes  before  the  cameras  as  the 
star  of  "The  Mother,",  Rudy  Mate  directing 
for  Producer  Luther  Adler,  and  Sam  Katz- 
man  launches  a  slightly  lower  budgeted  out- 
door action  feature,  "Golden  Hawk."  No  cast 
has  been  announced  for  the  latter. 

During  the  latter  part  of  August,  the 
soundstages  were  all  silent  at  the  studio  for 
several  days,  due  to  the  fact  that  the  four 
productions  which  were  shooting  at  that 
time  were  all  on  location.  They  were:  "The 
Brigand",  (Anthony  Dexter — Jody  Lawrence 
— Anthony  Quinn).  an  Edward  Small  Tech- 
nicolor production  directed  by  Phil  Karlson; 
"Captain  Blood  Returns",  also  in  Technicol- 
or, starring  Louis  Hayward,  Patricia  Medina 
and  John  Sutton;  "Cripple  Creek",  (George 


Montgomery — Karin  Booth),  another  Ed- 
ward Small  production,  and  "The  Old  West" 
a  Gene  Autry  production,  in  which  he  is 
co-starred  with  (jail  Davis.  "The  Brigand", 
which  started  on  August  2,  was  brought  in 
on  schedule  last  week.  "Captain  Blood  Re- 
turns", directed  by  Ralph  Murphy  and  Pro- 
duced by  Harry  Joe  Brown,  has  been  com- 
pleted on  a  slightly  shorter  schedule;  "Crip- 
ple Creek,"  directed  by  Ray  Xazarro,  and 
"The  Old  West,"  directed  by  George  Arch- 
ainbaud  for  Produced  Armand  Schaefer, 
both  started  August  20,  and  will  be  turned 
over  to  the  editing  department  this  week. 

LIPPERT  PRODUCTIONS 

LIPPERT  TO  FINANCE, 
DISTRIBUTE  INDE  PRODUCT 

Announcement  should  be  forthcoming  any 
day  now  that  Robert  L.  Lippert  is  abandon- 
ing all  production  to  swing  his  company 
over  to  a  straight  distribution  oganization. 
He  is  known  to  have  conferred  with  eastern 
banking  interests  and  is  reportedly  in  a  pos- 
ition where  he  can  furnish  first  money  for 
select  independent  producers,  and  thereby 
become  a  strong  competitor  of  United  Art- 
ists. 

Despite  the  fact  that  Lippert's  backlog  of 
pictures  has  dwindled  to  an  all-time  low  of 
only  three  pictures,  he  has  nevertheless 
lined  up  an  impressive  array  of  12  ft  reign- 
made  films  for  American  distribution.  Inclu- 
ded in  this  number  are  nine  pictures  to  be 
produced  in  England  by  James  Crareras 
with  American  casts  which  Lippert  will  pro- 
vide. As  reported  last  issue,  the  first  of 
these  nine  films,  "Black  Mail,"  was  alread\ 
shooting,  and  has   since  been  completed. 

Lippert  has  also  closed  a  two-picture  deal 
in  Italy,  with  one  of  the  productions  to  be 
made  by  Samuel  Fuller,  writer-producer- 
director  of  "The  Steel  Helmet."  Another 
feature  is  to  be  made  in  Spain,  and  the  pap- 
ers are  expected  to  be  signed  very  soon  for 
a  French  production. 

Another  deal  just  completed  calls  for  the 
release  of  "Home  Town  Boy,"  which  was 
made  in  1949  under  the  title  "A  Dog's  Life' 
(Harold  Lloyd,  Jr.  —  Cathy  Downs). 

Productionwise,  only  two  new  films  fur 
Lippert  release  have  rolled  since  the  last 
Studio  Size-ups  report.  They  are:  "For  Men 
Only,"  a  Henreid-Xassour  production  star- 
ring Paul  Henreid,  which  rolled  September 
5,  and  "Adventures  of  Robin  Hood",  a  Hal 
Roach,  Jr.  picture,  starring  Robert  Clarke 
and  Mary  Hatcher  with  James  Tinling  di- 
recting. 

The  three  Lippert  productions  still  re- 
maining in  the  backlog  are:  "FBI  Girl,"  a 


HOLLYWOOD  EDITORIAL 

WATCH  THE  SEX 

The  head  of  a  major  studio  not  many 
months  ago  laid  down  an  over-all  policy  for 
his  company's  future  production,  emphasizing 
sex  as  the  ingredient  to  be  stressed.  A  perusal 
of  most  of  the  company's  recent  product — or, 
for  that  matter,  the  exploitation  of  that  pro- 
duct indicates  the  head  man's  edict  is  being 
carried   out  to   an  alarming  extreme. 

Certainly  no  one  with  an  ounce  of  show- 
manship know-how  could  quarrel,  per  se,  with 
"sex  interest"  in  a  picture,  providing,  of  course, 
that  the  filming  of  the  story  and  the  exploita- 
tion of  the  picture  do  not  violate  the  rules 
of  good  taste.  But  when  it  is  carried  to  a  point 
where  sex  is  the  only  subject  worthy  of  em- 
phasis, and  story  lines  and  advertising  are 
distorted  to  give  the  "sexsational"  angle  the 
total  play,  the  reputation  of  the  entire  motion 
picture   business    must    necessarily  suffer. 

One  company,  by  catering  exclusively  to 
the  lowest  tastes  of  the  lowest  audience  element, 
can  and  will  drag  the  entire  industry  down 
to  the  level  of  a  peep-show  medium  in  the 
public's  estimation. 

Isn't  it  about  time,  then,  that  the  exhibitors 
of  this  country,  who  have  a  reputation  to 
mainain  in  their  respective  communities,  pro- 
test this  studio's  frank  catering  to  the  sexsa- 
tional? After  all,  who  could  be  in  a  better 
position  to  call  a  producer's  hand,  than  the 
men  who  show  his  product? 

The  over-all  quality  of  the  new  crop  of 
pictures  is  beyond  question  the  finest  in  the 
entire  history  of  the  medium  —  which  accounts 
for  the  current  upsurge  at  the  boxofHce.  What 
a  pity  if  a  few  cheap  movies  ballyhooed  in  an 
even  cheaper  manner,  should  mitigate  against 
the  healthy  effect  on  the  boxoffice  of  the 
splendid  crop  of  motion  pictures  that  have 
come  and  are  coming  out  of  Hollywood  these 
days,  the  finest  in  the  industry's  history.  JAY 
ALLEN. 


Cesar  Romero  starrer;  "Varieties  On  Par- 
ade," a  musical  revue  and  "Leave  It  To 
the   Marines,"  starring  Sid  Melton. 

METRO-GOLDWYN-MAYER 

SCHARY  SLATE  TO  STRESS 
HIGH  BUDGETS,  YOUNG  TALENT 

In  announcing  Metro's  new  1951-52  slate  of 
40  pictures,  Dore  Schary  emphasized  high  bud- 
gets and  all  of  the  production  trimmings  that 
go  into  making  strictly  Class  AA  features,  at 
the  same  time  stressing  the  necessity  for  de- 
velopment of  young  talent  in  all  brackets.  For 
example,  half  of  the  pictures  on  the  slate  will 
be  in  Technicolor;  budgets  will  average  ap- 
proximately one-and-a-quaner  million  dollars ; 
casts  will  be  of  the  highest  calibre  obtainable, 
and  almost  all  of  the  new  appointments  and 
promotions  made  since  Schary  took  over  have 
been  in  the  lower  age  groups. 

(Continued  on  Page  18) 


SEPTEMBER   10,  1951 


17 


STUDIO  SIZ6-UPS 

(Continued  from  Page  17) 

Contrary  to  common  opinion,  production  has 
actually  been  speeded  up  rather  than  retarded 
by  the  changeover  in  studio  management  brought 
about  bv  the  exit  of  L.  B.  Mayer.  As  of  right 
now,  the  studio  is  hitting  its  peak  production 
activity  of  the  year  with  six  features  shooting, 
and  a  pair  more  scheduled  to  start  within  the 
next  three  weeks. 

Currently  filming  are:  "Scaramouche"  (Stew- 
art Granger  -  Eleanor  Parker  -  Janet  Leigh), 
Technicolor  biggie  which  director  George  Sidney 
and  producer  Carey  Wilson  launched  August 
20;  "The  Merry  Widow"  (Lana  Turner  -  Fer- 
nando Lamas),  Technicolor  musical  shooting 
since  August  27,  Curtis  Bernhardt  megging  for 
producer  Joe  Pasternak;  "Skirts  Ahoy"  (Esth- 
er Williams  -  Barry  Sullivan),  another  Tech- 
nicolor musical  shooting  since  August  27,  with 
Sidney  Lanfield  directing  for  producer  Paster- 
nak; "The  Invitation"  (Dorothy  McGuire  - 
Van  Johnson  -  Louis  Calhern),  launched  August 
28  by  producer  Lawrence  Weingarten  and  di- 
rector Gottfried  Reinhardt;  "Young  Man  In 
A  Hurry"  (Russell  Nype  -  Ruth  Roman  - 
Denise  Darcel),  a  Reinhardt-Wright  production, 
directed  by  Mitchell  Leisen  on  loan-out  from 
Paramount,  and  "The  Adventures  of  Huckle- 
berry Finn,"  new  Arthur  Freed  Technicolor 
musical,  directed  by  Vincente  Minnelli  and  star- 
ring Gene  Kelly,  Danny  Kaye  and  Deal  Stock- 
well,  filming  since  September  3. 

On  September  11,  Director  John  Sturges 
and  Producer  Armand  Deutsch  will  tee-off 
on  "Bowery  to  Bellevue,"  a  new  June  Allyson 
starrer,  and  on  October  1,  the  new  Mario 
Lanza  starrer,  "Because  You're  Mine,"  will 
get  underway  as  a  top-budget  Joe  Pasternak 
Technicolor  production. 

Completed  since  the  last  Size-Ups  report  are : 
"Belle  of  New  York,  "Singin'  In  the  Rain," 
"The  Enemy,"  "When  In  Rome,"  and  the 
$2,000,000  "Ivanhoe,"  which  was  filmed  in  Eng- 
land over  the  long  period  of  approximately  50 
days. 

No  Size-Up  of  Metro  at  this  particular  time 
could  be  complete  without  mentioning  the  tre- 
mendous grosses  that  are  in  store  for  the  com- 
pany with  the  forthcoming  release  of  "An  Am- 
erican In  Paris.""  It  is  the  opinion  of  this  de- 
partment that  here  is  the  finest  musical  ever 
produced  by  a  Hollywood  motion  picture  com- 
pany; one  destined  to  gross,  through  its  inevi- 
table issues  and  re-issues,  something  approach- 
ing the  record  of  "Gone  With  The  Wind."  It 
truly  establishes  a  new  milestone  in  motion  pic- 
ture making 


MONOGRAM  -  AA 

MORE  COLOR  FOR  MONO-AA 
PROBABLE  UNDER  NEW  EXECS 

Production  activities  of  Monogram  and  Allied 
Artists  during  the  1951-52  fiscal  year  are  ex- 
pected to  be  considerably  expanded  as  a  result 
of  the  new  ownership  control  brought  about  by 


the  purchase  of  82,500  shares  of  stock  by  Harold 
Mirisch  and  G.  Ralph  Branton.  Mirisch,  the 
vice-president  of  the  two  companies,  is  known 
to  be  making  a  careful  survey  of  story  proper- 
ties and  personnel,  with  an  eye  toward  increas- 
ing the  new  slate. 

Nevertheless,  all  three  of  the  top  stockholders 
—Mirisch,  Branton  and  President  Steve  Broidy 
—maintain  that  there  will  be  no  noticeable 
change  in  production  policies.  It  is  their  inten- 
tion to  continue  the  production  of  low-budget 
Monogram  pictures,  plus  six  to  eight  higher 
budgeted  Allied  Artists  features.  Top  budget 
on  the  AA  product  will  continue  to  be  in  the 
neighborhood  of  $400,000.  They  are  however, 
understood  to  be  in  favor  of  greater  use  of  col- 
or in  the  forthcoming  product. 

September  production,  meantime,  is  hitting 
near  peak  levels  for  the  year,  with  three  Mono- 
gram pictures  and  one  Allied  Artists  feature 
before  the  cameras.  AA's  entry  is  "My  Wife  Is 
Mine"  (Florence  Marly-Rod  Cameron)  which 
rolled  on  September  4,  a  Scott  E.  Dunlap  pro- 
duction. Monogram's  entries  are :  "Rodeo,"  a 
Cinecolor  special  which  rolled  September  5, 
with  Jane  Nigh  starred,  and  Walter  Mirisch 
and  William  Beaudine  sharing  the  producer  - 
director  credits,  respectively;  "Northwest  Ter- 
ritory," filming  since  September  4,  Kirby  Grant 
and  Chinook  starred,  Lindsay  Parsons  produ- 
cing; and  the  Brodco  production,  "Escape  to 
Freedom"  (Roddy  McDowell-Kristine  Miller), 
which  producer-director  Wesley  Barry  laun- 
ched on  August  25. 

Recently  completed  pictures  are :  "Win,  Place 
and  Show,"  "Aladdin  and  His  Lamp"  (Johnny 
Sands  -  Patricia  Medina)  high-budget  feature 
produced  by  Walter  Wanger  and  directed  by 
Lew  Landers ;  "Ghost  Riders",  "Lone  Star  Law- 
man." 


PARAMOUNT 

IMPRESSIVE  PAR.  BACKLOG 
SPURS  OPTIMISM  AT  STUDIO 

Grand  scale  production  seems  to  be  the  key- 
note for  the  new  1951-52  Paramount  picture 
slate,  which  will  feature  a  minimum  of  30  fea- 
ture films. 

Probably  at  no  time  since  the  war  has  there 
been  such  an  all-out  spirit  of  optimism  around 
the  lot  —  or  better  cause  for  it  —  than  at  the 
present  time.  With  the  greatest  aggregation  of 
potential  boxoffice  hits  in  the  backlog  since  the 
boom  days,  studio  toppers  are  launching  a  big 
expansion  program,  aimed  at  recruiting  new  tal- 
ent for  every  creative  department,  as  well  as  top 
story  properties  for  the  new  talent  to  work 
with. 

Among  the  backlog  of  pictures  which  are 
largely  responsible  for  the  high  spirits  so  prev- 
alent on  the  lot  are :  "Detective  Story,"  gener- 
ally conceded  to  be  one  of  the  finest  movies 
made  by  the  company ;  the  big  DeMille  spec- 
tacle. "The  Greatest  Show  On  Earth ;"  Bing 
Crosby's  outstanding  picture  to  date,  "Here 
Comes  the  Groom;"  another  "best"  credited  to 
the  Martin  and  Lewis  comedy  team  in  "The 
Stooge;"  "A  Place  In  the  Sun";  Bob  Hope's 
"Son  of  Paleface;"  Betty  Hutton's  smash  musi- 
al  "Somebody  Loves  Me,"  and  Alan  Ladd's 
peak  acting  stint  in  "Thunder  In  the  East." 


In  line  with  the  new  policy  of  garnering  new 
talent  in  all  departments,  new  producer  pacts 
have  just  been  handed  to  Everett  Riskin  and 
Bernie  Smith  —  the  latter,  a  long-time  Para- 
the  cameras,  with  two  more  slated  to  start  by 
mount  story  editor. 

As  of  this  writing,  four  features  are  before 
October  1.  Those  currently  before  the  cameras 
are:  "Shane"  (Alan  Ladd  -  Jean  Arthur- Van 
Heflin),  high-budget  Technicolor  feature  pro- 
duced and  directed  by  George  Stevens  in  work 
since  July  26;  "Son  of  Paleface"  (Bob  Hope- 
Jane  Russell),  also  in  Technicolor,  produced  by 
Robert  Welch  and  directed  by  Frnak  Tashlin 
filming  since  August  13;  "Somebody  Loves  Me" 
(Betty  Hutton-Ralph  Meeker),  a  Perlberg- 
Seaton  production,  directed  by  Irving  Brecher, 
started  August  27 ;  and  "At  Sea  With  the  Na- 
vy," a  Martin  and  Lewis  comedy  produced  by 
Hal  Wallis,  working  since  September  5. 

On  September  17,  Producer  Irving  Asher  and 
director  William  Dieterle  will  signal  the  start 
of  "This  Is  Dynamite,"  with  William  Holden 
taking  the  role  previously  assigned  to  Alan 
Ladd.  On  October  1,  Producer  Irving  Asher 
moves  onto  another  major  product,  with  the 
start  of  filming  on  "The  Goddess,"  starring 
Anna  Maria  Alberghetti.  No  director  has  been 
assigned  for  the  latter. 

Pictures  completed  in  the  past  month  are : 
"Warbonnet"  (Technicolor),  "Anything  Can 
Happen",  "The  Denver  and  Rio  Grande"  (Tech- 
nicolor), and  Pine-Thomas'  "Green  Gold  Of 
Nevada"  (Technicolor).  In  addition,  the  Pine- 
Thomas  Technicolor  production,  "Big  Timber" 
(John  Payne-Susan  Morrow),  was  both  started 
and  completed  during  the  past  month.  Edward 
Ludwig,  handling  the  direction  reins,  completed 
the  filming  in  22  days  —  five  under  schedule. 


REPUBLIC 

REP.  SETS  5  FOR  SEPT,  AS 
RUMORED  MAYER  DEAL  FADES 

Barring  some  unforseen  development,  it 
appears  that  there  is  small  chance  for  the 
consummation  of  the  deal  reported  by  Wall 
Street  recently,  whereby  Louis  B.  Mayer 
and  certain  undisclosed  business  associates, 
would  acquire  control  of  Republic  Pictures. 

A  source  very  close  to  Mayer  admits  that 
such  a  deal  has  been  considered,  but  that  it 
has  never  come  close  to  the  final  negotiating 
stage.  By  the  same  token.  FILM  BULLE- 
TIN has  been  informed  that  Herbert  J. 
Yates,  Republic  Prexy,  has  no  desire  to  re- 
linquish his  controlling  stock  ownership.  So 
it  appears  that  no  drastic  change  is  in  si^ht 
for  the  valley  studio,  beyond  the  fact  that 
a  considerable  increase  in  production  ap- 
pears to  be  imminent  under  the  old  manage- 
ment. 

Five  films  are  set  to  roll  during  September, 
first  to  go  being  "Captive  of  Billy  the  Kid", 
an  Allen  "Rocky"  Lane  starrer,  which  hit 
the  wire  on  the  fifth,  Harry  Keller  producing 
and  Fred  Bannon  megging.  Following  on 
September  7.  was  "Tabarin,"  produced  and 
directed  by  Herman  Millakowsky.  with  a 
cast  of  newcomers.  On  September  17,  asso- 

(Continued  on  Page  20) 


13 


FILM  BULLETIN 


alk  About  fftff  National  Ad  Campaigns! 


LOOK  AT  THIS  ONE ! .  •  Seat-selling  sockeroo  FULL-COLOR  ads  in 

50,773,473  copies  of  national  magazines  and  Sunday  newspaper  supple- 
ments—numerical circulation  enough  on  readership  statistics  to  reach 

every  moviegoer  in  the  country! 


*The  hottest  combination 
that  ever  hit  the  screen!' 


—  LOU  ELLA  0.  PARSONS 


HOWARD  HUGHES  presents 


ROBERT  MITCHUM- JANE  RUSSELL 

HIS  KIND  OF  WO  MAM! 

"  wiiurcNT  prip.f  •  TIM  HOLT  •  Charles  McGRAW  m  V^MhJ 


.»  VINCENT  PRICE  •  TIM  HOLT  •  chabies  McGRW 

A  JOHN  FfcRROW  PRODUCTION 


WRITTEN  6<  f(* 


Four-color,  double- 
page  spreads  in 


LOOK 
LIFE 


Four-color,  full  pages 


SATURDAY  EVENING  POST 
COLLIER'S 

TIME 
NEWSWEEK 
HOLIDAY 
[  WOMAN'S  HOME  COMPANION 
COSMOPOLITAN 
TRUE  STORY 
ESQUIRE 
McCALL'S 
REDBOOK 
AMERICAN  WEEKLY 

(Sunday  newspaper  supplement 
in  22  cities) 

MOTION  PICTURE 
MOVIE  STORY 
TRUE  CONFESSIONS 
PHOTOPLAY 
MOVIELAND 
SCREEN  GUIDE 
MOVIE  LIFE 
MOVIE  STARS  PARADE 
SCREENLAND 
SILVER  SCREEN 
MODERN  SCREEN 
SCREEN  STORIES 


TOTAL 
CIRCULATION 


50,773,473! 


[  STUDIO  size-ups 

(Continued  from  Page  18) 

ciate  Producer  Joseph  Kane  tees  off  on 
"Hoodlum  Empire,*  based  on  Bob  Consi- 
dine's  IXS  racketeering  exposees  and  the 
Keiauver  investigations.  Kane  will  also  di- 
rect the  picture,  but  no  cast  had  been  an- 
nounced at  this  writing.  Another  Rex  Allen 
starrer.  '  The  Last  Muskateer."  is  set  for  a 
September  20  start  with  William  Witney 
directing  for  Associate  Producer  Edward  J. 
White.  Winding  up  the  months  activities 
will  be  "Girl  From  Panama"  (Estelita).  set 
for  a  September  25th  starting.  Producer  and 
director  on  the  latter  will  be  announced 
later. 

In  addition.  14  writers  are  currently  at 
work  on  13  Republic  screenplays,  marking 
the  most  ambitious  writer  activity  in  the 
studio's  history.  Moreover,  most  of  the 
properties  are  in  the  high  budget  class. 
Topping  the  list  of  productions  in  the  writ- 
ing stages  is  "The  Alamo."  which  will  be 
produced  and  directed  by  John  Wayne.  Other 
top  properties  in  the  works  and  the  produc- 
ers assigned  to  them  are:  "Songs  Of  Youth", 
for  Allan  Dwan:  "Fair  Wind  to  Java."  for 
Joseph  Kane:  "Citizen  Soldier."  for  John  H. 
Auer:  and  "A  Wac  From  Walla  Walla." 
still  to  be  assigned. 

Five  of  the  pictures  scheduled  for  the  year 
will  be  in  color,  a  new  high  for  the  company. 

RKO 

WALD-KRASNA  FILMS  ADD 
QUALITY  TO  RKO'S  SCHEDULE 

On  the  basis  of  Xed  Depinet's  recent  an- 
nouncement in  New  York  that  RKO  will 
release  an  unprecedented  36  feature  films 
during  the  1951-52  fiscal  year  there  can  be 
no  doubt  there  will  be  plenty  of  quantity  in 
its  forthcoming  slate.  And,  largely  on  the 
basis  of  the  upcoming  Kald-Krasna  slate, 
it  appears  that  there  will  at  least  be  more 
quality  than  has  been  evident  in  RKO  re- 
leases of  the  past  two  years. 

The  Wald-Kra^na  organization  is  concen- 
trating almost  exclusively  on  originals  in 
its  next  group  of  ten  pictures,  nine  of  which 
have  been  scheduled  for  filming  during  the 
remainder  of  1951.  They  will  roll  at  the  rate 
of  two  per  month  during  September.  October 
and  November,  with  a  third  added  to  the 
December  shooting  schedule.  "Clash  By 
Night"  (Barbara  Stanwyck  -Paul  Douglas) 
and  "Cowpoke"  (Robert  Mitchum)  both  roll 
September  15.  with  Fritz  and  megging  the 
former  for  producer  Harriet  Parsons.  "Cow- 
poke"  will  have  its  initial  lensins;  on  location 
St  the  Pendleton,  Ore.,  Roundup.  The  next 
two.  "Size  12."  and  "High  Heels,'  both  to 
be  produced  by  Harriet  Parsons,  will  roll 
October  1  and  October  15, 


One  top-budget  production  to  be  filmed 
by  RKO,  itself,  will  roll  in  September  — 
the  long-awaited  and  often-postponed  "An- 
drocles  and  the  Lion."  Producer  Gabriel 
Pascal,  associate  producer  Lewis  J.  Rachmil 
and  director  Charles  Erskine,  have  finally 
set  today  (September  10)  as  the  starting 
date.  Jean  Simmons.  Yictor  Mature.  Robert 
Newton,  and  Maurice  Evans  head  the  cast. 
The  nut  on  the  production  is  reputed  to 
to  be  in  the  neighborhood  of  SI. 500.000.  and 
the  shooting  schedule  has  been  set  at  46 
days. 

Winchester  Productions"  "The  Big  Sky" 
(Kirk  Douglas),  which  started  July  23.  and 
"The  Korean  Story"  (Robert  Mitchum).  an 
August  27  starter,  are  the  only  other  films 
shooting  at  the  present  time.  "Sky"  has  been 
on  location  in  Montana,  and  is  being  pro- 
duced and  directed  by  Howard  Hawks, 
while  "Story"  is  being  produced  by  Edmund 
Grainger  and  directed  by  Tay  Garnett. 

Filmakers"  fourth  RKO  release.  "Day 
Without  End."  co-starring  Ida  Lupino  and 
Robert  Ryan,  is  the  only  Class  A  production 
to  wind  during  the  past  month.  Producer 
Collier  Young  and  directed  Harry  Horner 
brought  it  in  one  under  the  allotted  21 -day 
shooting  schedule.  Contracts  for  a  program 
of  three  more  Flmakers  productions  for 
RKO  are  now  being  drawn  up. 


20th  CENTURY  FOX 

5  AUGUST  STARTERS  KEEP 
FOX  ACTIVITY  AT  HIGH  PITCH 

For  the  first  time  this  year,  the  West- 
wood  studio  will  go  through  an  entire  month 
without  a  single  new  production  going  be- 
fore the  cameras.  However,  the  20th  Cen- 
tury-Fox soundstages  will  not  be  as  quiet 
during  September  as  that  statement  might 
indicate,  inasmuch  as  five  new  features  hit 
the  tape  during  the  lsat  half  of  August, 
and  will  continue  filming  for  most  of  the 
remainder  of  the  present  month. 

On  August  16.  the  Technicolor  musical. 
"Wait  Till  the  Sun  Shines,  Nellie'  (Jean 
Peters  -  David  Wayne),  and  a  heavy  drama. 
"Five  Fingers*'  (James  Mason  -  Michael 
Rennie).  went  before  the  cameras.  The 
former  has  George  Jessel  handling  the  pro- 
duction chores  and  Henry  King  directing. 
"Fingers"  is  being  produced  by  Otto  Lang 
and  directed  by  Joseph  L.  Mankiewicz.  On 
August  20.  director  Jean  Negulesco  and 
producer  Nunnally  Johnson  launched  "Phone 
Call  From  A  Stranger",  starring  Gary  Mer- 
rill and  Shelley  Winters.  Two  days  later, 
producer  Samuel  G.  Engel  and  director 
Henry  Levin  teed  off  on  "Bells  On  Their 
Toes"  (Jeanne  Crain  -  Myrna  Loy).  and 
on  August  23.  Dale  Robertson  and  Richard 
Boone  faced  the  cameras  for  the  start  of 
"Return  of  the  Texan",  produced  by  Frank- 
Rosenberg,  and  directed  by  Delmar  Daves. 
All  of  the  August  starters  fall  in  the  top 
budget  category  with  the  possible  exception 
of  "Texan"",  which  would  be  considered  in 
the  medium  budget  class  by  Fox  standards. 


Shooting  schedules  will  range  from  24  days 
on  the  latter,  to  as  high  as  45  days  on  a 
couple  of  others. 

Jane  Froman  biopic.  "Red  Skies  of  Mon- 
tana" ( Technicolor  I.  "Elopement".  "Fixed 
Bayonets*'  and  "Pride  of  St.  Louis",  the 
Dizzy  Dean  biopic. 

Harry  Kurnitz  and  Otto  Preminger  have 
formed  their  own  production  unit  to  make 
a  new  Fox  release.  "Reclining  Fgure".  from 
a  novel  by  Kurnitz  soon  to  be  published  by 
Random  House.  Kurnitz  will  produce  and 
write  the  script,  with  Preminger  doubling 
as  co-producer  and  director.  The  latter  has 
a  one-picture-a-year  deal  at  Fox. 


UNITED  ARTISTS 

23  SET  FOR  1952  RELEASE 
FORECASTS  BRIGHT  UA  FUTURE 

United  Artists  is  definitely  over  the  hump 
and  faces  one  of  the  most  potentially  pros- 
perous years  in  the  company's  history,  with 
a  schedule  of  23  pictures  already  set  for  the 
1952  season,  and  new  deals  being  consum- 
mated almost  every  week. 

What  should  prove  to  be  a  particularly 
lucrative  association  is  the  new  six-picture 
deal  just  signed  with  Sol  Les:er  and  Sam 
Briskin.  The  half  dozen  features,  all  to  be 
produced  for  1952  release,  will  be  financed, 
in  part,  by  Edward  Small,  with  Aubrey 
Schenck  serving  as  the  executive  producer. 
First  money  will  be  supplied  by  the  Bankers 


AN  APOLOGY 

FILM  BULLETIN  owes  United  Art- 
ists an  apology  for  some  erroneous  infor- 
mation printed  here  last  month.  At  that 
time,  we  reported  that  some  of  the  inde- 
pendents were  unhappy  over  the  terms 
which  UA  has  been  asking  on  releasing 
deals.  On  further  check,  we  find  that  the 
indes  who  have  lined  up  their  product 
with  the  company  are.  by  and  large,  com- 
pletely contented  with  their  deals.  The 
bum  steer  came  from  one  disgrunted  pro- 
ducer who  has  been  trying  to  peddle  a 
slate  of  projected  pictures  to  Arthur 
Krim  and.  failing  to  do  so.  made  the 
rounds  of  all  the  Los  Angeles  newspapers, 
trade  journals  and  Hollywood  columnists 
spreading  his  venomous  mininformation. 
We  hope  UA  will  accept  the  apology  but. 
at  the  same  time,  have  their  eyes  opened 
to  the  need  for  a  full-scale  publicity  and 
public  relations  office  on  the  west  coast 
where  such  stories  can  be  checked. 


Trust  Company  of  New  York.  Briskin  will 
share  in  the  financing,  as  well  as  in  an  ad- 
visory capacity,  in  addition  to  his  duties  as 
an  executive  of  Paramount  Pictures.  Holly- 
wood generally  looks  upon  the  company  as 
the  most  important  new  independent  since 
Wald  and  Krasna  set  up  camp  at  RKO. 

(  Cty  tinned  on  rage  251 


20 


FILM    B  U  L  I.F.TI  X 


A  New  Boxoffice  Champ ! 


#1 


'IRON  MAN"  Starring  JEFF  CHANDLER  •  EVELYN  KEYES  •  STEPHEN  McNALLY  ■  with  ROCK  HUDSON  •  JOYCE  HOLDEN 
by  GEORGE  ZUCKERMAN  and  BORDEN  CHASE  '  Based  on  the  story  by  William  R.  Burneft""-  Directed  by  JOSEPH  PEVNEY  •  Produced  by  AARON  ROSENBERG  ■  A  Universal- International  Picture 


COMPO'S  MAYER 

"Were  No  Longer  Slipping" 


RKO  GUARANTEE  RESCUES 
MAJOR  FIGHT  FOR  THEATRES 

Demonstrating  for  the  first  time  the  film 
industry's  ability-  to  outbid  television  sponsors 
for  a  sporting  event,  RKO  joined  with  theatre 
television  movie  houses  to  salvage  the  much- 
heralded  RaRy  Robinson  -  Randy  Turpin  fight 
Sept.  12  from  home  television.  With  the  rights 
for  exclusive  theatre  TV  contingent  on  RKO's 
ability  to  guarantee  $325,000,  together  with  the 
income  from  theatre  TV  showings,  for  the  film 
rights  to  the  bout  the  figure  reportedly  offered 
by  Pabst  for  video  rights),  the  outcome  was 
in  doubt  until  last  midweek.  Then  Robert  Moch- 
rie,  RKO  distribution  v. p.,  announced  that  the 
guarantee  was  met  and  said  the  company  con- 
siders the  arrangement  "a  major  experiment" 
to  determine  the  movies'  ability  to  cop  sporting 
events  for  industry  showings. 

In  addition  to  providing  theatres  with  a  top- 
flight drawing  card  on  both  regular  and  large 
TV  screens,  the  deal  which  Mochrie  closed  with 
the  International  Boxing  Club  should  prove 
a  hypo  for  boxoffice  everywhere,  since  the  fight 
will  not  be  available  on  home  TV  or  radio  and 
the  millions  of  TV  set  owners  who  might  ordi- 
narily stay  home  to  watch  or  hear  the  fight 
might  decide  to  take  in  a  movie  that  night. 

Proof  that  the  public  is  interested  in  the  Rob- 
inson-Turpin  bout  to  the  extent  that  they  will 
pay  an  excepionally  higher  price  to  view  it  on 
theatre  TV  is  evidenced  in  the  announcement 
by  the  Stanley  Theatre  in  Philadelphia  that  3000 
reserved  scats  were  sold  out  approximately  48 
hours  after  tickets  wen-  placed  on  sale.  The 
price  was  $2.60.  the  highest  charged  by  any 
theatre  participating  in  the  TV  exhibition  of 
the  fight.  And  it  was  reported  that  a  large 
block  of  seats  were  bought  up  by  a  ticket 
broker  to  be  sold  at  a  $3.80  figure  In  addition, 
another  Philly  house,  the  independent  Royal 
Theatre,  which  is  using  the  low  price  Magna- 
vid  equipment  developed  by  Theatre  Television 
Enterprises,  was  beading  toward  a  complete 
sellout  Friday  evening  at  $1.95  per  ticket  sold 
on  a  non-reserved  scat  basis. 

22 


BULLETIN 

Vol.  19,  No.  19  September  10,  1951 

News 

and 
Op  in  ion 


MOVIETIME  USA  MASS 
MEETINGS  SET  HUGE  DRIVE 

"Movietime,  U.S.A."  snowballed  into  gigan- 
tic proportions  as  industry  mass  meetings  found 
thousands  of  members  of  the  film  industry  pum- 
ping on  the  boxoffice  drive  bandwagon  in  eacli 
of  the  cities  in  which  the  rallies  were  held.  By 
September  24th,  kickoff  date  of  the  campaign, 
which  will  be  launched  via  a  nationwide  broad- 
cast over  Lux  Radio  Theatre,  virtually  every 
member  of  the  industry  was  expected  to  be  an 
active  participant. 

Among  the  largest  of  the  Movietime  mass 
meetings  was  the  conclave  held  in  New  York 
last  Thursday  (6th)  at  RKO's  58th  Street 
Theatre.  Distributors,  exhibitors,  exchangemen, 
flackmen,  and  every  member  of  movie  business 
not  on  duty  piled  into  the  house  to  vouchsafe 
their  enthusiastic  support  for  the  campaign. 
Mayor  Vincent  Impelliteri  was  on  hand  to  wish 
the  industry  good  fortune  and  laud  it  as  "a 
great  influence  for  good",  which  had  never 
failed  to  reply  to  his  plea  for  aid. 

COMPO  executive  vice  president  Arthur 
Mayer,  in  his  keynote  address,  revealed  that  in 
visits  to  similar  meetings  throughout  the  country 
with  Movietime  national  director  Rober  J. 
O'Donnell,  boxoffices  were  surging  upwards. 
"Movie  business  is  up  5  to  20  percent  in  the 
South",  he  reported.  "We're  no  longer  slipping, 
it's  television  whose  troubles  are  now  increas- 
ing. O'Donnell,  detailing  the  campaign,  said  that 
October  1  would  see  the  country  blanketed  by 
ads  in  1750  newspapers.  He  outlined  personality 
tours  of  stars,  producers  and  other  Hollywood 
personnel  who  will  go  to  capitals  of  each  state 
and  then  to  other  cities.  For  the  Lux  Radio 
Theatre  salute,  he  said,  there  will  be  a  nation- 
wide co-op  promotion  campaign,  and  advance 
trailers  will  be  made  available  to  all  of  the  na- 
tion's 23,000  theatres  urging  their  audience  to 
listen  to  the  broadcast. 

Even  a  larger  turnout  was  in  evidence  for 
the  Atlanta  rally,  a  week  earlier.  Heralded 
by  a  parade  through  downtown  streets,  3000 
industryites  from  Georgia,  Tennessee  and  Ala- 
bama met  in  the  Fox  Theatre  to  spark  the 
"Movietime  Down  South,  U.S.A."  rally. 

Elsewhere  the  same  enthusiasm  was  in  evi- 
dence, if  not  the  same  crowds.  In  New  Orleans, 
1500  exhibitors  from  Louisiana,  Mississippi,  Ar- 
kansas, Alabama  and  Florida  voted  to  back  the 
campaign  with  a  five-ccnt-i>er-seat  contribution; 
drive-ins  will  pay  10  cents  per  loud  speaker.  In 


MOVIETIME'S  O'DONNELL 

Thousands  Turned  Out 

St.  Louis,  650  theatres  and  film  representatives 
from  eastern  Missouri  and  Southern  Illinois 
offered  their  support;  700  met  in  Jacksonville 
for  the  Florida  campaign;  350  convened  in  Al- 
bany. 

Another  encouraging  note  was  heard  from 
the  City  of  Brotherly  Love,  where  the  exhibi- 
tors has  voted  to  conduct  the  campaign  inde- 
pendently of  COMPO.  A  Philadelphia  delega- 
tion, however,  after  a  meeting  with  O'Donnell 
and  Mayer,  agreed  to  join  the  COMPO  drive 
and  immediately  arranged  for  a  giant  rally  to 
be  held  at  the  Boyd  Theatre  on  September  12. 
Exchanges  and  other  industry  establishments 
will  be  closed  all  morning  so  that  everyone  can 
attend. 

All  was  not  sweetness  and  light,  however. 
While  there  was  no  disagreement  with  the 
COMPO  campaign,  there  were  mutterings  about 
the  terms  asked  for  the  top  films.  National  Al- 
lied Treasurer  Charles  Niles  wired  O'Donnell 
to  urge  the  distributors  to  "call  off  the  dogs  and 
curtail  their  greed  at  least  until  the  Movietime 
USA  is  over."  He  said  "outrageous  demands" 
in  film  rentals  for  top  product  would  destroy 
the  campaign  and  keep  much  of  the  best  films 
off  many  theatre  screens. 

And  in  Ohio,  Leo  T.  Jones  of  Sandusky, 
brought  up  a  series  of  pertinent  questions  that 
were  circulated  in  an  ITO  bulletin,  requested 
exhibitors  to  answer  queries  about  terms,  avail- 
abilities, arbitrary  dealings  with  exchangemen, 
allocations,  etc.  Answers  will  be  compiled  and 
presented  to  sales  managers  at  the  National  Al- 
lied Convention  next  month. 


PRICE-FIXING  NO  BAR  TO 
FRAUD  SUITS,  COURT  SAYS 

Admission  price  stipulations  in  film  contracts, 
one  of  the  most  potent  counter-weapons  for  ex- 
hibitor defense  against  percentage  fraud  suits 
brought  by  distributors,  was  blunted  last  week 
in  a  Federal  Court  decision  in  Lexington,  Ky. 


(Continued  on  Pane  24) 
FILM    B  U  L  L  E  T  I  N 


EXHIBITORS  ATTENTION! 

Do  You  Want  60  Million  People 
At  Home  Or  Going  To  Theatres? 

In  these  two  fight  pictures  the 
theatres  of  America  have  an  oppor- 
tunity of  playing  to  the  tremendous 
audience  of  ardent  fight  fans  willing 
to  pay  to  see  the  fights. 

But  -  even  more  -  the  theatres  can 
now  attract  the  millions  of  regular 
movie  fans  who  remain  home  on  the 
night  of  big  competitive  entertain- 
ment events. 

FOR  THE  FIRST  TIME,  alert  and  far- 
seeing  showmen  have  the  opportunity 
of  assuring  themselves  in  advance 
of  boxoff ice  special  events  which  will 
not  be  seen  or  heard  elsewhere. 


WIRE  OR  PHONE  YOUR  NEAREST  RKO 
EXCHANGE  NOW  ABOUT  BOOKINGS  FOR: 


77 


Since 


RKO 


"""Pel 


A oti\s  ami  Opinion 


(Continued  from  Page  22) 

as  L*.  S.  Judge  H.  Church  Ford  ruled  that  ad- 
mission price  provisions  in  license  agreements 
did  not  make  such  contracts  illegal  per  se.  This 
defense  had  been  utilized  extensively  by  exhibi- 
tors in  the  plethora  of  percentage  fraud  actions 
in  an  attempt  to  toss  out  the  cases,  but  the  Ken- 
tucky Federal  Court  ruling  was  the  first  to  make 
a  formal  decision  on  the  legality  of  contracts 
with  admission  price  provisions. 

Judge  Ford's  ruling  was  handed  down  in 
three  percentage  actions  in  the  Kentucky  court, 
filed  by  Columbia,  United  Artists  and  Universal 
against  Price  Coomer,  exhibitor  operating  the 
New  Harlan  Theatre  in  Harlan.  Ky. 

Citing  Chief  Justice  Taft's  ruling  in  the  Gen- 
eral Electric  anti-trust  suit.  Judge  Ford  held 
that  "the  principles  applicable  to  license  con- 
tracts for  the  use  of  patents  would  seem  equally 
applicable  to  license  contracts  involving  copy- 
rights and  hence  under  these  authorities  it 
seems  quite  clear  that  license  contracts  for  the 
exhibition  of  copyrighted  motion  pictures  con- 
taining price  maintenance  provisions  for  ad- 
mission to  such  exhibitions,  with  nothing  more 
to  condemn  them,  are  reasonable  and  normally 
adapted  to  secure  to  the  copyright  owner  the 
pecuniary  reward  to  which  he  is  entitled  under 
his  copyright  monopoly  and  are  not  in  violation 
of  the  Sherman  Act  nor  otherwise  illegal." 

FOX  NET  DROPS  SHARPLY 
IN  FIRST  HALF  RISE  DUE 

The  net  profit  of  $1,071,000  earned  by  20th 
Century- Fox  Film  Corp.  for  the  26  weeks  ended 
June  30,  1951,  showed  a  net  loss  for  the  film  di- 
vision of  $309,000,  while  the  theatre  subsidiary 
had  a  black  figure  of  $1,380,000.  according  to 
the  consolidated  earnings  statement  included  in 
the  company's  letter  to  stockholders.  This  com- 
pared with  the  previous  year"s  similar  six-month 
period  net  of  $4,683,000,  divided  approximately 
equally  between  the  film  group  and  the  theatre 
group. 

Biggest  single  factors  in  the  decrease  from  last 
year's  earnings  were  a  $2,000,000  increase  in 
amortization  of  film  costs  thas  year,  and  a 
$1,525,000  return  from  foreign  countries  of  re- 
stricted income  of  previous  years  for  the  first 
half  of  1950,  while  the  current  year's  period 
was  devoid  of  such  income. 

Film  rental  gross  declined  less  than  half  a 
million  dollars  this  year,  with  $42,566,000  for 
the  first  half  of  1951,  $43,005,000  in  last  year's 
half.  Theatre  receipts  dipped  more  substantiallv, 
from  $30,227,000  in  the  '50  first  half  to  $28,74i- 
000  in  the  '50  first  half  to  $28,741,000  this  year. 

In  his  letter  to  stockholders,  president  Spyros 
P.  Skouras  presented  a  much  brighter  prospect 
for  the  second  half  of  this  year.  For  the  first 
seven  weeks  of  the  third  quarter,  film  rentals 
have  increased  11%  over  the  same  weeks  last 
year,  he  reported,  and  theatre  recipts  are  now- 
making  a  better  compare  n  with  those  of  a 
year  ago  than  at  any  other  time  this  year. 

The  letter  accompanied  a  Proxy  Statement 
deta.hng  the  Plan  of  Reorganization  to  be  voted 
upon  at  a  special  |tockh(  I  lers'  meeting  October 
4,  in  conformity  with  the  Co-^ent  Agreement 
requiring  divorcement  and  divt-titure. 
24 


COLOR  OUTPUT  DOUBLED 
IN  NEW  MONO-AA  PROGRAM 


sales  personnel  than  any  other  single  prize  we 
could  otter.  It  is  for  this  reason  that  permanent 
records  of  accomplishment  will  be  awarded." 


A  one  hundred  per  cent  increase  in  color  films 
highlights  the  new  45-feature  program  to  be 
undertaken  by  Allied  Artists  and  Monogram 
during  the  next  12  months,  it  was  announced 
by  Steve  Broidy.  the  companies'  president. 

Addressing  the  sales  meeting  of  the  Mono- 
AA  Canadian  distribution  organization  in  Tor- 
onto last  week,  Broidy  stated  the  films  will  be 
produced  at  the  rate  of  four  per  month,  with 
the  entire  program  under  the  supervision  of  new- 
ly-appointed executive  producer  Walter  Mirisch. 

The  Cine  color  films,  which  will  comprise 
more  than  one-quarter  of  the  entire  slate,  will 
include  six  Allied  Artists  pictures  and  sevent 
Monogram  specials.  The  increase  in  color  pro- 
duction, according  to  Broidy,  "is  the  result  of 
ih?  highly  satisfactory  returns  we  had  on  the 
color  specials  released  by  us  last  season." 

Three  Walter  Wanger  Cinecolor  productions 
for  Allied  Artists  are  included  in  the  program. 
They  are  "Yellow  Knife."  "Queen  of  the  Uni- 
verse" and  "Beauty  and  the  Beast."  Other  AA 
pictures  will  be  "The  Police  Story."  "Battle" 
Zone"  and  "The  Black  Knight." 

Under  the  Monogram  banner  comes  Wanger's 
"Aladdin  and  His  Lamp"  in  Cinecolor,  as  well 
as  six  Cinecolor  specials,  including  "Hiawatha" 
and  "The  Rose  Bowl  Story." 

HEINEMAN  MOVES  UP  DRIVE 
AS  UA  FIELD  MEN  GO  ALL  OUT 

United  Artists  distribution  vice-president  Wil- 
liam J.  Heineman  launched  the  company's  sales 
drive  a  month  earlier  than  originally  planned 
following  a  series  of  regional  meetings  with  his 
division  and  branch  heads.  Heineman,  accomp- 
anied by  ad-publicity  vice-president  Max  Young- 
stein  and  general  sales  manager  Bernard  Kranze. 
was  so  successful  in  generating  enthusiasm  for 
the  company's  product  among  the  field  men 
that  it  was  decided  to  move  up  the  kickoff 
date  to  September  5,  rather  than  in  October. 

The  sales  topper  said  that  never  before  had 
he  seen  such  real  excitement  generated  for  a  sales 
push  despite  the  fact  that  there  are  no  cash 
prizes  offered  for  winners.  Rather,  first,  second 
and  third  prize  winners  will  receive  placques. 
which,  Heineman  added,  'will  in  the  days  to 
come  have  more  significance  to  the  winning 


PARA  SALES  MEET 

Paramount's  divisional  sales  managers 
were  called  together  for  a  three-day  con- 
clave in  the  home  office  on  September 
13  by  A.  W.  Schwalberg.  president  of  | 
Paramount  Film  Distributing  Corp.  Mar-  | 
king  the  first  time  the  divisional  chiefs 
have  been  convened,  the  meeting's  key 
point  will  center  on  the  "Confidence  Par- 
ade of  '51",  sales  campaign  currently  in 
progress  which  will  continue  to  the  end 
of  the  year.  Top  home  office  executives 
will  also  attend. 


SENATE  COMMITTEE  SLIMS 
ADMISSIONS  TAX  EXEMPTIONS 

COMPO  S  battle  before  Congress  to  keep 
so-called  "charitable"  organizations  and  "non- 
profit" groups  from  enjoying  Federal  Admiss- 
ions Tax  exemptions  paid  off  as  the  Senate  Fi- 
nance Committee  made  drastic  changes  in  the 
House-approval  bill.  Some  groups  were  elimin- 
ated from  the  exemptions,  others  considerably 
narrowed,  and.  in  no  cases,  would  the  exemption 
apply  where  the  entertainment  is  a  commercial 
motion  picture  or  is  held  in  a  movie  house. 

The  Senate  Committee  bill  was  still  incom- 
plete, but  on  the  basis  of  the  present  changes, 
seemed  destined  to  uphold  the  industry's  con- 
tention that  the  exemptions  from  the  20%  tax 
would  permit  unjust  competition  to  established 
film  theatres.  Abram  F.  Myers.  Allied  general 
counsel  and  spokesman  for  the  industry  before 
the  Finance  Committee,  withheld  detailed  com- 
ment on  the  Committee's  action,  but  said  that 
from  the  unofficial  reports,  "it  certainly  sounds 
very  good." 

Among  the  changes  were  provisions  that  char- 
itable organizations  eligible  for  exemption  must 
receive  public  support ;  removed  "cooperative" 
groups  from  eligibility,  limited  religious  groups 
to  churches  and  conventions  of  churches;  nar- 
rowed educational  institutions  exempted  to  those 
with  an  organized  faculty.  The  Committee  main- 
tained the  House-approved  exemptions  for  non- 
profit symphoney  orchestras  and  operas,  and 
the  provisions  that  the  ticket  tax  apply  only  to 
the  price  actually  paid  for  admission  and  not  to 
price  printed  on  the  ticket. 

UA,  UNIVERSAL  TO  RESIST 
GOVT.  REVISION  OF  DECREE 

Universal  and  United  Artists  squared  off 
for  a  legal  battle  with  the  Department  of  Jus- 
tice, denying  consent  decree  violations  as  char- 
ged by  the  government  agency.  The  rebuttal 
came  in  response  to  a  complaint  filed  last  month 
in  Xew  York  in  the  U.  S.  District  Court,  accu- 
sing the  two  companies  of  having  common 
officers,  and  charging  United  Artists  with  re- 
straint of  competition  through  its  purchase  of 
Eagle  Lion  Classics  last  April. 

The  portion  of  the  complaint  involving  Uni- 
versal revolved  around  the  activities  of  board 
board  member  Robert  S.  Benjamin,  whom  Uni- 
versal claims  is  neither  a  director  nor  an  officer 
of  United  Artists.  According  to  United  Artists, 
in  its  own  reply.  Benjamin  is  only  an  advisor  to 
president  Arthur  B.  Krim. 

In  rebutting  the  charge  that  it  was  squeching 
competition  by  absorbing  ELC.  the  United  Art- 
ists answer  told  the  court  the  merger  was  act- 
ually a  boon  to  competition.  It  was  reasoned 
that  prior  to  taking  over  ELC,  both  companies 
were  teetering  on  the  brink  of  financial  chaos.  J 
whereas  the  merger  has  now  sufficiently  oircn- 
gthened  United  Artists  to  enable  that  company 
to  complete  with  other  distributors. 

FILM    B  U  I.  I-  E  T  I  N 


r  STUDIO  SIZ6-UP5 

(Continued  from  Page  20) 

The  only  feature  currently  shooting  for 
UA  release  is  "Duet",  a  Sid  Kuller  pro- 
duction in  two  parts,  directed  by  Ben  Hecht. 
Stars  are  Edward  G.  Robinson  and  Marsha 
Hunt,  with  a  strong  supporting  cast  headed 
by  Paul  Guilfoyle.  Eddie  Albert,  Doug  Evans, 
Alan  Reed,  Tracey  Roberts  and  Jenny 
Hecht.  A  medium-high  budgeter  "Duet" 
has  been  filming  since  August  22. 

One  of  the  releasing  company's  top  pic- 
tures of  the  year.  "African  Queen"  (Humph- 
rey Bogart  -  Katherine  Hepburn),  was  com- 
pleted on  the  soundstages  of  a  London  Flm 
company,  and  has  now  gone  to  the  editors. 
No  release  date  has    been  announced. 

UNIVERSAL-INTERNATIONAL 

U-l  SIGNS  STRONG  NAME 
STARS  FOR  HIGH-BUDGETERS 

The  over  -  all  production  budget  is  due  to 
take  a  sizeable  jump  at  Universal-Internationl 
on  the  new  slate  of  pictures,  in  order  to  round 
out  the  compay's  output  with  at  least  a  half  - 
dozen  big-scale  productions. 

Furthermore,  there  are  indications  that  the 
valley  lot  will  go  in  more  and  more  for  profit 
participation  deals  with  top-line  stellar  talent, 
in  order  to  hypo  the  boxoffice  potential  on  a 
larger  percentage  of  the  total  product.  Within 
recent  weeks,  two  such  deals  have  been  worked 
out  to  great  advantage  in  snagging  the  services 
of  Gregory  Peck  and  Frank  Sinatra..  The  latter 
reportedly  will  receive  20  per  cent  of  the  profits 
on  his  recently  completed,  "Meet  Danny  Wil- 
son." in  which  he  co-stars  with  Shelley- Winters. 
And  Peck,  who  is  now  toiling  in  "The  World  in 
His  Arms,"  will  share  50  per  cent  of  the  take 
with  director  Raoul  Walsh. 

"World,"  which  rolled  on  September  10,  is 
budgeted  at  $1,700,000.  Aaron  Rosenberg  pro- 
duces the  big  Technicolor  feature. 

Another  of  the  big  pictures  on  the  new  slate 
is  "Bend  of  the  River"  (James  Stewart-Arthur 
Kennedy- Julia  Adams),  also  budgeted  at  over 
a  million  dollars.  It  will  be  in  Technicolor,  and 
is  being  produced  by  Aaron  Rosenberg,  with 
Arthur  Mann  directing.  The  feature  has  been 
shooting  continuously  since  July  25,  and  is  not 
scheduled  to  wind  until  next  week. 

Of  the  five  pictures  currently  before  the  cam- 
eras, three  are  in  Technicolor-an  accoutrement 
which  will  be  accorded  more  and  more  the  up- 
coming U-I  productions.  The  presently-filming 
group  of  tinters,  in  addtion  to  "Bend  of  the 
River,"  includes:  "Son  of  Ali  Baba"  (Anthony 
Curtis-Piper  Lourie),  and  "Bronco  Busters" 
(John  Lund-Joyce  Holden).  Leonard  Goldstein 
is  producing  "Ali  Baba",  with  Kurt  Neumann 
directing,  while  Ted  Richmond  and  Bud  Boetti- 
:her  share  the  produueer-director  chores  on 
'Bvsters." 


Also  filming,  in  black  and  white,  is  "Franci> 
Covers  the  Big  Town"  ( Donald  O'Connor  - 
Nancy  Guild).  Leonard  Goldstein  is  producing 
and  Arthur  Lubin  again  directs. 

Coming  up  later  this  month  are:  "Steel 
Town,"  an  Ann  Sheridan  starrer,  due  to  get 
away  on  September  17,  with  George  Sherman 
directing  for  Leonard  Goldstein,  and  "Hair 
Trigger  Kid,"  first  of  Audie  Murphy's  new 
starring  vehicles  since  signing  his  new  long  term 
pact  with  the  company.  It  will  be  lensed  in  Tech- 
nicolor, and  depicts  the  building  of  Austin,  Tex- 
as. Albert  J.  Cohen  produces,  but  no  director 
has  been  announced. 


WARNER  BROTHERS 

ONE  SEPT.  STARTER  ADDED 
TO  NEAR-RECORD  WB  SCHEDULE 

With  a  near-record  of  eight  pictures  film- 
ing during  August.  Warners  will  put  only 
one  new  feature  into  the  hoppers  this  month, 
in  order  to  keep  the  production  flowing  at 
a  more  or  less  even  tide  throughout  the 
remainder  of  the  year. 

The  -ole  September  starfr  will  be  "She's 
Working  Her  Way  Through  College" 
(Ronald  Reagan  -  Virginia  Mayo  -  Gene 
Nelson")  with  Rruce  Humberstone  directing. 
Actual  filming  is  not  expected  to  get  under- 
way until  the  tail  end  of  the  month. 

All  of  the  eight  pictures  which  were  film- 
ing du"ing  most  of  August  arc  ptill  before 
the  cameras,  although  two.  and  possibly 
th-f*e.  are  exoc-ted  to  wind  this  week.  The 
right  are:  "Where's  Charlie?"  Technicolor 
Rav  Bo'ger  comedy  which  has  been  filming 
in  England  since  July  10:  "The  Crimson 
Page."  Technicolor  Burt  Lancaster  special 
wh<ch  has  been  before  the  cameras  in  Italv 
since  July  3:  "I'll  See  You  In  My  Dreams" 
(Doris  Day  -  Danny  Thomas  -  Frank  Love- 
joy),  shooting  since  July  23:  "About  Face" 
(Gordon  MacRae  -  Eddie  Bracken),  a  Tech- 
nicolor feature  laid  against  a  Westpoint 
background  which  went  before  the  cameras 
August  8.  with  Wilham  Jacobs  producing 
and  Rov  Del  Ruth  directing:  "Carson  City" 
(Randolph  Scott  -  Raymond  Ma>sey).  an- 
other July  starter.  Bryan  Foy's  production 
of  "The  Lion  and  the  Horse"  (Steve  Coch- 
ran -  Ray  Teal),  which  director  Loui<=  King 
launched  on  August  20,  and  "Room  For  One 
More",  the  new  Cary  Grant  -  Betsy  Drake 
starrer.  The  latter  went  before  the  cameras 
on  August  16,  with  Norman  Taurog  direct- 
ing and  Henry  Blanke  producing. 

The  months  ahead  will  witness  a  decided 
inrrea-e  in  the  number  of  tinted  pictures 
being  turned  out  by  Warners.  The  majority 
will  be  in  Technicolor,  although  the  com- 
pany has  now  developed  its  own  color  pro- 
cess to  a  point  where  it  will  be  used  to 
an  ever-increasing  degree.  Whereas  in  1951. 
the  company  scheduled  only  seven  color  re- 
leases, a  minimum  of  ten  have  been  set  for 
1952.  Warner's  own  tint  is  being  tried  out 
on  "Carson  City,"  and  according  to  all  re- 
ports, with  remarkably  satisfcatory  results. 


"LITTLE  BIG  HORN" 


JOHN  IRELAND  •  LLOYD  BRIDGES 
MARIE  WINDSOR  •  Written  and  Directed 
by  CHARLES  MARQUIS  WARREN 


SEPTEMBER    10,  1951 


25 


EXPLOITATION  PICTURE 


JIM  THORPE'  FOR  ALL  AMERICANS 

Biog  Film  Has  Universal  Appeal 


The  glittering  array  of  biographical  films  that  were  so  instrumental  in  raising 
Warner  Bros,  to  its  prominent  position  in  the  industry  receives  another  notable 
addition  in  "Jim  Thorpe — All  American."  Of  the  "Pasteurs".  the  "Zolas".  the 
"Yankee  Doodle  Dandies"  and  all  the  others  which  were  outstanding  entertainment 
and  box  office,  this  latest  film  about  the  greatest  athlete  of  this  century  seems  to 
carry  the  most  abundant  exploitation  values.  It  has  a  lure  for  every  type  of  movie- 
goer and  every  member  of  the  family,  and  the  showman  who  knows  his  audience 
can  cull  those  exploitation  elements  offered  by  the  picture  to  abundant  advantage. 

Anyone  interested  in  any  kind  of  sport,  of  course,  will  find  the  film  a 
natural.  It  is  not  limited  by  seasonal  handicaps  just  as  the  phenomenal  Thorpe 
found  himself  unlimited  in  his  amazing  mastery  of  every  athletic  endeavor  he 
attempted.  Its  appeal  to  the  sports  addicts,  then,  encompasses  the  world  of  sports 
the  year  around. 

More  important,  however,  for  the  theatreman  generally  is  the  heart  interest 
that  characterizes  the  film,  and  the  boxoffice  power  generated  by  the  star,  Burt 
Lancaster.  An  ideal  choice  to  play  the  role  of  the  American  Indian  who  gained 
international  fame  and  earned  a  monarch's  salute  as  the  "greatest  athlete  in  the 
world,"  Lancaster  turns  in  what  is  ackownedgedly  his  greatest  performance.  His 
already  impressive  fan  following  undoubtedly  will  be  multiplied  after  this  picture. 
As  for  the  emotional  impact  generated  by  the  film,  it  might  be  significant  to  note 
that  when  the  picture  ended  there  was  scarcely  a  dry  eye  among  the  blase  exhibitor 
and  press  audiences  during  the  special  screenings  arranged  by  Warners.  The  triumphs 
and  tragedies  of  Jim  Thorpe's  kaliedoscopic  life  assures  a  gamut  of  emotions  and 
makes  for  a  well-rounded  piece  of  screen  entertainment. 

Aiding  the  star  in  the  presentation  of  this  heartwarming  biographical  film  are 
Charles  Bickford  as  the  famous  coach,  "Pop"  Warner,  Phyllis  Thaxter  as  the  girl 
he  marries,  and  Steve  Cochran  as  his  friendly  rival  in  football  and  love. 

"Jim  Thorpe — All  American"  is  potent  film  entertainment  that  the  showman 
can  unquaveringly  sell  to  any  and  'all  members  of  his  audience. 


BURT  LANCASTER 


BURT LANCASTER 


Din/mbr>  SIEV[  C0CHRAN 
BILKFORD  •  Phyllis  thaxter 

michaeTcurtiz  vSHSsr— • 


STUNTS 


Because  Jim  Thorpe's  prow- 
ess on  the  athletic  field  and 
his  prominence  in  the  inter- 
national sports  picture  over 
the  last  half  century  is  so 
well  known,  the  stunts  sug- 
gested for  exploitation  on  a 
local  level  are  concentrated 
on  sports  endeavor,  princi- 
pally with  the  aid  of  schools 
and  colleges,  athletic  associa- 
tions and  boys'  clubs. 

Among  those  particularly 
hopeful  of  garnering  valu- 
able newsbreaks  are  a  tie-in 
with  schools  or  colleges  foot- 
ball squads  to  vote  Jim 
Thorpe  the  "Outstanding 
Athlete  of  the  Half-Century" 
with  a  photo  of  the  team 
captain  or  coach  presenting 
a  certificate ;  arranging  with 
the  high  school  football 
coach  for  a  ceremony  on  the 
season's  opening  game  —  if 
the  timing  is  right  —  dedi- 
cating the  first  game  of  the 
season  to  the  "greatest  ath- 
lete of  the  first  half  of  the 
twentieth  century.  Imprinted 
armbands  and  banners  will 
aid  in  the  effectiveness  of 
the  stunts  at  the  scholastic 
level. 


WOMAN'S  ANGLE 

For  female  interest,  sponsor  a  man-in-the-street 
quiz  featuring  the  actresses  who  played  the  lady 
in  the  film  lives  of  other  athletes  in  recent  sport 
biographies,  such  as  Anne  Baxter  (Ben  Hogan. 
"Follow  the  Sun")  ;  Claire  Trevor  ("Babe  Ruth 
Story")  ;  Teresa  Wright  (Lou  Gehrig,  "Pride 
of  the  Yankees")  ;  June  Allyson  ("The  Stratton 
Story"),  and,  of  course  Phyllis  Thaxter,  the  wife 
in  "Jim  Thorpe — All  American." 

CONTESTS 

Many  top  screen  stars,  have  played  in  sports 
biog  films,  including  those  mentioned  above.  A 
man-in-the-street  quiz  or  a  radio  commentator 
tie-up  will  result  in  good  publicity  for  those  who 
name  the  stars  who  portray  the  great  sports  figures 
in  those  films. 

A  contest  sponsored  by  a  newspaper  or  sport- 
ing goods  store  in  cooperation  with  the  theatre 
could  have  all  local  football  stars  of  today  and 
yesterday  competing  for  suitable  trophies.  The 
competition  could  be  held  in  conjunction  with  an 
important  baseball  game,  between  halves  of  a 
football  game  or  on  the  city  green  or  park  during 
the  busy  hour. 

NEWSPAPER  ADS 

At  left,  a  few  of  the  large  display  ads,  as 
well  as  an  institutional  copy  suggestion  that  is 
well  adapted  to  a  film  of  this  type. 


26 


FILM  BULLETIN 


EXPLOITATION  PICT 


Top,  Jim  Thorpe  {Burt  Lancaster)  learns  -that  a  long-past 
appearance  in  a  semi-pro  baseball  game  has  nullified  his  Olympic 
records;  right,  Thorpe's  teammates  give  him  a  rousing  reception 
after  a  game-winning  gridiron  performance. 

Jim  Thorpe  —  All  American 

From  the  time  Jim  Thorpe,  an  American  Indian  born 
on  a  reservation  in  Oklahoma,  outraced  the  Carlisle  track 
team  because  he  saw  some  boys  running  and  just  joined  in. 

I  his  recent  recognition  as  the  greatest  athlete  of  the 
first  half  of  the  twentieth  century,  the  famed  Indian's  life 
series  of  remarkable  ups  and  downs.  As  portrayed 
in  the  Warner  film,  with  Burt  Lancaster  starring,  his  post- 
college  days  were  even  more  full  of  drama  than  those  ha 
Icyon  times  when  Thorpe  amazed  the  world  with  his  feats 
on  the  football  field,  the  track  arenas  and  eventually  at 
|  the  Olympic  games  where  as  w  inner  of  both  the  pentathlon 
and  decathlon,  he  was  dubbed  by  the  King  of  Sweden  as  the 
"greatest  athlete  in  the  world."'  The  obscure  semi-pro 
ibaseball  that  forced  him  to  lose  his  amateur  standing  and 
return  all  the  medals  won  at  the  Olympics,  his  profes- 
sional football  days,  his  romance  and  marriage  with  his 
college  sweetheart.  (Phyllis  Thaxter)  the  death  of  his 
<ix-year-old  son.  his  demoralization  and  subsequent  reha- 
bilitation under  the  wise  counsel  of  his  college  football 
Icoach.  (Charles  Bickford )  and  finally,  the  moving  scene 
Uvhere  his  coaching  efforts  at  a  small  parochial  school  arc 
j rewarded  by  the  heartfelt  gratitude  of  the  youngsters, 
are  all  powerful  screen  drama  that  should  hit  the  entertain- 
rnent  bullseve. 


I 


I 


WHAT'S  THE  SCORE? 


THE  1951  T.O.A.  CONVENTION  AND  TRADE  SHOW  is  the 
most  important  gathering  of  theatremen  in  many  years. 
This  will  be  a  working  convention.  Every  important  topic  relating 
to  up-to-the-minute  management,  policy,  operations  and  conces- 
sions will  be  discussed.  An  important  feature  of  the  convention  will 
be  the  big  Trade  Show  at  which  the  manufacturers,  dealers,  con- 
cession merchandise  and  merchandising  will  be  on  display  and 
where  you  can  talk  over,  first-hand,  your  requirements  and  problems 
for  the  year  ahead.  A  golden  opportunity  for  both  buyers  and  sellers. 
An  elaborate  program  of  entertainment  has  been  arranged  by  the 
convention  committee  and  will  feature  the  T.O.A.  Showboat  trip  up 
the  historic  Hudson  River  (hosted  by  Coca-Cola),  lunches,  theatre 
parties,  fashion  show,  broadcast  studios,  the  big  banquet  and  a 
special  program  for  the  ladies. 

ALL  EXHIBITORS  ARE  INVITED  TO  ATTEND  REGARDLESS 
OF  AFFILIATION.  THIS  IS  A  CONVENTION  TO  HELP  SOLVE 
THE  PROBLEMS  OF  ALL  EXHIBITORS  AND  THE  BUSINESS 
AGENDA  WILL  COVER  EVERY  SUBJECT  OF  CURRENT  AND 
COMING  IMPORTANCE. 

For  information  and  reservations: 

T.O.A.  CONVENTION  COMMITTEE 

1501  BROADWAY,  NEW  YORK  CITY,  N.  Y. 


IMPORTANT  TOPICS 
FOR  DISCUSSION: 

•  Know  your  industry. 

•  Distributor-exhibitor 
public  relations. 

•  Government  regulations  on 
supplies,  shortages,  etc. 

•  TV  and  Theatre  TV. 

•  Legislation,  national,  state 
and  local. 

•  Concessions. 

•  16  mm.  competition. 

•  Theatre  Equipment. 

•  Consent  Decree. 

•  And  many  other  vital  subjects! 


PRODUCTIOn 
&  R€L€fiS€ 


R6CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Dat«. 
"No."  is  the  release  Number  "Rev."  is  the  issue  in  which  tk* 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


1950-51  Features 
Serials 
Westerns 


Completed  (45) 
Completed  (  3) 
Completed  (15) 


In  Production  (4) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Captain  Blood  Returns 
Death  Of  A  Salesman 
European  Edition 
The  Mother 

COMPLETED 

Big  Gusher.    The     68 1 
Boots  Malone 

Born  Yesterday  _     

Brave  Bulls,  The  1107)    _ 

Brave  Warrior 
Brigand.  The  (T) 

Corky  of  Gasoline  Alley    

China  Corsair  1781  .    

Congo  Bill     

Chain  of  Circumstance  (68)   

Criminal  Lawyer   

Cripple  Creek 

Dark  Page  _    

Dick  Turpin'j  Ride   

Firefighters.  The   

Five  1931      _  ...   _   

Fort  Savage  Raiders  

Fury  of  the  Conge 


Cast 
Louis  Hayward 
March-Dunnock 
Glen  Ford 
Loretta  Young 


Morris-Foster 
Holden-Clements 
Crawford-Holiday  _ 
Ferrer-Ouinn 
Jon  Hall 
Dexter-Lawrence 
S.  Beckett-J.  Lydon 
Hall-Farraday 
McGuire-Moore  _ 
M.  Feld-R.  Grayson 
O'Brien-Wyatt 


. .M  on tgo very- Booth 

..Crawford-Derek   

Hayward-Medina    

Williams-Reynolds   

S.  Douglas-W.  Phipps 
Starrett-Burnette 
..Weismuller-Talbot 

Harlem  Globetrotters,  The   Gomei-Dandridga 

Hawk  of  Wild   River.  The         .  Starrett-Burnett 

Her  First  Romance  173)   O'Brien-Martin   

Her  Wonderful  Lie   Kiepura-Eggerth 


Hurricane  Island  IC)   

Jungle  Jim  in  the  Forbidden  Land 

Jungle  Safari   

Lorna  Doone  IT)    

M  190)   

Magic  Carpet    

Man  In  the  Saddle   

Mask  of  the  Avenger  (T)  183) 

My  True  Story  (41)  

Never  Trust  A  Gambler  (79)  

Old  West.  The    

Operation  X  I7»)  


Pickup  ISO) 

Purple  Heart  Diary    

Riders  of  the  Whistling  Rises 
Saute  Fe  IT)  (B7)   

Saturday's  Hero  (III)   

Se«ret,  The  _   

Silver  Canyon  170)   

Sirocco  198)     _  ._.    

Smokv  Canvon 

Snail  Wonder  ...   

Sen  of  Dr.  Jekyll     

Sound  Off 

Suenv  Side  of  the  Street   Lane-Daniels 

Ten  Tall  Men  IT)  .....  Lancaster-Lawrence 

Texas  Rangert     

Thiol       Damascus.  The 

Valentine   IT)   103)   _   

Valley  of  Fire    

War  Cry  

When  the  Redskins  Rode  IC)  178) 
Whirlwind        _  _. 
Whistle  at  Eaton  Falls,  The  190) 


_.Hall-Windsor 

 Waissmuller-Ryan   

...Weissmuller-Greene   

 Hale-Greene  

_.  Wayne-DaSilva   

 Ball-Agar   

 Scott-Leslie   

....  Derek-Quinn   

_Parker-Walker        .  .  . 

.Clark-O'Donnell   

Autry-Davis 

 Rebinson-Cummins  

Haas-Michaels   -  ._ 

 F.  Langford-T.  Romano 

_Autry-White  ...   

...Scott-Carter   

 Derek-DaRe  

 Derek-Cobb    

 Autry-Davis   

Bogart-Loran 

Starrett-BurneHe  

_  Cummings-Hale  

...  Hayward-Knox   

Mickey  Rooney 


S-51 
7-51 


7-  51  3-5? 

.3-51  

8-  51 3-2* 


...Geo.  Montgomery 
Henreid-Sutton 

 Parker-Dexter 

 Autry-Burnette   

 Montgomery-Long  _ 

Hall-Castla    

 Autry-Burnette   

Bridges-Glsh 


5-51 
4-51 
8-51 


1950-51 


LIPPERT 


Completed    (28)      In  Production  (2) 


IN  PRODUCTION 

TITLE — Running 

For  Men  Only 

COMPLETED 

Bandit  Queen  

Blonde  Blackmail 

Danger  Zone   

FBI  Girl 
G.I.  Jane 


Great  Adventure,  The  

Highly  Dangerous    

Home  Town  Bov  _   

Kentucky  Jubilee   . 

Leave  It  To  the  Marines   _ 

Little  Big  Horn  

Lost  Continent   

Mask  of  the  Dragon 
Pier  23  _ 
Present  Arms 
5avag«  Drums  :70) 
5ky  Hiqh 

Steel  Helmet,  The 

Stop  That  Cab  _ 

Superman  and  The  Mole  Men 

'ales  of  Robin  Hood 

Unknown  World 

Varieties  On  Parade 

'M  Sir.  Mr.  Bones  

EPTEMBER  10 


RELEASE  CHART 

—  1950-51  — 


Britton-Parker  

Brent-Chapman 
Beaumont-Travis   

Romero-Totter 

..  Porter-Neal   

Price-Hawkins 
Clark-Lockwood 

_H.  Lloyd.  Jr. 

Colon  na- Porter   

S.   Melton-M.  Lynn 

Ireland-Bridges   

Romero-Brooke 

Travis-Ryan   

Beaumont-Savage  _ 

Tracy-Sawyer 

Sabu-Baron 

S.  Melton-M.  Lynn 

Edwards-Brodie  _ 

Melton-Adrian   

Reeves-Coates 
Clarke-Hatcher 
Kellogg-Nash 
Rose-Carroll   

_F.  Miller       _  .  . 


_  7-6 

 11-2 

10-12 
12-7 

 5—18- 

10-5 
6-18. 
8-27 
3-17 

.5-11- 
10-5 
6-22 

10-  19 
_  2-2  . 

3-31  . 

11-  16 


10-26 
7-20 
7-13 


5017. 
5002 
5012 
5021 
5029 
5022 
5007 
5005 
.5003  . 
5004 
5013 
5018. 
5023 
5001 
5024 
5006 
501 
5030 
5008 
5101 
5020 
5019  . 


METRO-COLDWYN-MAYER 


1950-51   Features      Completed      (68)      In  Production  (7) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev 

Because  Your  Mine  Lania-Whitmore 
Young  Man  in  a  Hurry  Roman-Nype 
Ivanhoe  IT)  R.  Taylor-E.  Taylor 

Merry  Widow.  The   IT)  Turner-Lamas 
Invitation  The  Dorothy  McGuire 

Scarmouche  S.  Granger-E.  Parker 

Skirts  Ahoy  Williams-Blaine 

COMPLETED 

Across  the  Wide  Missouri  IT)  195)     Gable-Hodiak  Oct 

American  in   Paris  IT)    Gable-Caron  Nov 

Angels  in  the  Outueld  1102)  Douglas-Leigh  Sep        202  8-27 

Belle  of  New  York    (T)  Astaire-Vera-Ellen   

Bannerline  Forrest-Braselle 
Callaway  Went  Thataway  MacMurray-McGuire 
Calling  Bulldog  Drummond  175)  Pidgeon-Leighton 
County  Line  Pidgeon-Hodiak 
Lnemy.    i  he  Murphy-Davis 

Excuse  My  Dust  IT)    182)  _   _  .    Skelton-Forrest  June        133  6-4 

Father's  Little  Dividend  182)    Tracy-Taylor    Apr       124  2-26 

Go  For  Broke    192)   _   Johnson-Anderson  May       129  4-9 

Great  Caruso.  The  IT)  1 1091  Lania-Blyth   _     _  Apr        127  .  4-23 

Home  Town  Story  161!  _   Crisp-Reynolds  May        128  5-7 

Inside  Straight   (90)  __    Brian-Dahl  Mar  123 

It's  A  Big  Country  All  Star 

Just  This  Once  Leigh-Lawford 

Kind  Lady  178)  Barrymore-Evans     July        134  7-2 

Law  and  the  Lady,  The  1104)     _    Garson-Wilding  July        136  7-16 

Light  Touch,  The    Grainger-Angeli 

Lone  Star  Gable-Gardner 

Love  Is  Better  Than  Ever   Taylor-Parks  Oct 

Man  With  A  Cloak    OoHen-Stanwyck 

Night  Into  Morning  186)    Milland-Hodiak    June        130  6-4 

Mr.  Imperium  (T)  187)       _          ...    Turner-Pima  Sep       203  6  -4 

No  Questions  Asked  181)  Sullivan-Dahl  June        132  6-18 

Painted  Hills.  The  IT)  168)    Williams-Keel       _  May        125  l-l 

Pandora  and  the  Flying  Dutchman 

(T)    |I23)  Mason-Gardner      _  Nov 

People  Against  O'Hara  1102)  Tracy-O'Brien  Sep       201         8  27 

Quo  Vadis   IT)   _    Taylor-Kerr 

I  Was  a  Stranqer  Whitmore-Davis 

Red  Badge  of  Courage   181)  .    Murphy-Mauldin  Sep       204  8-27 

Rich,  Young  and  Pretty  IT)   195)        Powell-Damone  Aug  138  7-16 

Reyal  Wedding  (T)    192)  Astaire-Powell      Mar        121  2-26 

Show  Boat  IT)  (1081  .        Gardner-Keel     _  July       135  7-2 

Singin'  In  The  Rain  (T)  .._   Kelly-O'Connor   

Soldier's  Three   192)    ....    Granger-Pilgeon    Apr.  126 

Strictly  Dishonorable  195)      _     .      Pinia-Legih  .  ..  July 

Strip.    The    185)  Roor.ey-Forrest  Aug  140 

Tall  Target,    The   178)  Powell-Raymond  Aug        139  8-13 

Teresa    1105)  .    -  .    Angeli-Erickson    .    July        137  3-12 

Texas  Carnival  (T)    Williams-Skelton  _ 

Three  Guys  Named  Mike  190)   Wyman-Johnson  Mar        119  2-12 

Too  Ynuno   To  Kiss    191)  Ailyson-Johnson  Nov 

Two  Weeks  with  Love   (T)   (92)  _    Powell-Montaiban  Nov  10-23 

Unknown  Man.  The  Pidgeon-Harding  _  July 

Vengenance  Valley  IT)    (83)    Lancaster-Walker   _    _       Feb        117  2—12 

Westward  the  Women  _        T*»lor-D*rcel  Nov 

When  In  Rome  Johnson-Douglas 
Wild   North  Country.   The    IA)      .  Granger-Corey 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51   Features       Completed  (33) 
Westerns      Completed  (12) 


In  Production  (  3  ) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast 

Rodeo  IC)      _         .     ...Jane  Nigh  

COMPLETED 

According  to  Mrs.  Hoyle  160) 
Aladdin  and   His  Lamp    IC)  _ 
Blazing  Bullets  ........  ...... 

Bronc  Rider 
Casa   Manana  173 

Cavalry  Scout  (C)  (78)  

Counterfeit   

Elephant  Stampede  

Father  Takes  The  Air  

Flight  to  Mars  IC)  

Fort   Osage  IC)    

Ghost  Chasers  (69)   

Gypsy   Fury  (63)  

Joe   Palooka  in  Triple  Cross  Kirkwood-Downs 
Longhorn,  The   Elliott-Coates 


Byington-Chandler 
Medina-Sands 
Brown-Hall  . 
Wilson-Knight 
Forbes-Herlihy 
Cameron-Long 

De  Foe-Kino  

Sheffield  

Walburn-Gr:y 
Chapman-Mitchell 
Cameron-Nigh 
Gorcey-Hall  _ 
Viveca-Lindfors  _. 


5-20 
5-6 


10-  15  5110  

6-17  5126 

9-30  5103 

11-  11  5102  .  .  . 

4-29  5112   _S-2I 

3-18  5192  7-16 

9-16  5118  


Sheffield-Whitfield 
Wilson-Clyde 


3-25 


29 


Modern  Marriaqe.  A  (441 

Navv  Bound    -   - 

Nevada  Badman 

Oklahoma  Justice  

Stagecoach  Driver 
Teras  Lawmen 

Trail  Dust   -.   

Vengeance  Trail    

Vicious  Years.  The  1791 
Wanted:  Dead  or  Alive  15?) 
Whistling  Hills 
Wild  Horse  Prairie 
Win.  Place  and  Show 
Witness.  The 
Yellow  Fin 
Yukon  Manhunt 


Clarke-Field   

Neal-Toomey 
Wilson-Knight 

Brown-Ellison   

Wilson-Knight 
Brown-Ellison 
Albright-Winters 
.Elliott-Stewart  ... 
Cook-Moore 
Wilson-Clyde 

Brown-Ellison   

Wilson-Knight 

Gorcey-Hall   

Kirkwood-Gleason 

Morris-O'Flynn 

Grant-Davis 


10-15 
2-25 
5-27 


12-31 
2-18 


519? 
5120 
5152 
5144 
5153 


Babe  Ruth  Story,  The 
Disc  Jockey 

Highwayman.  The  IC)  1831 
Let's  Go  Navy  148) 
I  Was  An  American  Spy  185) 
It  Happened  On  Fifth  Avenue 


ALLIED  ARTISTS 

Bendix-Trevor   

Simms-O'Shea 
Hendrix-Coburn 
H.  Hall-G.  Gorcey 

Dvorak-Evans  

DeFore-Storm   


Mav    

8  23 

21  

4-18 

9-8 

20 

8-27 

7-29 

5113 

8-27 

4-15 
May 

 19. 

.  5-21 

PARAMOUNT 


1950-51   Feautres       Completed    (51)      In  Production  (3) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Shane  IT)  


Cast 
Ladd-Arthur 
Hutton-Meeker 
Hope-Russell 


COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT) 

Anything  Can  Happen    

Appointment  With  Danger  (89)  ... 

At  War  with  the  Army  (93)  ...   ..... 

Big  Carnival,  The  (112)   

Rev.  under  title:  Ace  in  the  Hoi 

Big  Timber  IT)  

Branded  (Tl  (103)    

Carrie  -    

Crosswinds  ITI   

Darlinq,   How  Could  You  195)   

Dear  Brat  (82)    

Detective  Story   _  

Flaminq  Feather  ITI   

Great  Missouri  Raid,  The  IT)  (85) 
Greatest  Show  On  Earth  IT) 
Green    Gold  of  Nevada  IT) 

Here  Comes  the  Groom  1114)  

Honq  Konq  ITI   

Last  Outpost.  The  1891 

Lemon  Drop  Kid.  The  191)  

Matinq    Season.    The  (101) 

Molly  183)  _  

Rev.  under  title:  The  Goldbergs 

My  Favorite  Spy  ...     _  .. 

My  Son  John 

Passage  West  (Tl  80!   

Peking   Express   185)  .   

Place  in  The  Sun,  A  1122) 

Quebec   IT]  (85)    

Raoe  of  the  Vulture.  The 
Redhead  and  the  Cowboy  (62)  ... 
Red  Mountain  IT)  _ 
Rhubard  195) 

Samson  and  Delilah  (T)  (128) 
September  Affair  (104) 
Silver  City  (Tl 
Somethinq  To  Live  For 
Stooge.  The 

Submarine  Command  189) 

That's   My  Boy  198) 

The  Denver   4  Rio  Grande  IT) 

Trio  191)  _ 

Warbonnet  (T) 

Warpath  195)  ITI 

When  Worlds  Collide  1821  IT) 


Shore-Younq 

Ferrer-Hunter  

Ladd-Calvert 

Martin-Lewis  

Douglas-Sterling 

Payne-Moorhead   

Ladd-Freeman 

Olivier-Jones 

Payne-Fleming 

Fontaine-Lund 

Freeman-Arnold 

Douglas-Parker 

S.  Hayden-G.  Russell 

Corey-Carey   

Stewart-Hutton   

Payne-Morrow 

Crosby-Wyman  

Reagan-Fleming   

Reagan-Fleming  

Hope-Maxwell    

Tierney-Lund  

Berg-Loeb 

Hope-Lamarr  

Hayes-Heflin 

Payne-O'Keefe   

Cotten-Calvet  

Clift-Winters 
Barrymore,  Jr.-Calvet 
Ladd-Kerr 

Ford-Fleming  _ 

Ladd-Kennedy   

Milland-Sterling 

Lamarr-Mature  

Fontaine-Cotten 

DeCarlo-O'Brien    

Fontaine-Milland   

Martin-Lewis     

Holden-Olson   

Martin-Lewis  

O'Brien-Hayden   

Simmons- Rennie    

Heston-Hanson   

O'Brien-Jagger 
Derr-Rush 


5-51 
1-51 
7  51 


10-51 
1 1-51 
4-5 1 
11-51 


8-51 
951 
4-51 


9-51 
.  3-51 
2  51 

10-51 

10-51 


5104 
5108 
5021 
5111 


5101 
5109 
5020 
5018 
5014 
501  I 

5110 


5017  . 

5015 

5103 
5010 
5012 


12-18 
8  13 


3-25 
1-29 
12-4 


4-4 

7-2 
7-30 


8-13 
11-21 
1-15 


11-4 
4-18 


Honeychile  ITr) 

Canova-Foy 

In  Old  Amarillo  147) 

Rogers-Edwards 

5-15 

5043 

6-4 

Insurance  Investigator  (40) 

Denning-Lonq 
Mason-Havoc 

Coffin-Clarke  . 

5-23 

5024 

4-9 

Lady  Possessed 

Lost  Planet  Airmen   [Reedited  from 
"Kinq  of  the  Rocket  Men" 

7-25 

5031 

Million   Dollar  Pursuit  140) 

Edwards-Flagg   

5-30 

5028 

4-18 

Oh  Susanna  ITr)  (90)  

Oklahoma  Annie  (C)   

Cameron-Tucker   

Canova-Russell 

  3-10 

5008 

3-26 

Pals  of  the  Golden  West 

Rogers-Evans  

Quiet  Man,  The    

Wayne-O'Hara   

Robinson-Vs.  Turpin  (53) 

Rodeo  Kind  &  The  Senorita  (47) 

Sea  Hornet.  The 

Fight  Pictures  

Allen-Kay 
Cameron-Booth 

"7-2O 
  7-15 

5041 
5053 

Secrets  of  Monte  Carlo 

Douglas-Hall    

4  20 

5030 

Silver  City  Bonanza  

Allen-Ebsen   

3-1 

.5051 

South  of   Caliente  -    _  

Rogers-Evans  

  June 

This  Is  Korea  150)    

Documentary  

8-10 

Thunder  In  God's  Country  (47)   

Utah  Waqon  Trail 

Allen 

  4-8 

5052 

Allen-Tdwards   

Wells  Farqo  Gunmaster   

Woman  In  The  Dark  

Wyoming   Saddle   Pals  .   

Lane-Chapin  

Edwards-Elliott   

Chapin-Janssen 

5-15 

5041 

RKO  RADIO 


1950-51  Features       Completed    (58)      In  Production  (2). 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Biq  Sky.  The  ... 
Korean    Story,  The 

COMPLETED 


(74) 


(84) 


(83) 


Alice  In  Wonderland  (T) 

Behave  Yourself    

Best  of  the  Badmen 
Blue  Veil,  The 
Company  She  Keep 

Crack  Down     

Cry  Danqer  (79)  

Day  Without    End  _ 

Flyinq  Leathernecks  IT)  (102) 

Footlight  Varieties  (41)  

Gambling  House  1801    

Girl  in   Every  Port,  A 
Gun  Notches 
Gun  Thunder 

Haoov  Go  Lovely  187)  

Half-Breed.  The   

Hard.  Fast  and  Beautiful  (74) 
His  Kind  of  V/oman  1 1201 
I   Want  You 

It's  Onlv  Monev    

Jet   Pilot  ITI  1118) 

Jungle    Headhunters    (T)  (45) 

Kon-riki  1731  

Las  Veqas  Story,  The  

Macao 

On  Dangerous  Ground  

Whip  Hand,  The  

My  Forbidden  Past  (701    

On  The  Loose  (74) 

Overland  Telegraph  ...  

Payment  on  Demand  1901 

Pistol  Harvest  1401  

Racket.  The   

Road  Agent  

Roadblock  173) 

Hustler's  Range  _   

Saddle  Leqion  (41) 

Sealed  Cargo  (89)  

Sons  of  the  Musketeers  (T)   

Target  

Tarzan's  Peril  (79)   

Texas  Triqqerman     

Thing,  The  (87)  _  

Tokyo  File  212  (Ml   

Two  Tickets  to  Broadway  (T)   


Cast 
Douglas-Martin 
Mitchum-Tallman 


Disney  Cartoon 
Winters-Granger  ... 
Ryan-Trevor 
Wyman-Carlson  ... 
Greer-OKeete 
Williams- Armstrong 

Powell-Fleming   

Lupino-Ryan   

Wayne-Ryan 

Pear-Buttons 

Bendix-Mature 

Marx-Wilson 

Holt-Martin 

Holr-Martin 

D.    Niven-Vera  Ellei 

Young-Carter 

Trevor-Forrest    

Russell-Mitchum 
Andrews-McGuire 

Sinatra-Russell   

Wayne-Leigh    

Travel 
Travel 

Russell-Mature 

Russell-Mitchum 

Ryan-Lupino 

Reid-Tuttle 

Gardner-Mitchum 

Evans-Earl 

Holt-Martin  

Davis-Sullivan  

Holt-Martin 
.Mitchum-Scott 
Holt-Martin 
McGraw-Dixon 
Holt-Martin      .  . 
Holt-Martin 

Andrews-Rains   

Wilde-O'Hara 

McGraw-Whlte 

Barker-Huston 

Holt-Martin 

Tobey-Sheridan 

Marly-Peyton 

Leigh-Martin  


2-51 
8  51 


10-51 
12-51 
4-51 


205 

204 

117 
118 


4-  51 

5-  51 
10-51 


20th  CENTURY-FOX 


REPUBLIC 


1950-51   Features       Completed  (29) 
Serials  Completed  (    I  ) 

Westerns      Completed  (17) 


1951  Features 


Completed   (42)       In  Production  (5 


COMPLETED 


RELEASE  CHART 

—  1950-51  — 


Adventures  of  Captain  Fabian  (1001   E.  Flynn-M.  Prelle 
Chapin-Janssen 
Ralston-Carroll 
Chapin-Janssen 
Stack- Page 
Rex  Allen 
Estelita-Vincent 
Chapin-Janssen 

Lane  

CurtisTowne 
Donlevy-Tucker 
Edwards-Clark    . . 
Lane-Kay 
Paiqc-Barne-s 
Rogers-Rodrigues 
Rogers-Edwards 


Arizona  Manhunt  140) 
Belle  Lm  Grand  1901 
Buckaroo   Sheriff  of  Texas  (40) 
Bullfighter  and  the  Lady  1871 
Colorado  Sundown 
Cuban   Fireball   J 78 ) 
Dakota  Kid.  The  140! 
Desert   of  Lost  Men 
Don  Da-odovil   Rides  Aqain 
Fiqhtinq   Cods'  Guard  (84) 
Flight  frir.-.  Fury 
Fort  Dodq-  c,---o«de  '401 

Fugitive   Lady  '78)   

Havana  Roj" 
Heart  of  the  R  <»7) 

30 


In  Production  (0) 
In  Production  (0) 
In  Production  (0) 


5101 
5048 
5006 
5064 
5009 


7-15 
5-15 
3  30 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time. 

Bells  On  Their  Toes 

Five  Finqers   

Phone  Call  From  A  Stranger 

Return  of  the  Texan 

Wait  Till  The  Sun  Shines  Nellie  (T) 

COMPLETED 

Anne  of  the  Indies  (Tl 
As  Young  As  You  Feel  (77)    


Cast 
Crain-Loy 
Mason-Rennie 
Merrill-Winters 
Robertson-Boone 
Peters-Wayne 


Jordan-Paget 
.  Woolley-Ritter 

Bird  of  P'aradise  (T)   (1001  Jordan-Paget 

Call  Me  Mister  (Tl   (951   Grable-Dailey 

David  and  Bethsheba  ITI   11231  Peck-Hayward 

Day  The  Earth  Stood  Still,  The   Rennie-Neal 

Decision  Before  Dawn     Merrill-Basehart 

Desert  Fox.  The     .... .  Mason-Young 

Elopement  Webb-Francis 
Fixed  Bayonets  Basehart-O' She; 

Follow  the  Sun  (901     _  _    Ford-Baxter 

Fourteen  Hours  (911 
Friendly  Island  (Tl 
Frogmen  1941 
Golden  Girl  IT) 


Guy  Who  Came  Back.  The  (911 


Lundlqan. Greer 
Widmark- Andrews 
Day-Gaynor 
Douglas-Darnell 


10-51  

4-51 

120 

 1- 

3-51 

109 

 3- 

2-51 

104 

2- 

  -*■ 

9-51 

129 

10-51 

1  30 

rt  _ 

5-51 
..  4-51 

112 

4 

3- 

7-51 

11-51 
.  7-51 


FILM  BULLET! 


Half  Ana..  IT1   1801  Young-Cotten 

H«Hi  of  Monteiuma.  The  IT)  (113)  Widmark-Gardner 

|  Can  Get  It  For  vou  Wholesale  191)  Dailey-Hayward 
I'd  Climb  the   Highest  Mountain 

IT)    188)  _  _  Haver-Lundigan 

Journey  Into  Light  187)  nayden-Lindtors 

Kangaroo  IT)  O  Hara-Lawford 

Kefauver  Crime  Investigation  News  Feature 

Kitty  and  The  Marriage  Broker  J.  Crain-T.  Ritter 

Let  s  Make  It  Legal  Colbert-Carey 

Love    Nes;  Haver-Lundigan 

Lucky  Nirk  Cain   187)  BaH-Grav 

Lydla  Bailey  (T)    Robertson-Francis 

Man  of  Two  Worlds 


Meet  Me  After  The  Show  IT)  86 
Millionaire  for  Christy  (91) 
Mr.  Belvedere  Rings  The  Bell  188) 
No  Highway  In  The  Skv 
Of  Men  and  Music  I8S) 
On  the  Riviera   ITI  190) 

People  Will  Talk    II  10)    

Pride  of  St.  Louis 

Rawhide  184)   

Red  Skies  of  Montana  (T)   

Secret  o.   Convict  Lake 
Sword  of  Monte  Cristo.    ISC)    1 80 1  Montgomery-Corday 
Take  Care  of  My  Little  Girl  (T)  193)  Crain-Peters 

Viva  Zapata  _  -       M.  Brando-J.  Peters 

With  A  Song  In   My  Heart   -  Hayward-Calhoun 

You're  in  the  Navy  Now   193)  Cooper-Albert 
Rev.  under  title:  U.S.S.  Teakettle 


Grable-Carey 
Mac  Murray-Parker 
Webb-Dru 
Stewart-Dietrich 
Concert  Feature 
Kaye-Tierney 
Grant-Crain 
Dailey-Dru 
Power-Hayward 
Widmark-Smith 
Ford-Tierney 


Door.  The 

Double  Crossbones  ITI  I7SI 
Fat  Man    The  1771 
Finders  Keepers 
Flame  of  Araby  ITI 
Francis  Goes  to  the  Races  188) 
Golden  i  not    The  IT) 
Groom  Wo.  c  Spurs  180) 
Here  Come  The  Nelsons 
Hollywood   Story    1 74) 

Iron  Man  182)  

Katie  Did  It  181 1 

Lady  from  Tens  IT)   

Lady  Pays  Off  The 
Lavender  Hill   Mob.  The 
Fleming-Stevens  Sept 
Ma  and  Pa  Kettle  at  the  Fair 


Laughton-Karloff 
O  Connor-Carter 
Smart-London 
Ewell-Adams 
Chandler-O  Hara 
O'Connor-Laurie 
Blythe-Farrer 
Rogers-Carson 
Onle  and  Harriet 
Conte-Adams 
Keyes-Chandler 
biythe-Stevens 
Hull-Duff 
Carnell-McNally 
Guinness-Holloway 
131  8-27Little  Egypt 

Main-Kiioride 
Ma  and  Pa  Kettle  Back  on  the  Farm  Maln-Kilbride 
Mark  of  the  Renegade  IT)    181)  Montalban-Charisse 
Meet  Danny  Wilson  Sinatra-Winters 
Pool  of  London  Colieano-Snaw 
Prince  Who  Was  A  Thief.    ITI    1851  Curtis-Laur 


I7S) 


Raging  Tide.  The 
Reunion  In  Reno 
Smuggler's  Island  IT) 
Target  Unknown  190) 
Thunder  On  the  Hill  I8SI 
Treasure  of  Lost  Canyon, 
Up  Front  192) 
Weekend  With  Father 
You  Never  Can  Tell 


Winters-Conte 
Stevens-Dow 
Keyes-Chandler 
Stevens-Nicol 
Colbert-Blyth 
W.  Powell-J.  Adams 
Wayne-Ewell 
Nea'-Heflin 
Powell-Dow 


July 

Mar 

June 
Aug 
May 


July 

May 
Feb 
Sept 

Apr 

Sept 


S  21 
7  14 
S-21 


4  18 


5-2 
8  13 

3-12 


UNITED  ARTISTS 


WARNER  BROTHERS 


1950-51   Features       Completed    (43)      In  Production   (5)      ,950.5|   Fea+ures        Completed    (30)      In  Production  (8) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

Another  Man's   Poison   _   Davis-Merrill  _  _ 

Big  Night.  The     -J.  Barrymcre- 


Chicago  Calling 
Robinson-Hunt 
Saturday  Island 

COMPLETED 


African  Oueen   

Badmans  Gold  IS4) 
Blue  Lamp  184) 
Circle  of  Danger  (84) 
Cloudburst 

Cyrano  De  Bergerac  1112) 

Fabiola  196)  

.  First  Legion  186) 

Fort  Defiance    

Four  In  A  Jeep  1971 

Gold  Raiders  IS4) 
'  He  Ran  All  the  Way  177)  _ 

Hoodlum.  The  143)   

.  Hotel  Sahara  (87) 

Learn  To  Love 

Long  Dark  Hall.  The  184) 

Man  From  Planet  X  170) 

Man  With  My  Face  (75) 

Mister  Drake's  Duck 

Mr.  Peek-A-Boo  174) 
I  My  Outlaw  Brother  (82) 

Naughty  Arlette  184) 
!New   Mexico   (A)  174) 

Obsessed  177) 

Odette  1 105)     

Oliver  Twist  1105) 
I  Pardon  My  French  181 ) 

Prowler.  The  (92) 
i  Oueen  For  A  Day  (107) 

Scarf.  The  184) 

River.  The  199) 

Second.  Woman.  The  (91) 
(Skipalong  Rosenbloom  (721 
J  So  Long  at  the  Fair  1851 

St.  Benny,  the  Dip  (80)  _  

Thev  Were  Not  Divided 
iThree  Steps  North  185) 
| Try  and  Get  Me  (90) 

Formerly:  Sound  of  Fury 
.Two  Gals  and  a  Guy  (70) 

Underworld  Story 

Volcano   1 1  10) 

Well.  The  1851 

When  I  Glow  Up  (90) 


Duryea-Anderson 

Duet 
Linda  Darnell 


Bogart-Hepburn 
Carpenter-Lockwood 

4-3 

H-R 

Warner-Hanley 

3-1 

Milland-Roc 

3-22 

Preston-Sellars 

Ferrer-Powers  

Michele  Morgan 

8-3 
7-20 

 6-1 

 Kr  

Lev 

11-20 

Boyer-Bettger 
_D.  Clark-B.  Johnson  _ 

 5-11 

Sirk 

Lindfors-Meeker 

8-24 

O'Brien-Ryan 

9-14 

Garfield-Winters   _  . 

Tierney-Roberts 

DeCarlo-Ustinov 

....  7-13 

Reb 

7-16 

7-27 
10-15 

Jar 

6-18 

OKeefe-Keves 

Harrison-Palmer 

4-10 

5-7 

Clark-Field 

4-27 

Cor  . 

6-4 

Nelson-Matthews  _ 
Fairbanks-Donlan 
Green  wood- Bourvil 
Rooney-Hendrix 

6-8 
......  9-21 

3-15 
3-15 

Sarh 

Tettering-Williams 

3-9 

Ayres-Marshall 

Harrar-Fitzgerald 

Neagle-Howard 

8-24 
9-7 

Ain 

6-18 

5-15 

Newton-Guinness 

4-17 

5-7 

Oberon-Henreid 

8-10 

Heflin-Keyes 

5-25 
_  7-7 
4-6 
9-14 

Eag 

6-4 

Avery-McGavin 
Ireland-McCambridge 
American-Indian 
Young-Dra  ke 

G-C 
Ren 
Pop 

4-9 
3-26 

3-16 

2-12 

Baer-Coogan 

4-3 

Simmons-Bogarde 

3-29 
8-24 

  2-1 

6-15 
  5-4 

1-29 
7-16 

Roch-Haymes 
Underdown-Clanton 

Dan 

Z  wii  ~ 

Bridges-Padavoni  ...... 

Loveioy-Ryan 

Stm 

12-18 

Paige-Alda 

8-31 

C-E 

Duryea-Storm 
Magnani-Braiii 

7-21 
5-1 

D.  Fairbanks 

9-14 

Pop  . 

Preston-Scott 

4-20 

UNIVERSAL- INTER  NATIONAL 


1950-51   Features        Completed   (48)       In  Production  (4) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

Bend  of  the  River  (T)  Stewart-Kennedy 
Bronco  Buster  IT)  Lund-Brady 
Francis  Goes  to  the  Big  Town  Donald  O'Connor 

Son  of  Ali  Baba  (T)   _  _  .....  Curtis-Laurie 

COMPLETED 

Abbott  &  Costello  Meet  the 

.    Invisible  Man    _._    ._       Abbott  &  Costello  Mar   _  116 

Cadet    .   McNally-Russell  Mar  _  115  3-12 

Jpache  Drums  (T)    (75)    _    Grey-McNally  June        123  5-21 

Battle  of  Apache  Pass  IT)  _  _   Chandler-Lund 

IJright  Victory    197)    ...    Dow-Kennedy  7-30 

Pattle   Drive   (Tl    (77)  ....  ...  McCrea-Stockwell  Aug        128  7-30 

U?ve  of  the  Outlaws,  The  IT)  Smith-Carey  ... 

-imarron  Kid,  The  (T)    A.  Murphy-Y.  Dugay  — 

-omm1  Round  the  Mountain  177)  Abbott  &  Costello-Shay  July         127     .  7-2 

SEPTEMBER   10,  1951 


RELEASE  CHART 

)950-51  — 


Cast 
MacRae-Bracken 
Cochran-Aldon 
Scott-Massey 
B.  Lancaster 
Day-Thomas 
Cochran-Teal 
Grant-Drake 
Bolger-McLerie 


IN  PRODUCTION 

TITLE — Running  Time 
About  Face  IT) 

Big  Trees,   The  IT)   

Carson   City  IT) 
Crimson  Pirate,  The  IT) 
I'll  See  You  In  My  Dreams 
Lion  and  the  Horse,  The 
Room  For  One  More 
Where's  Charlie?  IT) 

COMPLETED 

Along  the  Great  Divide  188) 
Bugles  in  the  Afternoon  IT) 
Close   To  My  Heart 
Come  Fill  the  Cup 

Captain  Horatio  Hornblower  IT)    I  I  7  Peck-Mayo 

Distant  Drums  IT)   Cooper-Alden 

Force  of  Arms  1100)  Holden-Olson 

Fort  Worth  (T)  (80)   Scott-Brian  . 

Goodbye,  My  Fancy  1107)  Crawford-Young 
I  Was  A  Communist  183)  Lovejoy-Hart 
Inside  Walls  of  Folsom  Prison   (87)  Brian-Cochran 


Douglas-Mayo 
R.  Milland-H.  Carter 
Milland-Tierney 

Cagney-P  Thaxter 


Jack  and  The  Beanstalk 
Jim  Thorpe    All-American  (1071 
Lullaby  of  Broadway  IT)  (92) 
North  of  the  Rio  Grande 
On  Moonlight  Bay  195) 
Only  The  Valiant  1 105) 
Painting  the  Clouds  with  Sunshine 
Raton  Pass  184) 
Starlift 

Strangers  On  A  Train   1 101) 
Streetcar  Named  Desire,  A 
Tanks  Are  Coming,  The 
Tomorrow  Is  Another  Day  1921 


Abbott-Costello 
Lancaster-Bickford 

Day-Nelson   

McCrea-Mayo 

MacRae-Day 

Peck-Payton 

Mayo-Morgan 

Morgan-Neal 

Cagney-Mayo 

Walker-Roman 

Brando-Leigh  ._  

S  Cochran-E.  Miller 
Roman-Cochran 


9  15 
7-14 
5-19 
5-5 


3-  24 

7-28 
7-28 

4-  21 


102 
D28 
024 
023 
026 


020 
C29 
029 
022 


2-06 
4-23 
5-7 


6-18 
8-27 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236   N.  23rd  St.,   Phila.  3—1139  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


SHOWMANSHIP 
ikat  cpto  PROFITS! 

^ACCESSORIES 

...at  LESS  than  the  &>4t  o£  "PlOttiw^f 


THE  "PEOPLE  WILL  TALK" 
DOOR  HANGER 


Here's  a  great  BARGAIN  in  SHOWMANSHIP!  20th  Century-Fox,  to 
prove  the  value  of  NOVELTY  Accessories  .  .  .  has  prepared  the  colorful, 
die-cut  exploitation  items  you  see  on  this  page!  Each  NOVELTY  is  an 
item  of  outstanding  value  and  eye-appeal!  And  each  item  is  priced  far  below 
the  actual  cost  of  printing.  In  fact  .  .  .  20th  Century-Fox  is  absorbing  a 
sizeable  portion  of  the  printing  cost ...  and  NATIONAL  SCREEN  SERV- 
ICE is  charging  NOTHING  for  the  sale  and  distribution  services  being 
rendered ! 

That  gives  YOU  .  .  .  these  sensational  exploitation  values  ...  at  just  a 
fraction  of  what  they  actually  cost  to  print! 

You  can't  afford  to  pass  up  this  money-saving  opportunity,  to  MAKE  MORE 
MONEY  with  these  20th  Century-Fox  Hits!  Use  these  NOVELTY  Acces- 
sories to  put  the  "BUSINESS"  back  in  SHOW  BUSINESS!  Ask  at  your 
local  20th  Century-Fox  or  NSS  exchange. 


colorful  hanger  for  door-knobs, 
milk  bottles,  telephones,  car 
doors,  etc. 


THE  4-COLOR 
BELL 


BELVEDERE' 


THE  "BATHSHEBA"  PROCESS 
COLOR  COUNTER  CARD 


for  streamers  and  hangers,  in  lobby, 
under  marquees,  or  away-from-thea- 
tre,  in  merchants'  windows,  over  soda 
fountains,  bars,  doorways,  etc. 


stands  on  its  own  easel  in  your  boxoffice, 
or  merchants'windows,  on  counters,  soda 
fountains,  bars,  restaurant  tables,  etc. 


Each  novelty  contains  space  for  imprint 

of  theatre  name  and  play  dates. 


TO 


mmmv\Ci££/t  service 

\y  MUZt  Mir  Of  ntf  IMHISTi 


THE  CURTAIN  RISES! 

A  united  Industry  now  presents 
to  the  nation  its  greatest  enterprise 

IT'S  MOVIETIME 

u.  s.  a: 

On  following  pages  are  the  first  three  Acts: 

1.  SHIPMENT  OF  THE  PRESS  BOOKS 

2.  THE  GREAT  RADIO  SHOW,  SEPT.  24tk 

3.  THE  BIG  NATIONAL  AD  CAMPAIGN,  OCT.  1st 

Watch  the  trade  press  for  details  of  Act  4: 

4.  STA  RS  OVER  AMERICA.  PERSONALITY  TOURS,  OCT.  8th 


Act 
No.  1 


m 


CO  TO  A  MOVIE  THEATRE  TODAY! 


ALovc:   Giant  Pre**  linolc  in  Three  Section*. 


THE  PRESS  BOOK! 

Distribution  through  National  Screen  Service  Branches. 
Your  copy  will  he  included  in  the  first  shipment  of  adver- 
tising material  sent  hy  them  to  your  theatre.  BE  SURE 

THAT  THE  PERSON  WHO  OPENS  YOUR  PACK- 
AGES RUSHES  IT  TO  YOU!  EVERYTHING  IN  IT 
FOR  YOUR  SHOWMANSHIP  THEATRE  CAMPAIGN. 


THE  RADIO  SHOW!  SEPT.  24tk! 

rke  most  popular  hour  on  radio,  the  Lux  Radio  Theatre 
presents:  "It's  Movietime,  U.S.A."  It  will  he  the  greatest  show 
3ver  offered  on  the  air  with  estimated  listenership  of  30 
nillion.  Celehrated  movie  stars  will  present  highlight  scenes 
:rom  hig  pictures  coming  during  the  Golden  Juhilee.  Pre- 
sented hy  Lever  Brothers,  produced  hy  William  Keighly  with 
:he  cooperation  of  the  Hollywood  Movietime  Committee. 

Turn  the  page  for  Act  31 


Bp 


\4§ 


m 


i 


1  ■'  { 


Proudly  The  Show  i 
Goes  On! 

"IT'S 
MOVIETIM1 
U.  S.  A." 

Act  1.  THE  PRESS  BOOK 
Act  2.  THE  RADIO  SHOW 

(Lux  Hour  C.B.S.  Sept.  24th) 


now: 


1 


—  and 

Act  3-Tke 
Newspaper 
Campaign 

starting  Octot  er  1st 
in  every  daily 
newspaper  nationwide 

1,755  Newspapers 
1,410  Cities 
53,261,116  Circulation 


ACT  4  BEGINS  OCT.  8tk! 

WATCH  FOR  "STARS  OVER  AMERICA  PERSONALITY  TOURS!" 


BULLETIN 


DON'T  ROCK  THE  BOAT 


L 


Vol.  19,  No.  20  September  24,  1951 

Pace  Five 


REVIEWS  in  This  Issue 


An  American  in  Paris 

The  Blue  Veil  

Behave  Yourself 
Mr.  Peek-A-Boo 
Submarine  Command 

Come  Fill  the  Cup   

Bannerline   

The  Mob   


The  Day  the  Earth  Stood  Still   

Texas  Carnival  

Hills  of  Utah  :  

Painti.nc  the  Clouds  with  Sunshine   20 

When  Worlds  Collide   20 

Obsessed  20 

Havana  Rose  22 

Lilli  Marlene   22 

G.  L  Jane   -  22 

Yes  Sir,  Mr.  Bones   22 


FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York, 
19:  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Taylor.  Pub- 
lication Manager:  Robert  Heath.  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave..  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS.  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.00. 


As  of  this  week,  the  motion  picture  industry  is  embarking  upon  its  greatest  coopera- 
tive effort  of  all  time  in  the  "Movietime,  U.  S.  A."  campaign.  It  is  needless  to  stress  the 
tremendous  import,  nay  the  dire  necessity,  for  wholehearted  cooperation  by  every  mem- 
ber of  the  industry  in  ensuring  its  success,  just  as  it  would  be  unnecessary  for  this 
country  to  awake  its  citizens  to  an  all-out  effort  in  a  time  of  genuine  crisis.  All  of  us 
know  how  vital  it  is  at  this  time  to  reestablish  the  public's  appreciation  of  motion  pic- 
tures as  the  sanctum  sanctorum  in  its  search  for  relaxation,  and  to  remind  the  people — 
with  smashing  and  irrefutable  certainty — that  movies  are  their  greatest  entertainment 
buy,  quality  obtainable  to  a  greater  extent  and  at  lower  cost  than  anything  or  anywhere 
else. 

It  was  inevitable,  in  a  broad  movement  of  this  sort,  that  there  should  be  rough 
spots,  irritations,  differences  of  opinion,  and  opportunism.  Some  of  these  have  already 
manifested  themselves,  more  undoubtedly  will  as  th«  drive  progresses.  Among  the 
earliest  rumblings  were  exhibitor  complaints  that  the  campaign  is  being  used  by  dis- 
tributors to  extort  exorbitant  film  rentals.  From  independent  exhibitor  organizations  in 
Ohio,  Iowa,  Nebraska,  California  and  Minnesota  came  these  allegations,  although  in  only 
one  instance  was  a  specific  case  cited.  From  Bennie  Berger's  Northwest  Allied  unit, 
"Movietime"  was  termed  a  "plot"  to  "bleed  independent  exhibitors  more  through  still 
higher  rentals." 

A  salient  criticism  was  levelled  by  our  astute  contemporary,  Pete  Harrison,  pointing 
up  the  opportunistic  attempts  by  certain  distributors  to  include  some  pictures  of  ques- 
tionable merit  on  the  "Movietime"  list  of  fine  films.  In  an  editorial  in  "Harrisons'  Re- 
ports" of  September  15,  censure  is  applied  to  the  press  book  listing  of  certain  films  as 
"great"  or  "outstanding",  and  attention  is  called  to  the  emphasis  on  equality  in  number 
of  pictures  from  each  company,  rather  than  on  their  entertainment  quality.  Pete  warns 
about  the  danger  of  injuring  the  "Movietime"  drive  by  playing  up  the  poor  films  in  the 
national  campaign  advertising. 

We  must  agree  with  Mr.  Harrison  that  this  is  directly  contrary  to  the  interests  of 
the  campaign  and  is  a  grave  threat  to  its  success.  Pure  selfishness  can  play  no  role 
in  a  campaign  which  embraces  the  welfare  of  the  entire  motion  picture  industry,  not 
just  the  him  companies.  In  fact,  it  might  be  well  to  remember  that  the  subject  of  the 
•  Movietime,  U.  S.  A."  drive  is  a  "Celebration  of  the  Golden  Jubilee  of  the  American 
Motion  Picture  Theatre."  I 

But  for  the  keenest  analysis  of  these  apparently  necessary  evils  in  the  birth-pains 
of  such  a  tremendous  undertaking,  Allied  s  Abram  F.  Myers'  warning  to  both  exhibitors 
unci  distributors  not  to  endanger  tne  success  of  "Movietime"  by  inordinate  demands, 
seems  most  to  tne  point. 

To  insure  the  success  of  the  campaign,  says  Mr.  Myers,  "all  elements  must  main- 
tain and  not  mar  the  fine  enthusiasm  that  now  prevails.  Nothing  could  be  more  de- 
moralizing tnan  for  a  distributor  to  take  advantage  of  this  satisfactory  condition  by 
raising  film  rentals,  or  for  an  exhibitor  to  demand  unwarranted  concessions  as  the  price 
of  his  participation  in  the  campaign." 

While  he  does  not  question  the  probity  of  exhibitor  complaints,  he  does  sense  the 
danger  to  the  entire  campaign  in  carping  and  unfounded  accusations.  He  finds  it  "un- 
thinkable that  any  responsible  film  executive  would  permit,  much  less  order,  his  sales 
force  to  endanger  the  "Movietime"  campaign  by  widespread  demands  for  increased 
prices  for  the  pictures  to  be  shown  during  the  campaign.  National  Allied  will  make  no 
such  charge  unless  the  facts  force  it  to  do  so,"  he  adds,  in  a  request  for  proof  from  the 
Allied  membership  of  attempts  at  "gouging"  in  rental  demands. 

"Let  no  exhibitor's  enthusiasm  or  zeal  for  'Movietime'  be  slackened,  because  this 
question  has  arisen  or  because  this  survey  has  been  undertaken,"  Mr.  Myers  declares. 
"After  all,  these  complaints  have  already  been  published  in  the  trade  papers  and  are  no 
secret.  If  the  survey  reveals  that  they  are  ill-founded,  or  that  conditions  have  improved 
since  they  were  published,  then  confidence  in  the  campaign  will  match  the  enthusiasm. 
If  it  reveals  that  there  has  been  a  systematic  effort  by  any  company  to  raise  prices  on 
the  eve  of  the  campaign,  disclosure  of  that  fact,  we  believe,  will  have  the  desired  effect." 

We  take  our  cue  from  Mr.  Myers'  unbiased  comments  and  urge  upon  all  elements 
in  the  motion  picture  industry  to  put  aside  for  the  period  of  this  unified  effort,  the 
bickering  and  dissension  that  forever  disrupts  our  industry — and  probably  always  will — 
until  this  mission  is  accomplished.  This  campaign  is  very  appropriately  entitled  "Movie- 
time, U.  S.  A."  Let's  think  of  it  in  terms  of  a  patriotic  effort  and  support  it  as  we  would 
our  country  if  it  were  facing  a  time  of  crisis.  With  the  backing  of  unified  industry,  and 
a  very  imposing  array  of  product,  "Movietime,  U.  S.  A."  cannot  fail. 

Let's  quarrel,  if  we  must,  about  these  differences  after  the  campaign  is  over  and 
not  rock  the  boat  while  it  is  in  midstream. 


BIG  TIP: 

naoSl 

tUSl 

ComSL  to 


7»  N  r.oti  Si  ■  I 
ATLANTA 
?0rh  Century  Foi  1 


Come  Fill 
tKe  Oip 


 IS  GLEASON  •  GIG  YOUNG  ■  selena  royle  .  GORDON  DOUGLAS  .  HENRY  BLANKE 

:reen  Play  by  Ivan  Goff  and  Ben  Roberts  .  Muvc  by  Ray  Hemdorl 


DALLAS  INDIANAPOLIS 

70th  Century  Foi  S<rf,ninq  loom  20th 

1803  Wood  SI  •  10  30  I  M.  376  I 
DENVER 


■  2  30  P  M 

mg  loom 
2  00  PM. 


CLEVELAND 
Worner  Screening 

2300  form  tn 


2100  Stout  Si  •  2  00  PM 
DES  MOINES 

Paromount  Screening  loorr 
ll?S  Hifn  SI  •  1 Z  45  PJM 
DETROIT 

Film  lnhonge  Building 
2310  Cosi  Ave  •  2  00  P.M 


JACKSONVILLE 
Florida  Theoire  Bldg 
128  f  foriylh  St  • 
KANSAS  CITY 
20th  Cenluty-Foi  Screening  loom 


I  00  PM 


mm 


30  ts 


MEMPHIS 
70th  Century  Foi 
ISI  Vnnceive  .  12  ISM 
MILWAUKEE 

Warner  Theoire  Screening  Room 
212  W  Wiieoniin  »ve.  •  2  00  P 
MINNEAPOLIS 
Worner  Screening  loom 
1000  Cunie  tee  ■  2  00  PM. 
NEW  HAVEN 
Warner  Theoire  Projection  loom 
70  College  St.  •  2  00  P.M. 


NEW  ORLEANS 
70th  Century. Foi  Screening  Room 
200  S  liberty  SI  •  8  00  P  M 
NEW  YORK 
Home  Office 

321  W.  44th  SI.  •  2  IS  PM 
OKLAHOMA 

20th  Century. Foi  Screening  loom 
10  North  lee  St  •  I  30  P  M 
OMAHA 

70th  Century  Foi  Screening  Room 


PHILADELPHIA 


730  H 


3th  SI  •  7  30  P.M. 
PITTSBURGH 

70th  Century  Foi  Screening  Room 

1/1S  Blvd  ol  Mild  ■  I  30  PM. 

PORTLAND 

Jewel  Boi  Screening  Room 

194;  NW  Kearney  Si  •  2  00  P  M 

SALT  LAKE 

70th  Century  Foi  Screening  loom 
216  ion  in  South  •  2  00  PM 


;os  c 


SEATTLE 

Modern  Theoire 

2400  Third  tee.  •  10  1 

ST  LOUIS 

S  renco  Screening  low 

3143  Olive  SI  •  100 

WASHINGTON 

Warner  Theoire  lu<ld> 

13th  It  Sli.  NW.  •  I 


Your  Time  Is  lovietime' 


Back  in  December  of  last  year,  a  promi- 
nent motion  picture  trade  paper  took  the  in- 
dustry to  task  for  permitting  other  fields, 
and  particularly  television,  to  dominate  the 
showmanship  picture.  The  "young,  vital, 
daring  ballyhoo  that  characterized  the 
movies  in  its  formative  stages"  had  been 
usurped  by  TV,  it  was  decried.  The  movies 
had  much  more  precious  ingredients  to 
offer  the  public  in  its  daily  diet;  the  movies 
had  the  best  advertising  and  publicity  and 
exploitation  brains  in  the  world  right  within 
its  own  domain;  the  movies  had  all  the 
media  of  communication  available  to  any 
ther  industry  with  which  to  shout  its  own 
ause,  plus  the  one  exclusive  channel  open 
nly  to  itself — its  motion  picture  screens. 
Annd  yet  the  very  creator  of  ballyhoo  was 
being  outdone  by  that  brash  newcomer, 
elevision,  fired  with  enthusiasm  and  cash. 

Today,  we  are  enjoying  one  of  the  most 
ielicious  meals  we  have  ever  had — we  are 
ating  our  words.  For  with  "It's  Movietime, 
J.  S.  A.",  the  motion  picture  industry  has 
egained  its  rightful  place  as  showmanship 
nonarch  of  the  world.  It  has  marshalled  its 
•tremendous  resources  in  production,  distri- 
■■  Jution  and  exhibition  into  a  nationwide  unit, 
Tponcentrated    and    united    in    a  common 
>urpose — to  revitalize  the  boxoffice.  The  in- 

•"{SEPTEMBER   24,  1951 


tet  JthJtitutichal  SoxcUice  for  tie 


CxduAtie  >k  BULLETIN  *)<*t*n 


By  Barney  Stein 

comparable  advertising  and  publicity  talent 
in  the  movie  business  has  been  teamed  for 
an  unprecedented  drive  to  pique  the  public's 
desire  to  go  to  the  movies.  Throngs  of 
exhibitors  have  packed  rallies  all  over  the 
country  to  shout  their  zeal  for  the  cam- 
pagin  and  pledge  wholehearted  efforts  on 
its  behalf.  The  movie  industry  colossus  is 
flexing  its  muscles  for  a  supreme  effort  and 
it  is  an  inspiring  spectacle. 

That  a  "Movietime,  U.  S.  A."  campaign 
ever  came  into  being,  despite  its  long-stand- 
ing need,  must  be  credited  to  the  Council 
of  Motion  Picture  Organizations.  Without 
the  all-industry  organization's  welding  of 
the  various  factions  into  the  central  hub 
to  and  from  which  decisions  could  be 
spoked,  the  boxoffice  drive  could  never  come 
into  existence,  nor  could  a  man  of  the  cali- 


ber of  Robert  J.  O'Donnell  ever  have  been 
expected  to  take  over  the  reins  of  the  cam- 
paign. Bob  O'Donnell  put  his  infectious 
personality  and  his  enormous  coordinating 
talents  to  work,  and  along  with  COMPO 
executive  vice-president  Arthur  L.  Mayer, 
has  pursued  a  tireless  personal  appearance 
schedule  to  spark  the  grass  roots  rallies.  As 
a  result,  the  ardor  which  has  greeted  the 
call  to  arms  in  every  branch  of  the  industry 
gives  this  campaign  the  greatest  potential 
ever  attached  to  an  industry  effort. 

The  press  book,  compiled  under  the  di- 
rection of  RKO's  Barrett  McCormick,  in 
itself,  offers  proof  positive  of  the  magnifi- 
cence of  this  effort.  For  imagination,  reada- 
bility, utility,  detailed  and  comprehensive 
outline  of  a  campaign  to  the  smallest  parti- 
cular, the  "It's  Movietime,  U.  S.  A."  Show- 
manship Campaign  Portfolio  is  unparalleled, 
certainly  for  any  previous  film  industry  in- 
stitutional campaign,  and  very  probably  in 
the  history  of  press  books. 

(Continued  on  Page  8 J 


Your  Time  Is  'Movietime* 


(Continued  from  Page  7) 

Representing  the  fruits  of  the  comhined 
talents  of  the  top  ad-publicity-exploitation 
men  in  the  industry,  the  ideas  and  promo- 
tion* were  worked  up  from  suggestions  and 
experiences  from  all  parts  of  the  country. 
Theatremen,  exhibitor  associations,  produc- 
tion publicity  staffs  and  the  distributors' 
promotion  departments,  all  contributed  to 


THE  FACTS 


PRESS  BOOK  .  . 


the  wealth  of  ideas.  Their  presentation, 
under  McCormick's  direction,  is  worked  out 
in  surprisingly  simple  form,  considering  the 
mass  of  material. 

Actually,  the  Campaign  Portfolio  is  a 
multi-section  of  individual  press  books,  all 
integrated  and  collated  into  a  beautiful  18 
x  37-inch  multi-colored  folder,  which  can  be 
removed  from  the  package  and  used  as  a 
display  hanger  for  lobbies  or  out  front. 
Credit  for  this  goes  to  RKO  art  director 
Stanley  Sherwin,  who  designed  the  folder, 
and  artists  Frank  Sanfilippo  and  Ren  Haber. 

The  actual  campaign  leads  off  with  a 
general  Facts  press  book,  written  by  McCor- 
mick  following  the  "Movietime"  policy- 
making conferences  with  officials  of 
COMPO,  exhibitor  organization  leaders  and 
film  company  ad-publicity  heads.  The 
second  volume  contained  in  the  display 
folder  is  the  Exploitation  campaign,  written 
and  edited  by  United  Artists'  Jonas  Arnold. 
The  third  book  is  the  24-page  publicity 
set  'ion,  under  the  direction  of  industry 
publicist  George  Fraser,  providing  special 
features  for  every  section  of  newspapers, 
hews  features,  filler  material,  shorts  arid  art. 


In  addition  to  the  three  basic  books, 
several  special  inserts  have  been  provided, 
including  a  huge  section  devoted  to  the 
scores  of  accessories  available,  ranging  from 
24-sheets  to  samples  of  toy  balloons.  An- 
other folder  provides  four  special  radio 
scripts,  designed  for  use  by  sports  an- 
nouncers, fashion  commentators,  music 
critics  and  legitimate  theatre  critics. 

A  complete  and  separate  publicity  cam- 
paign for  important  films  in  current  release, 
which  will  be  playing  subsequent-run  and 
circuit  houses  during  the  campaign;  special 
by-line  stories  by  industry  leaders,  Holly- 
wood personalities  and  a  full-page  women's 
section  feature,  make  up  another  insert. 


TO  TOP 


The  Publicity  Committee,  under  Co- 
lumbia's Arthur  A.  Schmidt,  will  continue 
to  pour  out  followup  portfolios  and  publi- 
city material  all  during  the  campaign. 

Perhaps  the  only  flaw  in  this  superbly 
constructed  campaign  Portfolio  —  the  one 
most  susceptible  to  criticism — is  the  naming 
of  specific  pictures  in  the  special  publicity 
section  and  in  the  Facts  book.  Their  de- 
scription as  "great"  in  both  cases  is  ques- 
tionable in  certain  cases,  where  selections 
might  have  been  made  more  as  a  require- 
ment for  approximately  equal  representation 
of  product  from  the  various  film  companies, 
rather  than  on  their  true  entertainment  and 
boxoffice  value. 

Since  the  actual  naming  of  titles  was 
bound  to  become  a  device  to  be  used  by 
some  companies  to  plug  as  many  of  their 
films  as  possible,  would  it  not  have  been 


better  to  have  eliminated  any  mention  of 
titles,  or  at  least  limit  it  to  the  very  top 
notch  films,  so  acclaimed  by  the  trade 
generally,  not  by  each  film  company?  This 
question  should  be  resolved  before  the  huge 
newspaper  ad  campaign  breaks  on  October; 
1  with  full  page  and  half  page  ads  in  1,755 
daily  newspapers  in  1,410  cities  and  towns" 
in  America,  with  a  total  circulation  of 
53,000,000.  The  ads  will  be  institutional  pri- 
marily, but  they  will  also  contain  titles  ofi 
pictures  to  be  released.  These  have  nm 
yet  been  revealed.  It  is  to  be  hoped  that 
their  selection  will  be  governed  by  quality 
rather  than  proportion. 

The  newspaper  campaign  will  not  bd 
limited  to  the  initial  saturation.  The  ads  will 
run  on  days  that  COMPO's  advertising  re- 
search indicates  will  be  the  most  effective^ 
Where  there  are  two  or  more  newspapers 
in  a  city,  insertions  will  be  staggered  overj 
a  period  of  time  to  give  continuous  impact^ 

As  a  sort  of  preview,  the  radio  sendoff  o 
Monday  Night,  September  24th,  Lux  Rad' 


your  town!  r. 

"exploitation  THE  AMMUNITION  fubuoty^ 


Telling 

THE 


This  Theatre  Joins  With 
23,<MtO  Others  In  Celebrating 

of  the 

American  Movie  Theatre 


ALL  PRESS  BOOKS 


Theatre  promised  to  give  some  30,000,1 
listeners  a  listen-in  on  scenes  from  seve 
current  or  forthcoming  pictures.  The  pre 
gram  boasts  more  top  movie  stars  than  we 
ever  before  assembled  for  a  single  con 
mercial  radio  show  to  present  the  highligl 
scenes  from  the  septet  of  films:  "An  Amer 
can  in  Paris"  (MGM),  "Distant  Drum: 
(Warners);  "Saturday's  Hero"  (Columbia 
"Here  Comes  t he  Groom"  (Paramount 
"Thunder  on  the  Hill"  (U-I);  "People  W 
Talk"  (20th-Fox),  and  "The  Wide  Bit 
Yonder"  (Republic). 

(Continued  on  Page  2- 

F  1  L  M    B  U  L  L  E  T 


IT'S  ALWAYS 
A-G-MOVIETIME,  U.  S.  A.! 

It's  wonderful  the  way  the  entire  industry  is  moving  forward  together 
to  make  this  Fall  memorable  in  film  history. 

Leo,  your  Friendly  Lion,  after  a  Summer  of  Hits  ("Great  Caruso," 
"Show  Boat,"  "Rich,  Young  and  Pretty"  and  more)  is  in  the  forefront  of 
the  industrywide  celebration.  Among  M-G-Movietime  hits  are: 


It's  Simply  Wonderful! 
"ANGELS  IN  THE  OUTFIELD" 

{Paul  Douglas,  Janet  Leigb) 


Spectacular  Technicolor  Adventure! 
"ACROSS  THE  WIDE  MISSOURI" 

(Clark  Gable  and  Cast  of  Thousands) 


Rollicking  Technicolor  Musical! 
"TEXAS  CARNIVAL" 

(Esther  Williams,  Red  Skeltou,  Howard  Keel) 


Unique  Outdoor  Giant  Drama! 

"WESTWARD  THE  WOMEN" 

(Robert  Taylor,  Deuise  Darcel  and  Big  Cast) 


The  Technicolor  Musical  That  Tops  Them  All! 

"AN  AMERICAN  IN  PARIS" 

(Gene  Kelly,  Leslie  Caron,  Oscar  Levant) 


And  many  more  Big  Ones!  And  off  course  this  is  the  Year  off  "QUO  VADIS"! 


'AN  AMERICAN  IN  PARIS'  ANOTHER  M-G-M  TOP  MUSICAL 

Rates  •  •  •  •  generally,  less  in  hinterlands 


Metro-Goldwyn-Mayer 
115  minutes 

Gene  Kelly,  Leslie  Caron,  Oscar  Levant, 
Georges  Guetary,  Nina  Foch. 
Directed  by  Vincente  Minelli 

"An  American  In  Paris"  is  a  stunning 
Technicolor  musical  which  can  count  on 
critical  cheers  and  enthusiastic  word-of- 
mouth  advertising  to  earn  top  grosses  in 
metropolitan  areas  catering  to  more  sophisti- 
cated filmgoers.  Elsewhere  it  may  require 
a  bit  of  exploitation  priming  to  catch  a  full 
quota  of  admissions.  But  everywhere,  there's 
plenty  to  sell  in  this  smart,  elegant  Arthur 
Freed  production — Paris  bathed  in  breath- 
takingly  beautiful  Technicolor  photography, 
a  cavalcade  of  George  Gershwin's  greatest 
music  climaxed  by  "An  American  In  Paris" 
performed  as  a  ballet,  and  top  song  and 
dance  performances  by  as  charming  a  group 
of  musical  stars  as  Hollywood  has  ever 
brought  together.  There  is  little  doubt  that 
this  will  be  one  of  the  year's  top  B.  O. 
films. 

The  story  is  stuff  and  nonsense,  of  no 
importance  except  to  string  the  musical  im- 
provisations together  and  never  intrudes  on 
these,  nearly  all  of  which  spotlight  the  en- 
chanting Gene  Kelly.  Whether  he's  hum- 
ming a  pensive  Gershwin  melody,  hoofing, 


Km 


km 


performing  with  Parisian  kids,  or  spoofing 
with  Oscar  Levant — Kelly  is  great.  New- 
comer Leslie  Caron  is  as  pretty  as  her  name 
and  a  lovely  dancer.  Levant  quips  away  in 
in  glib  style  and,  naturally,  scores  solidly 
with  his  playing  of  the  Gershwin  piano 
works.  Georges  Guetary  is  a  Chevalier-like 
singer,  young  and  handsome,  the  kind  of 
performer  who  throws  restraint  to  the  winds 
and  really  lets  go.    The  newcomer,  known 


as  Europe's  Bing  Crosby,  possesses  plenty 
of  charm  to  establish  himself  as  a  favor 
on  this  side  of  the  pond  as  well.  Nina  Foch 
back  in  the  Hollywoods  after  several  seasons 
on  Broadway,  displays  the  pulchritude  and 
acting  resourcefulness  that  have  made 
a  favorite  on  the  Great  White  Way.  V 
cente  Minelli,  at  home  in  the  fluffy  story 
a  director  who  knows  how  to  merge  narra 
tive  with  music,  packs  "An  American 
Paris"  with  zip,  delightful  continental  charm 
and  real  warmth  in  the  romantic  ramifi 
tions. 

STORY:  It  is  the  account  of  an  Ame 
can  art  student,  Gene  Kelly,  who  ekes 
a  precarious  life  by  peddling  his  work 
the  sidewalks  and /or  borrowing  from 
friends.    His  personality  more  than  his 
attracts  the  man-hungry  eye  of  Nina  Foch 
a  rich  American  girl  idling  away  her  millions 
in  Paris.  She  decides  to  sponsor  him.  Mean 
time  he  has  met  Leslie  Caron,  pert  French 
dancer,  and  falls  hopelessly  in  love.  Eventu 
ally  he  discovers   Leslie  is  bethrothed 
Georges  Guetary,  French  music  hall  singer 
who  also  happens  to  be  one  of  Gene's  good 
friends.  At  a  big  hall  in  which  the  colorful 
"American    In    Paris"    ballet  sequence 
played   as  dream   scene,   all   the  romantic 
ramifications  are  packed  away  in  the  best 
traditions  of  the  happy  ending. 

HANNA  (Hollywoo 


THE  BLUE  VEIL'  EMOTIONAL 

Rates  •••-}-  generally 

RKO-Radio  (Wald  Krasna 
114  minutes 

Jane  Wyman,  Charles  Laughton,  Joan  Blon- 
dell,  Richard  Carlson,  Agnes  Moorehead, 
Don  Taylor,  Audrey  Totter,  Cyril  Cusack, 
Everett  Sloane,  Natalie  Wood,  Warner 
Anderson,  Alan  Napier,  Henry  Morgan,  Vi- 
vian Vance,  Les  Tremayne,  John  Ridgely, 
Don  O'Herlihy,  Carleton  G.  Young,  Dan 
Seymour. 

Directed  by  Curtis  Bernhardt 


In  the  cataloguing  of  great  women's  pic- 
tures, a  new  name  must  be  added,  "The  Blue 
Veil",  which  emerges  as  the  first  production 
from  the  Wald-Krasna  unit  for  RKO-Radio 
release..  And  emerges,  we  may  add,  as  one 
of  the  notable  audience  films  of  the  year,  a 
picture  that  will  be  received  with  the  usual 
reservations  critics  save  for  the  tear-jerker 
and  the  traditional  enthusiasm  with  which 
the  public  greets  the  sensitive,  emotional 
drama.  Apart  from  its  qualities  as  a  hankie 
show,  "The  Blue  Veil"  comes  like  a  breath 
of  fresh  air  in  the  springtime.  It  is  clean, 
wholesome,  real  and  warm  with  real  and 
likeable  people  delineating  the  story,  and 
should  Kain  a  wonderful  reception  all  the 
way  from  Podunk  to  New  York. 

Into  their  story,  spanning  the  period  from 
World    War   I   to   the   present,  producers 

10 


DRAMA  WILL  BE  BIG  B.  0. 


Jerry  Wald  and  Norman  Krasna  have  poured 
their  mutual  awareness  of  sure-fire  motion 
picture  values.  The  various  periods  are  stun- 
ningly presented,  the  highly  competent  cast 
is  a  masterpiece  of  casting,  and  their  whole 
conception  of  the  drama  is  marked  by  taste 
and  intelligence.  Director  Curtis  Bernhardt 
blends  the  multi-sided  story  into  fluid  con- 
tinuity that  swings  from  peak  to  peak  with 
the  graceful  tempo  of  a  beautifully  conduct- 
ed symphony. 

And  for  Jane  Wyman,  this  role  of  a 
woman  who  gives  her  life  to  other  people's 
children  as  a  governess,  is  the  part  of  a  life- 
time, transcending  in  its  demands  those  in 
"Johnny  Belinda"  and  "Glass  Managerie." 
It  is  a  bravura  assignment,  and  Miss  Wyman 
is  its  match  to  the  minutest  detail.  Her 
selflessness  is  enchantingly  quiet;  her  inner 
dignity  and  warmth,  inspiring.  Miss  Wyman 
seems  in  line  for  another  Oscar.  Laughton's 
performance  of  a  breezy  bulky  business  man 
is  delightful,  and  Joan  Blondell  is  brilliant 
as  the  singer.  Richard  Carlson  charms  as 
a  brash  suitor,  and  Agnes  Moorehead  makes 
much  of  her  scenes  as  a  typical  society 
matron.  Don  Taylor's  playing  of  the  doctor 
contributes  much  to  the  validity  of  the  end- 


•  poor  •  •  f  AIR 

•  •  •  good       •  •  •  •  TOPS 


ing.  Audrey  Totter,  Cyril  Cusack,  Everett 
Sloane,  and  Natalie  Wood  stand  out  among 
the  most  excellent  players  who  compose  the 
remainder  of  the  cast. 

STORY:  The  story  traces  the  life  of  war 
widow  Jane  Wyman  from  the  death  of  her 
own  baby  through  her  career  as  a  governess 
to  the  twilight  years.  Her  first  child  is  that 
of  Charles  Laughton,  a  widower  who  wants 
to  marry  her.  She  refuses  and  joins  the 
household  of  a  rich  family  where  the  tutor 
of  one  of  the  boys,  Richard  Carlson,  rushes 
her  into  a  quick  promise  of  matrimony. 
During  their  elopement  both  see  that  the 
sudden  romantic  bubble  may  burst.  Miss 
Wyman  again  dons  the  blue  veil  and  be 
comes  the  governess  to  the  adolescent 
daughter  of  Joan  Blondell,  aging  musical 
comedy  singer.  Finally  a  child  is  entrusted 
to  her  by  a  mother  who  goes  to  England 
The  boy  becomes  such  a  part  of  her  life 
that  she  looks  upon  his  as  her  own. 
near  tragedy,  a  charge  of  kidnapping  against 
the  valiant  woman,  is  spiked  sharply  by  an 
understanding  district  attorney.  Working  as 
a  janitress  in  a  school  just  to  be  near 
children,  the  aged  governess  meets  one  of 
her  boys,  now  grown-up  and  a  doctor.  He 
rounds  up  her  "children"  for  a  happy  re 
union  and  turns  over  the  care  of  his  own 
to  her  competent  hands.  Happily  she  em 
barks  on  the  task  of  rearing  still  another 
generation.  HANNA  (Hollywood) 

FILM  BULLETI 


BEHAVE  YOURSELF'  SCREWBALL  COMEDY  IS  FAST,  FUNNY 

Rates  •  •  •  —  generally 

RKO  Radio 
80  minutes 

Farley  Granger,  Shelley  Winters,  William 
Demerest,  Francis  L.  Sullivan,  Margalo  Gil- 
more,  Lon  Chaney,  Hans  Conried,  Elisha 
Cook,  Jr.,  Glenn  Anders,  Allen  Jenkins, 
Sheldon  Leonard,  Marvin  Kaplan,  "Archie". 
Directed  by  George  Beck 


FARCE 


Marking  a  fast  and  complete  change  of 
pace  from  their  first  release  for  RKO,  "The 
Blue  Veil",  producers  Jerry  Wald  and 
Norman  Krasna  have  turned  out  a  laugh- 
packed  screwball  farce  in  "Behave  Your- 
self" that  should  register  soundly  with  mass 
audiences.  Runyonesque  in  story  flavor  and 
characters,  directed  at  breakneck  pace  by 
George  Beck,  a  converted  writer  who  collo- 
borated  on  the  screenplay,  and  sporting  a 
sterling  cast  headed  by  two  of  the  hottest 
young  stars  on  the  screen,  there  can  be  little 
doubt  that  its  boxofike  reception  will  be  well 
above  average.  There  will  be  those  who  will 
find  the  outlandish  situations  and  the  broad 
comedy  hard  to  take,  for  little  in  the  film 
makes  sense,  from  the  opening,  where  a 
gunman  checks  a  dog  at  a  baggage  counter, 
to  the  final  hectic  scene  that  finds  bodies 
strewn  around  a  living  room  in  hilarious 
confusion.  But  the  tongue-in-cheek  presenta- 
tion, spiced  dialogue,  woo-woo  shots  of 
Shelley  Winters  and  the  fastchange  com- 
plications will  have  most   patrons  roaring, 


often  in  spite  of  themselves.  The  produc- 
tion is  slick  and  lush,  with  the  settings  and 
attire  eliciting  "oohs"  and  "aahs"  from  the 
audience. 

Given  their  heads  by  director  Beck, 
Shelley  Winters  and  Farley  Granger  display 
previously  hidden  talents  for  broad  comedy. 
Miss  Winters,  as  a  not-too-bright  but  lus- 
cious young  wife,  and  Granger,  as  her 
sorely  beset  spouse  who  Rets  into  the  most 
fantastic  complications,  romp  through  their 


'MR.  PEEK-A-BOO'  DEFT  AND  DELIGHTFUL  COMEDY 

Rates  •  •  +  or  better  in  art  houses  and 


United  Artists  (Jacques  Bar) 
75  minutes 

Cast:  Joan  Greenwood,  Bourvil,  Marcel  Ar- 
nold, Roger  Treville,  Henri  Cremieux, 
Directed  by  Jean  Boyer 

"Mr.  Peek-a-boo"  is  a  fresh,  imaginative 
comedy  which,  in  its  United  Artists  re- 
lease, will  fare  substantially  better  than  the 
average  import.  Made  in  France  with 
English  dialogue,  this  story  of  a  man  who 
is  able  to  walk  through  walls  packs  charm 
and  good  humor  to  beguile  a  wide  variety 
of  audiences.  The  show  is  a  natural  for 
art  house  attention,  and  as  as  duallar  on 
metropolitan  and  better  class  b 
hold  its 


Is,  it  will 
as   different   and  delightful 


-here  exploited 

entertainment.  The  production  lacks  pre- 
tension and  is  occasionally  uneven  in  its 
photographic  pattern,  but  the  bright  plot 
idea  and  the  superb  performances  of  the 
players,  notably  French  comedian  Bourvil, 
pick  up  the  slack.  Jean  Hover's  direction 
is  filled  with  clever  touches  and  his  trick 
of  underplaying  sequences  that  could  easily 
become  stereotyped  slapstick  adds  sub- 
stantially to  the  picture's  enjoyment.  With 
initial  exploitation  impetus,  word-of-mouth 
should  help  lift  this  to  some  surprising  re- 
turns. 

STORY:  Bourvil  is  a  simple  government 
clerk  who,  during  a  bender,  discovers  his 
unique  ability  for  penetrating  solids.  Prod- 
ded bv  a  friend  to  capitalize  on  the  talent 


roks  witli  high  comic,  as  well  as  eye-filling, 
effect.  Although  all  other  roles  are  limited 
to  bits,  with  the  exception  of  a  precocious 
dog,  'Archie,"  a  key  canine  in  the  story,  the 
suporting  cast  delivers  a  hatful  of  gems — 
William  Demarest,  as  a  befuddled  detective, 
Margalo  Gilmorc,  in  a  mother-in-law  cari- 
cature, and  the  rest  as  assorted  smugglers, 
counterfeiters,   blackmailers,   gangsters,  etc. 

STORY:  W  hen  a  dog,  who  is  supposed 
to  lead  some  nefarious  characters  to 
diamond    smugglers,    escapes    and  follows 

newly  married  Farley  Granger  home,  it 
starts  a  fantastic  series  of  events  rolling. 
Granger  is  forced  to  keep  the  don  when  his 
wife.  Shelley  W  inters,  believes  it  is  an  an- 
niversary present.  W  hen  the  pup  upsets  his 
home  life,  however,  Grander  attempts  to 
return  him,  but  fails  becoming  involved  in 
a  murder  every  time  he  tries  to  net  rid  of 
the  dog.  Walking  the  don,  W  inters  is  mis- 
taken for  a  confederate  and  is  handed  a 
briefcase  full  of  counterfeit  money.  After 
another  brush  with  the  police,  as  the 
counterfeit  hills  ;trc  returned,  the  crooks 
locate  the  dog  at  Granger's  house,  and  as 
each,  in  turn,  attempts  to  retrieve  the  dog 
and  money,  they  are  killed  off  by  others. 
The  finale  finds  all  of  the  crooks  strewn 
around  the  house,  and  Grander  hailed  as  a 
hero  responsible  for  the  biggest  roundup  of 
dangerous  characters  in  the  city's  history. 

BARN" 


or  at  least  turn  it  into  a  pleasant  pursuit 
he  begins  to  visit  some  places  in  Paris  he 
has  never  seen.  During  these  adventures 
he  meets  Joan  Greenwood,  a  pretty  English 
girl  who  passes  herself  off  as  a  lady  but 
who  is  actually  a  jewel  thief.  Using  his 
power  to  walk  throug  walls,  Bourvil  returns 
her  loot  and  tries  to  reform  her.  The  girl 
is  in  love  with  adventure,  so  to  win  her 
fancy,  Bourvil  becomes  a  fabulous  thief, 
walking  through  bank  vaults  and  leading  the 
police  a  merry  chase.  In  due  course  he  re- 
turns all  the  stolen  property,  is  adjudged 
innocent  by  a  judge  sympathetic  to  his  aims 
of  impressing  a  beautiful  girl  and,  of  course, 
Miss  Greenwood  changes  her  ways. 

HAW  A  (Hollywood) 


SUBMARINE  COMMAND'  MODERATELY  ENTERTAINING  DRAMA 

Rates  •  •  +  generally  as  top  dualler 


Paramount 
78  minutes 

William  Holden,  Nancy  Olson,  William 
Bendix,  Don  Taylor,  Arthur  Franz,  Darryl 
Hickman,  Peggy  Webber,  Moroni  Olsen, 
Directed  by  John  Farrow 

"Submarine  Command"  is  average  fare  for 
I  the  action  and  neighborhood  houses,  an  at- 
traction best  measured  by  William  Holden's 
boxoffice  value  in  individual  locations.  It 
is  a  story  of  the  Navy  with  some  unusual 
angles  in  its  plotting  but  insufficiently  ef- 
fective in  its  action  content  to  rate  real 
cheers.  The  premise  is  psychological,  but 
wisely  this  particular  angle  is  held  under 


some  restraint.  The  result  is  a  moderately 
entertaining  film  that  will  serve  best  on  a 
dual  bill  with  a  light  musical  or  comedy. 
The  performances  are  satisfactory,  the  pro- 
duction creditable,  and  John  Farrow's  di- 
rection, frequently  imaginative. 

STORY:  Yarn  spots  William  Holden  as 
an  officer  who  sees  his  first  active  duty 
aboard  a  submarine  on  the  last  day  of  the 
war.  In  an  encounter  with  Jap  ships  he 
gives  the  order  to  submerge  that  costs  the 
life  of  the  captain  and  one  of  the  crew.  The 
others  quickly  sense  that  duty  prompted  the 
decision,  but  William  Bendix,  an  old  salt, 
bears  a  grudge  against  Holden.  The  inci- 
dent preys  on  Holden's  mind  in  the  years 


following  the  war  and  affects  adversely  his 
married  life  with  Nancy  Olson,  pretty  ad- 
vertising executive  who  gave  up  a  good  job 
to  become  his  wife.  The  Korean  conflict 
puts  Holden  back  on  sea  duty.  Again, 
Bendix  is  a  crew  member.  An  act  of  heroism 
by  Holden  settles  the  rift  between  the  two 
and  eases  Holden's  conscience. 

William  Holden's  effortless  playing  of  the 
unhappy  Navy  man  is  easy  to  take,  and 
Xancy  Olsen  displays  warmth  and  vitality 
as  his  wife.  William  Bendix  is  a  good  choice 
for  the  surly  Chief.  Don  Taylor  scores 
solidly  as  the  inevitable  family  friend.  Sup- 
porting performances  are  good  if  not  dis- 
tinguished. JAMES 


SEPTEMBER   24,  1951 


11 


COME  FILL  THE  CUP'  STRONG  CACNEY  DRAMA 

Rates  •  •  •  in  metropolitan  and  action  houses 

_..ributable  in  a  large  measure  to 

Warners  Bros. 
115  minutes 

James  Cagney,  Phyllis  Thaxter,  Raymond 
Massey,  James  Gleason,  Gig  Younng,  Selena 
Royle,  Larry  Keating,  Charlita,  Sheldon 
Leonard,  Douglas  Spencer,  John  Kellogg, 
William  Bakewell,  John  Alvin. 
Directed  by  Gordon  Douglas 


Although  "Come  Fill  the  Cup"  does  not 
threaten  the  position  of  "Lost  Weekend"  as 
the  "definitive"  celluloid  study  of  alcoholism, 
this  Henry  Blanke  production  for  Warner 
Brothers  packs  potent  entertainment  values 
:is  it  follows  the  narrative  of  a  newspaper- 
man who  rehabilitates  himself  after  long, 
terrible  years  of  excessive  drinking.  Its 
outstanding  features  are  the  performances 
of  James  Cagney,  playing  the  newspaperman, 
and  Gig  Young,  portraying  the  weakling 
nephew  of  a  Hearst-like  publishing  tycoon. 
The  two  men.  with  their  stunning  make- 
believe,  pull  the  flighty  story  down  to  earth 
on  more  than  one  occasion,  imbuing  it  with 
a  strong  sense  of  realism.  They  are  given 
punchy,  effective  dialogue  to  read  and  the 
situations  are  adroitly  balanced  between 
comedy  and  drama.  On  the  debit  side  of 
the  ledger,  "Come  Fill  the  Cup"  is  overlong, 


a  situation 

the  necessity  for  establishing  the  publisher 
character  of  Raymond  Massey.  His  delayed 
entrance  affects  the  continuity  of  the  story, 
and  you  have,  in  effect,  two  separate  yarns 
— both  interesting,  but  not  too  well  co- 
ordinated. However,  with  the  Cagney  name, 
its  qualities  as  a  sleek  production,  splendid 
acting  and  imaginative  direction  by  Gordon 
Douglas,  "Come  Fill  the  Cup"  rates  as 
strong  screen  fare  for  the  metropolitan 
areas  and  action  houses. 

STORY:  Adapted  from  Harlan  Ware's 
novel  to  be  published  in  the  winter,  "Come 
Fill  the  Cup"  begins  with  the  firing  of 
Cagney  from  his  job  as  star  reporter  when 
he  shows  up  with  a  story  five  days  late. 
Cagney  proceeds  to  go  on  a  bender,  repudi- 
ates his  affection  for  Phyllis  Thaxter,  ends 
up  in  the  alcoholic  ward  of  a  city  hospital. 
Unknown  to  him,  he  has  been  befriended  by 
James  Gleason,  a  reformed  drunk.  Gleason 
takes  him  home  after  his  recuperation,  helps 
him  obtain  work  as  a  laborer.  He  eventually 
succeeds  in  getting  Cagney  reinstated  on  the 
paper.  By  staying  on  the  wagon  Cagney, 
over  a  period  of  time,  rises  to  the  job  of 
city  editor.  Meanwhile,  Miss  Thaxter  has 
married   Gig  Young.    Paradoically,  Young 


becomes  an  alcoholic;  his  constant  bouts 
compel  Massey  to  enlist  Cagney's  help.  It 
is  a  pay-off  for  confidence  expressed  in 
Cagney  years  before  and  in  Cagney's  de- 
termination to  help  other  alcoholic  reporters 
by  giving  them  a  job  on  his  staff.  Cagney 
wades  into  the  messy  situation,  finds  Young 
is  fooling  around  with  the  girl  friend  of  a 
gangster.  During  a  weavy  evening  Young 
is  involved  in  a  car  accident  that  kills 
Gleason.  Cagney  is  about  to  go  off  the 
wagon  when  word  comes  that  Young's  car 
had  been  tampered  with  by  the  gangsters. 
He  puts  the  pressure  of  his  newspaper  on 
the  hoodlums  and  eventually  collars  them. 
Young,  of  course,  makes  the  grade  in  stop- 
ping his  alcoholism. 

Cagney's  superb  performance  is  the  domi- 
nating element  of  the  earlier  part  of  the 
story,  a  situation  that  is  shared  when  Gig 
Young  makes  his  appearance  to  give  a 
brilliant  reading  of  the  youthful  dypso. 
Phyllis  Thaxter  is  only  half-way  effective  in 
the  feminine  lead.  Raymond  Massey  and 
Selma  Royle  are  excellent  as  the  wealthy 
newspaper  family,  and  James  Gleason 
charms  with  his  portrait  of  an  old-timer. 
Supporting  players  are  uniformly  good. 

JAMES 


'BANNERLINE'  MODEST,  BUT  ENTERTAINING  TABLOID  DRAMA 


Rates  •  •  4-  as  dualler 


M-G-M 
88  minutes 

Keefe  Brasselle,  Sally  Forrest,  Lionel  Barry- 
more,  Lewis  Stone,  J.  Carrol  Naish,  Larry 
Keating,  Spring  Byington,  Elisabeth  Risdon, 
Directed  by  Don  Weis 

"Bannerline"  is  a  whimsical  little  news- 
paper tale  of  a  cub  reporter's  whirlwind 
crusade  to  rid  a  town  of  the  influence  of  a 
vicious  racketeer.  The  boxoffice  prospects 
for  this  Metro  drama  are  good,  particularly 
in  the  stocks,  as  a  top  duller,  and  in  second- 
ary situations.  Only  the  hypercritical, 
overly-cynical  fan  will  find  fault  with  this 
film.  Produced  by  Henry  Berman  on  a  com- 
paratively low  budget,  "Bannerline"  moves 
along  quickly  and  with  mounting  interest, 
rarely  telegraphing  its  punches  and  leaving 


in  its  wake  a  few  good  chuckles  as  well  as 
some  significant  lessons  in  citizenship.  The 
dialogue,  particularly  in  the  scenes  domi- 
nated by  political  boss  J.  Carrol  Naish,  is 
sharp  and  witty,  although  the  lines  spoken 
by  Keefe  Brasselle  before  his  rapid  maturity 
do  not  ring  quite  true. 

Although  there  is  little  boxofike  value 
among  the  names  of  the  principals  of  the 
cast,  their  performances  are  all  praiseworthy. 
Brasselle  does  an  excellent  job  despite  the 
"cub  reporter"  dialogue  the  script  saddles 
him  with,  and  Lionel  Barrymore  is  right  at 
home  in  the  familiar  role  of  a  bedridden 
school  teacher  who  inspires  a  newspaper 
crusade  against  the  city's  corrupt  bosses. 
Top  plaudits  go  to  Lewis  Stone  for  his 
portrayal  of  an  alcoholic,  undignified  news- 
paperman; and  to  Naish,  for  his  stint  as 
the  local  demagogue. 


STORY:  Inspired  by  an  interview  with 
Lionel  Barrymore,  a  crusading  history 
teacher  on  his  deth  bed,  Keefe  Brasselle,  a 
wet-behind-the-ears  cub  reporter,  manages 
to  circulate  an  entire  false  front  edition  of 
his  paper,  condemning  the  corrupt  activi- 
ties of  the  city's  racketeer  boss,  J.  Carol 
Naish.  Brasselle's  publisher,  Larry  Keating, 
who  fears  ruin  because  of  Naish's  influence, 
fires  the  boy  on  the  racketeer's  say-so,  dis- 
regarding Brasselle's  plea  to  give  editorial 
support  to  a  grand  jury  investigation  of 
Naish  and  his  cohorts.  When  hoodlurm 
beat  Brasselle  just  short  of  death,  Keating, 
persuaded  by  old  time  newspaperman  Lewis 
Stone,  arranged  for  a  grand  jury  indictment 
of  Naish,  ridding  the  town  of  its  crooked 
regime  and  clearing  the  way  for  a  more 
mature  Brasselle  to  marry  his  school  teacher 
sweetheart,  Sally  Forrest.  TACKSON 


THE  MOB'  GOOD  CRIME  MELLER  FOR  ACTION  FANS 

Rates  •  •  •  —  in  action  spots;  fair  dualler  elsewhere 


Columbia 
87  minutes 

Broderick  Crawford,  Betty  Buehler,  Richard 
Kiley,  Otto  Hulett,  Matt  Crowley, 
Directed  by  Robert  Parrish 

"The  Mob"  is  a  gangster  drama  that  will 
ph  ase  the  dyed  in  the  wool  action  fans  with 
its  rugged  narrative  of  skullduggery  along 
the  waterfront,  terse  dialogue  and  the  frank 
brutality  of  the  several  physical  encounters. 
However,  it  is  prevented  from  distinguishing 
itself  in  its  class  as  the  script  goes  far  afield 
in  trying  to  make  its  points;  consequently, 

12 


the  basic  one,  just  what  the  ruckus  is  all 
about,  never  is  put  forward  with  clarity.  We 
see  a  gang  of  arch  criminals  raising  Hades 
among  themselves  and  the  law,  but  just  what 
they're  after  is  never  fully  explained.  Action 
spots  should  do  well  with  this,  but  else- 
where it  is  just  a  fair  dualler. 

STORY:  Narrative  concerns  Broderick 
Crawford,  a  policeman  whose  superior  tells 
him  to  go  underground  in  order  to  get  the 
goods  on  a  gang.  He  hides  out  in  New 
Orleans,  assumes  a  false  identity,  ships  back 
North  with  an  established  reputation  as  a 
tough  guy.   He  meets  the  thugs  first  hand, 


goes  to  work  on  the  docks,  ultimately  dis- 
covers evidence  that  puts  at  least  one  of  the 
bunch  in  the  cooler.  His  next  objective  is 
the  top  fellow  who  turns  out  to  be  the 
bartender  at  his  own  skid  row  hotel.  The 
heavies  have  latched  on  to  Crawford's  girl 
friend  as  a  hostage.  He  is  obligated  to  give 
away  his  identity,  battles  it  out  and  disposes 
of  the  culprits  for  the  fadeout. 

Crawford  is  his  typical  rugged  self,  and 
Betty  Buehler  registers  briefly  as  the  girl 
friend.  Newcomer  Richard  Killey  is  fine  as 
a  government  undercover  agent.  Otto 
Hulctt's  quiet  heavy  is  effective.  Supporting 
players  do  well  generally.  ANGEL. 

FILM  BULLETIN; 


VERYTHING  which  has  made  the 
Motion  Picture  Theatre  the  home  of  man- 
kind's greatest  entertainment  —  has  been 
reaffirmed  and  surpassed  by  one  attraction 


TS  spectacular  drama,  springing  from 
the  Bible  s  most  flaming  story  of  transgres- 
sion, is  captured  in  the  full  magnificence  of 
Technicolor.  The  great  Motion  Picture 
Screen  comes  fully  into  its  own  as  legions 
clash  and  a  tremendous  cast  of  thousands  re- 
create a  world  of  passion  and  fire!  Truly,  it 
is  a  milestone  in  Motion  Picture  production. 


COME  FILL  THE  CUP'  STRONG  CACNEY  DRAMA 

Rates  •  •  •  in  metropolitan  and  action  houses 


Warners  Bros. 
115  minutes 

James  Cagney,  Phyllis  Thaxter,  Raymond 
Massey,  James  Gleason,  Gig  Younng,  Selena 
Royle,  Larry  Keating,  Charlita,  Sheldon 
Leonard,  Douglas  Spencer,  John  Kellogg, 
William  Bakewell,  John  Alvin. 
Directed  by  Gordon  Douglas 

Although  "Come  Fill  the  Cup"  does  not 
threaten  the  position  of  "Lost  Weekend"  as 
the  "definitive"  celluloid  study  of  alcoholism, 
thi-  Henry  Blanke  production  for  Warner 
Brothers  packs  potent  entertainment  values 
:is  it  follows  the  narrative  of  a  newspaper- 
man who  rehabilitates  himself  after  long, 
terrible  years  of  excessive  drinking.  Its 
outstanding  features  are  the  performances 
of  James  Cagney,  playing  the  newspaperman, 
and  Gig  Young,  portraying  the  weakling 
nephew  of  a  Hearst-like  publishing  tycoon. 
The  two  men,  with  their  stunning  make- 
believe,  pull  the  flighty  story  down  to  earth 
un  more  than  one  occasion,  imbuing  it  with 
a  strong  sense  of  realism.  They  are  given 
punchy,  effective  dialogue  to  read  and  the 
situations  are  adroitly  balanced  between 
comedy  and  drama.  On  the  debit  side  of 
the  ledger,  "Come  Fill  the  Cup"  is  overlong, 


a  situation  attributable  in  a  large  measure  to 
the  necessity  for  establishing  the  publisher 
character  of  Raymond  Massey.  His  delayed 
entrance  affects  the  continuity  of  the  story, 
and  you  have,  in  effect,  two  separate  yarns 
— both  interesting,  but  not  too  well  co- 
ordinated. However,  with  the  Cagney  name, 
its  qualities  as  a  sleek  production,  splendid 
acting  and  imaginative  direction  by  Gordon 
Douglas,  "Come  Fill  the  Cup"  rates  as 
strong  screen  fare  for  the  metropolitan 
areas  and  action  houses. 

STORY:  Adapted  from  Harlan  Ware's 
novel  to  be  published  in  the  winter,  "Come 
Fill  the  Cup"  begins  with  the  firing  of 
Cagney  from  his  job  as  star  reporter  when 
he  shows  up  with  a  story  five  days  late. 
Cagney  proceeds  to  go  on  a  bender,  repudi- 
ates his  affection  for  Phyllis  Thaxter,  ends 
up  in  the  alcoholic  ward  of  a  city  hospital. 
Unknown  to  him,  he  has  been  befriended  by 
James  Gleason,  a  reformed  drunk.  Gleason 
takes  him  home  after  his  recuperation,  helps 
him  obtain  work  as  a  laborer.  He  eventually 
succeeds  in  getting  Cagney  reinstated  on  the 
paper.  By  staying  on  the  wagon  Cagney, 
over  a  period  of  time,  rises  to  the  job  of 
city  editor.  Meanwhile,  Miss  Thaxter  has 
married   Gig  Young.    Paradoically,  Young 


becomes  an  alcoholic;  his  constant  bouts 
compel  Massey  to  enlist  Cagney's  help.  It 
is  a  pay-off  for  confidence  expressed  in 
Cagney  years  before  and  in  Cagney's  de- 
termination to  help  other  alcoholic  reporters 
by  giving  them  a  job  on  his  staff.  Cagney 
wades  into  the  messy  situation,  finds  Young 
is  fooling  around  with  the  girl  friend  of  a 
gangster.  During  a  weavy  evening  Young 
is  involved  in  a  car  accident  that  kills 
Gleason.  Cagney  is  about  to  go  off  the 
wagon  when  word  comes  that  Young's  car 
had  been  tampered  with  by  the  gangsters. 
He  puts  the  pressure  of  his  newspaper  on 
the  hoodlums  and  eventually  collars  them. 
Young,  of  course,  makes  the  grade  in  stop- 
ping his  alcoholism. 

Cagney's  superb  performance  is  the  domi- 
nating element  of  the  earlier  part  of  the 
story,  a  situation  that  is  shared  when  Gig 
Young  makes  his  appearance  to  give  a 
brilliant  reading  of  the  youthful  dypso. 
Phyllis  Thaxter  is  only  half-way  effective  in 
the  feminine  lead.  Raymond  Massey  and 
Selma  Royle  are  excellent  as  the  wealthy 
newspaper  family,  and  James  Gleason 
charms  with  his  portrait  of  an  old-timer. 
Supporting  players  are  uniformly  good. 

JAMES 


ENTERTAINING  TABLOID  DRAMA 


'BANNERLINE'  MODEST,  BUT 

Rates  •  •  +  as  dualler 

M-G-M 
88  minutes 

Keefe  Brasselle,  Sally  Forrest,  Lionel  Barry- 
more,  Lewis  Stone,  J.  Carrol  Naish,  Larry 
Keating,  Spring  Byington,  Elisabeth  Risdon, 
Directed  by  Don  Weis 


"Bannerline"  is  a  whimsical  little  news- 
paper tale  of  a  cub  reporter's  whirlwind 
crusade  to  rid  a  town  of  the  influence  of  a 
vicious  racketeer.  The  boxofhce  prospects 
for  this  Metro  drama  are  good,  particularly 
in  the  stocks,  as  a  top  duller,  and  in  second- 
ary situations.  Only  the  hypercritical, 
overly-cynical  fan  will  find  fault  with  this 
film.  Produced  by  Henry  Berman  on  a  com- 
paratively low  budget,  "Bannerline"  moves 
along  quickly  and  with  mounting  interest, 
rarely  telegraphing  its  punches  and  leaving 


in  its  wake  a  few  good  chuckles  as  well  as 
some  significant  lessons  in  citizenship.  The 
dialogue,  particularly  in  the  scenes  domi- 
nated by  political  boss  J.  Carrol  Naish,  is 
sharp  and  witty,  although  the  lines  spoken 
by  Keefe  Brasselle  before  his  rapid  maturity 
do  not  ring  quite  true. 

Although  there  is  little  boxofnee  value 
among  the  names  of  the  principals  of  the 
cast,  their  performances  are  all  praiseworthy. 
Brasselle  does  an  excellent  job  despite  the 
"cub  reporter"  dialogue  the  script  saddles 
him  with,  and  Lionel  Barrymore  is  right  at 
home  in  the  familiar  role  of  a  bedridden 
school  teacher  who  inspires  a  newspaper 
crusade  against  the  city's  corrupt  bosses. 
Top  plaudits  go  to  Lewis  Stone  for  his 
portrayal  of  an  alcoholic,  undignified  news- 
paperman; and  to  Naish,  for  his  stint  as 
the  local  demagogue. 


STORY:  Inspired  by  an  interview  with 
Lionel  Barrymore,  a  crusading  history 
teacher  on  his  deth  bed,  Keefe  Brasselle,  a 
wet-behind-the-ears  cub  reporter,  manages 
to  circulate  an  entire  false  front  edition  of 
his  paper,  condemning  the  corrupt  activi- 
ties of  the  city's  racketeer  boss,  J.  Carol 
Naish.  Brasselle's  publisher,  Larry  Keating, 
who  fears  ruin  because  of  Naish's  influence, 
fires  the  boy  on  the  racketeer's  say-so,  dis- 
regarding Brasselle's  plea  to  give  editorial 
support  to  a  grand  jury  investigation  of 
Naish  and  his  cohorts.  When  hoodlum.1 
beat  Brasselle  just  short  of  death,  Keating, 
persuaded  by  old  time  newspaperman  Lewis 
Stone,  arranged  for  a  grand  jury  indictment 
of  Naish,  ridding  the  town  of  its  crooked 
regime  and  clearing  the  way  for  a  more 
mature  Brasselle  to  marry  his  school  teacher 
sweetheart,  Sally  Forrest.  JACKSON 


THE  MOB'  GOOD  CRIME  MEL 

Rates  •  •  •  —  in  action  spots;  fair  dualli 


Columbia 
87  minutes 

Broderick  Crawford,  Betty  Buehler,  Richard 
Kiley,  Otto  Hulett,  Matt  Crowley, 
Directed  by  Robert  Parrish 


"The  Mob"  is  a  gangster  drama  that  will 
please  the  dyed  in  the  wool  action  fans  with 
its  runued  narrative  of  skullduggery  along 
the  waterfront,  terse  dialogue  and  the  frank 
brutality  of  the  several  physical  encounters. 
However,  it  is  prevented  from  distinguishing 
itself  in  its  class  as  the  script  goes  far  afield 
in  trying  to  make  its  points;  consequently, 

12 


.ER  FOR  ACTION  FANS 

■  elsewhere 

the  basic  one,  just  what  the  ruckus  is  all 
about,  never  is  put  forward  with  clarity.  We 
see  a  gang  of  arch  criminals  raising  Hades 
among  themselves  and  the  law,  but  just  what 
they're  after  is  never  fully  explained.  Action 
spots  should  do  well  with  this,  but  else- 
where it  is  just  a  fair  dualler. 

STORY:  Narrative  concerns  Broderick 
Crawford,  a  policeman  whose  superior  tells 
him  to  go  underground  in  order  to  get  the 
goods  on  a  gang.  He  hides  out  in  New 
Orleans,  assumes  a  false  identity,  ships  back 
North  with  an  established  reputation  as  a 
tough  guy.    He  meets  the  thugs  first  hand. 


goes  to  work  on  the  docks,  ultimately  dis- 
covers evidence  that  puts  at  least  one  of  the 
bunch  in  the  cooler.  His  next  objective  is 
the  to])  fellow  who  turns  out  to  be  the 
bartender  at  his  own  skid  row  hotel.  The 
heavies  have  latched  on  to  Crawford's  girl 
friend  as  a  hostage.  He  is  obligated  to  give 
away  his  identity,  battles  it  out  ami  (lispo-, ;s 
of  the  culprits  for  the  fadeout. 

Crawford  is  his  typical  rugged  self,  and 
Betty  Buehler  registers  briefly  as  the  girl 
friend.  Newcomer  Kichard  Killey  is  fine  as 
a  government  undercover  agent.  Otto 
Hulett's  quiet  heavy  is  effective.  Supporting 
players  do  well  generally.  ANGEL. 

FILM    B  U  L  I.  E  T  I  N 


RAYMOND  MASSEY  ■  KIERON  MOORE  .■S'SSfi.*  darrylf.ZANUCK-  henry  KING  •  pIipSe 


THIS 

24  SHEET 

POSTER 

IS 

AVAILABLE 
IN  QUANTITY 


PLAN 
YOUR 
BILLBOARD 
CAMPAIGN 
NOW!... 


...  and  for  her  he  broke 

God's  own  commandment." 

September  24,  1951 


THE  DAY  THE  EARTH  STOOD  STILL'  SOCK  SCIENCE  FICTION 

Rates  •  •  •  generally,  more  where  exploited 

20th  Century-Fox 
92  minutes 

Michael  Rennie,  Patricia  Neal,  Hugh  Mar- 
lowe. Sam  Jaffe,  Billy  Gray,  Francis  Bavier, 
Lock  Martin,  Drew  Pearson,  Frank  Conroy, 
Carleton  Young,  Fay  Roope,  Robert  Os- 
terloh,  Tyler  McVey,  James  Seay,  John 
Brown,  Majorie  Crossland,  Glenn  Hardy, 
Gabriel  Heater,  H.  V.  Kaltenborn,  Elmer 
Davis. 

Directed  by  Robert  Wise 


"The  Day  the  Earth  Stood  Still'  is  the 
best  so  far  in  the  science  fantasy  cycle  with 
its  intriguing  story  about  visitors  fron  an- 
other planet.  W  ith  the  excellent  campaign 
20th-Fox  has  laid  out  for  it  and  its  natural 
exploitation  potentialities,  it  stands  to  be  a 
strong  grosser  generally.  The  screenplay  is 
written  with  an  eye  for  humor,  a  faint  sug- 
gestion of  romance,  and  considerable  regard 
for  the  special  effects  sequences  that  must 
highlight  yarns  of  this  sort.  The  space  ship 
is  a  fascinating  exhibition  and  its  robot  oc- 
cupant is  a  threat  that  hangs  excitingly  over 
the  fate  of  the  nation's  capitol.  Top  sequence 
is  that  in  which  the  electric  power  of  the 
Earth  is  cut  off  by  powers  in  the  outer 
planet,  and  world  activity  comes  to  a  stand- 
still. The  film  is  meticulously  produced  with 
much  of  the  air  of  the  documentary  about 


it,  an  atmosphere  that  is  implemented  by 
the  appearances  of  commentators  Drew 
Pearson,  Elmer  Davis.  H.  Y.  Kaltenborn, 
and  Gabriel  Heater.  Members  of  the  large 
cast  give  good  performances,  and  Robert 
W  ise  directs  in  suspenseful  fashion. 

STORY:  Michael  Rennie  is  the  head  man 
of  the  adventure,  a  tall,  handsome  fellow 
who  arrives  in  his  space  ship  accompanied 
by  a  robot  whose  electric  eyes  are  capable 


YARN 

of  melting  steel  at  the  sound  of  a  \\..rd  from 
Rennie.  The  \isitor  wants  to  see  the  l'r< -i- 
dcnt  in  order  to  call  together  representa- 
tives of  all  nations.  The  Presidents  RCTt- 
tary  advises  his  this  is  impossible.  Rennie 
gets  away  from  Walter  Reed  hospital,  takes 

up  lodgings  in  a  boarding  bouse.  He  lecki 

out  scientist  Sam  Jaffe,  urges  him  to  gather 
other  men  of  learning  to  hear  him.  They 
decide  on  the  power  tie-up  to  demonstrate 
Return's  capacity  for  destroying  the  world. 
The  police.  Army,  and  Navy  comb  Wash- 
ington to  find  Rennie.  locate  him  en  route 
to  the  meeting.  He  is  wounded  but  sends 
word  to  the  robot  to  take  no  retaliatarv 
action.  He  quickly  recovers  thanks  to  medi- 
cinal properties  contained  in  lights  aboard 
his  space  ship.  At  the  last  minute  he  speaks 
of  peace,  warns  the  world  that  other  planets 
will  take  action  if  earth  persists  in  quarreling 
among  its  national  members.  He  flies  away 
in  his  ship. 

Rennie  is  a  fine  choice  for  the  part  of 
the  outer-space  visitor;  he  reads  it  with 
dignity  and  understanding.  Patricia  Xeal  is 
charming  as  the  widow  who  is  intrigued  by 
the  strange  man.  and  Hugh  Marlowe  makes 
the  most  of  his  role  as  a  minor-league  heavy. 
Sam  Jaffe  performs  with  the  actor's  usual 
authority,  and  Billy  Gray  is  fine  as  Neat's 
daughter.  ANGEL 


then,  he  disappears  Skeiton  and  Williams 
drive  his  Cadillac  to  a  swank  dude  hotel 
where  they  are  mistaken  for  Wynn  and  his 
sister.  The  deception  boomerangs  when 
Skeiton  gets  into  a  poker  game  and  looses 
SI  7.000.  To  even  things  he  must  race  in  the 
chuck  wagon  event  at  double  or  nothing. 
Wynn  returns  from  a  trip  to  Mexico  City 
by  taxi,  docsnt'  recognize  Skeiton.  The 
crazy  premise  builds  to  a  chase  finale  with 
Red,  the  winner  of  course. 

Esther  Williams  does  a  most  creditable 
job;  her  swimming,  is  confined  to  a  very- 
clever  sequence  in  which  she  cavorts  in  a 
pool  dressed  up  as  a  room.  It's  smart  and 
novel.  Howard  Keel  is  only  fair  as  the  lead- 
ing man,  but  Ann  Miller  whams  across  the 
part  of  a  Texas  extrovert  in  grand  style, 
scoring  solidly  with  her  dancing.  Paula 
Raymond  has  little  to  do  as  the  real  sister, 
but  Keenan  Wynn's  unbridled  Texas  is 
genuinely  tunny.  JAMES 


to  his  home  town  to  hang  out  his  shingle. 
His  father  had  been  murdered  many  years 
before,  but  Autry  does  not  seek  revenge  for 
the  incident.  A  feud  between  two  ranchers 
has  harassed  the  village,  and  when  Autry 
treats  the  child  of  one  of  them,  bad  blood 
brews,  particularly  when  the  youngster  dies. 
Inevitably  in  the  course  of  his  practice  of 
medicine.  Autry  comes  on  the  truth  about 
his  father's  death,  discovering  that  the 
murderer  and  real  instigator  of  all  the 
trouble  is  his  one-time  pal.  ANGEL 


TEXAS  CARNIVAL'  LIGHT  TECHNICOLOR  MUSICOMEDY 

Rates  •  •  •  except  in  action  houses 


Metrc-Goldwyn-Mayer 
76  minutes 

Esther  Williams,  Red  Skeiton,  Howard 
Keel.  Ann  Miller,  Paula  Raymond,  Keenan 
Wynn,  Tom  Tully,  Glenn  Strange,  Dick 
Wessel,  Donald  MacBride,  Marjorie  Wood, 
Hans  Concried,  Thurston  Hall,  Duke  John- 
son, Wilson  Wood,  Foy  Willing  and  Orches- 
tra. Red  Norvo  Trio,  Michael  Dugan. 
Directed  by  Charles  Walters 

"Texas  Carnival"  is  a  bright,  breezy  Tech- 
nicolor musical  spotlighting  the  pulchritude 
of  Esther  Williams  and  the  gay  insanities 
of  Red  Skeiton,  that  should  please  generally 
as  light,  happy  entertainment.  Skeiton  is 
very  much  the  show  with  his  dizzy  portrait 
of  a  carnival  entertainer  who  is  mistaken  for 
a  Texas  millionaire.  And  he  does  a  superb 
job  of  garnering  laughs  with  such  routines 
as  rolling  a  cigarette,  running  in  a  chuck 
wagon   race,   and   a   drunk   sequence  that 


probably  is  a  classic  of  its  kind.  The  story- 
is  out  and  out  nonsense  but  makes  quite  a 
few  amusing  points  in  its  satirical  shafts 
at  the  Lone  Star  State.  The  songs  are  just 
average,  it  seemed  to  this  reviewer,  and  not 
too  imaginatively  put  across  by  Howard 
Keel.  Charles  Walters'  direction  is  bright 
throughout  and  smartly  permits  Skeiton  to 
take  the  lead  in  building  the  comedy  with 
his  rare  slapstick  inventiveness.  The  Skelton- 
W  illiams-Keel  names  and  the  lighthearted 
entertainment  offered  should  mean  better 
than  average  I?.  O.  generally. 

STORY:  Tale  centers  around  the  ad- 
ventures of  Esther  Williams,  a  swimmer 
who  has  entrusted  her  career  to  Skeiton 
and  ends  up  as  the  target  for  a  dunking 
act  in  the  carnival.  On  the  mid-way  Skeiton 
meets  Keenan  W  ynn.  much  the  worse  for  a 
long  encounter  with  hundreds  of  straight 
shots.  He  offers  Skeiton  oil  well,  catties,  and 
ranches  as  tokens  of  his  undying  friendship, 


HILLS  OF  UTAH 

Rates  •  •  as  dualler 


PLACID  AUTRY  WESTERN 


Columbia 
69  minutes 

Gene  Autry,  Pat  Buttram,  Elaine  Riley, 
Donna  Martell,  Onslow  Stevens,  Denver 
Pyle,  William  Fawcett,  Harry  Lauter. 
Kenne  Duncan,  Harry  Harvey,  Sandy 
Sanders.  Tom  London. 
Directed  by  John  English 

In  "Hills  Of  Utah",  Gene  Autry  plays  a 
Dr.  Kildare  of  the  wide  open  spaces,  a 
character  poorly  suited  to  the  outdoor  star. 


Additionally,  the  story  in  which  he  per- 
forms his  medical  feats  places  more  empha- 
sis on  the  scalpel  than  the  six-shooter;  con- 
sequently, the  strongest,  if  not  the  only 
action  values  are  found  in  the  finale.  As  for 
the  rest  of  the  Armand  Schaefer  production 
in  sepia-tone,  it  is  a  quiet  outdoor  excerise 
padded  by  long  passages  of  dialogue  to 
explain  events  that  should  be  told  in  terse 
photographic  action.  Director  John  English 
fails  to. imbue  the  piece  with  the  expected 
excitement. 

STORY:  Autry  is  a  medico  who  returns 


SEPTEMBER    24,    19  5  1 


19 


PAINTING  THE  CLOUDS  WITH  SUNSHINE'  TRITE  TECHNICOLOR  MUSICAL 

Rates  •  •  generally 

face.  The  plot,  if  one  can  rightfully  use  that 
word  in  connection  with  the  proceedings  in 
this  film,  and  the  attempts  at  evoking  laughs 
from  S.  Z.  Sakall's  nonsensical  antics  and 
Wallace  Ford's  low  comedy  efforts,  will 
have  audiences  squirming  between  produc- 
tion numbers.  On  the  basis  of  names  and 
color,  "Painting  the  Clouds-'  will  realize 
some  fair  grosses  in  small-town  and  neigh- 
borhood situations,  but  should  fall  off  badly 
in  action  houses  and  deluxers. 


Warner  Bros. 
87  minutes 

Dennis     Morgan,    Virginia     Mayo,  Gene 
Nelson,  Lucille  Norman,  S.  Z.  Sakall,  Vir- 
ginia Gibson,  Tom  Conway,  Wallace  Ford, 
Tom  Duggan. 
Directed  by  David  Butler 

Aside  from  some  nostagic  tunes  and  a 
few  specialties,  "Painting  the  Clouds  With 
Sunshine"  is  an  old  hat  Technicolor  musical 
lacking  in  originality  and  bearing  generally 
undistinguished  production  values.  The 
noteworthy  sequences  that  save  this  Warner 
Brothers  offering  from  total  mediocrity  are 
a  few  entertaining  song-and-dance  oldies  by 
Virginia  Mayo  and  Gene  Nelson  and  canary- 
Lucille  Norman's  ear-pleasing  rendition  of 
the  timeless  tango  favorite,  "Jealousy."  Un- 
fortunately, the  formula  requires  some  ro- 
mance and  comedy  and  it  is  in  those  depart- 
ments that  the  film  falls  flat  on  its  timeworn 


When  they  are  cavorting  in  the  spotlight 
mi  stage,  Miss  Mayo  and  Nelson  leave  little 
to  be  desired,  particularly  in  the  "Birth  of 
the  Blues"  scene.  Offstage,  however,  the 
entire  cast  appear  to  be  in  strange  sur- 
roundings, probably  due  to  the  insipid 
quality  of  the  lines  they  must  speak.  Top 
credit  goes  to  musical  director  LeRoy 
Prinz  for  his  able  handling  of  the  song-and- 
dance  routines  and  the  staging  of  the  big 


production  numbers.  Screenplay  was  by 
Harry  Clark,  Roland  Kibbee  and  Peter 
Milne;  production  by  William  Jacobs  and 
direction  by  David  Butler. 

STORY:  Because  singer  Dennis  Morgan 
cannot  stop  gambling,  his  financee,  Lucille 
Norman,  breaks  off  with  him  and  takes  off 
for  Las  Vegas  with  her  golddigger  stage 
"sisters,"  Virginia  Mayo  and  Virginia 
Gibson.  Gene  Nelson,  a  wealthy  Boston  blue- 
blood  who  dances  for  kicks,  follows  the 
girls  to  Nevada,  hoping  to  marry  Lucille. 
W'hen  she  accepts  his  proposal,  Tom  Con- 
way, Nelson's  stuffed  shirt  brother,  comes 
out  to  try  and  break  up  the  romance.  Amidst 
a  lot  of  confusion,  Lucille  and  Morgan  are 
reunited,  with  the  latter  half-owner  of  S.  Z. 
Sakall's  gambling  house;  Miss  Mayo  lands 
millionaire  Conway  and  Miss  Gibson  con- 
vinces Nelson  she's  the  girl  for  him. 

JACKSON 


'WHEN  WORLDS  COLLIDE'  END  OF  WORLD  BRINGS  THRILLS 

Rates  •  •  •  —  or  better  when  sold 


Paramount 
83  minutes 

Cast:  Richard  Derr,  Barbara  Rush,  Peter 
Hanson,  John  Hoyt,  Larry  Keating,  Judith 
Ames,  Stephen  Chase,  Frank  Cady,  Hayden 
Rorke,  Sandro  Giglio,  Mary  Murphy. 
Directed  by  Rudolph  Mate 

Superior  in  its  story  content  to  "Desti- 
nation Moon,"  George  Pal's  earlier  scientific 
fantasy,  "When  Worlds  Collide,"  also  in 
Technicolor,  has  the  makings  of  a  sizeable 
hit  where  properly  sold — and  it  has  plenty 
to  sell.  The  narrative  is  a  cunning  combi- 
nation of  romantic  and  idealogical  conflict 
set  against  a  background  of  the  end  of  the 
world.  With  Doomsday  around  the  corner, 
just  about  anything  can  happen  to  humanity, 
and  Pal,  with  the  considerable  help  of  di- 
rector Rudolph  Mate,  sees  that  it  does.  The 
story  is  tight,  taut,  and  suspenseful.  Direct- 
ing a  cast  of  newcomers,  Mate  puts  these 
qualities  on  film  in  exciting  fashion,  build- 


ing steadily  to  the  spectacular  climax  in 
which  a  handful  of  survivors  speed  toward 
life's  beginning  on  a  new  planet.  Highlight 
of  the  intriguing  special  effects  material  is 
the  sequence  showing  the  destruction  of  the 
world — the  angry  ocean,  mountains  crum- 
bling away,  and  New  York  City  landmarks 
like  the  Empire  State  Building  engulfed  in 
tides  of  rising  water.  It's  spine-tingling 
stuff — natural  entertainment  for  the  action 
and  science  fans. 

Richard  Derr  handles  the  leading  man 
heroics  in  affable  style,  playing  the  part  of 
a  pilot  who  gets  in  on  the  space  ship  journey 
because  of  his  affection  for  Barbara  Rush, 
daughter  of  the  scientist  in  charge.  Miss 
Rush  is  attractive  in  her  feminine  lead. 
Peter  Hanson  is  the  other  side  of  the  roman- 
tic triangle,  a  doctor  who  loves  Barbara  but 
makes  the  "grand  gesture"  when  he  realizes 
her  true  heart  throb.  John  Hoyt  overplays 
the  role  of  a  millionaire,  but  in  a  story  of 
tb.is  sort,  heavv-handed  melodramatics  are 


frequently  effective.  Larry  Keating,  Stephen 
Chase,  Frank  Cady,  and  Hayden  Rorke  do 
well  in  support. 

STORY:  Derr  is  hired  by  scientists  to  fly 
from  Europe  to  New  York  with  news  of  the 
impending  collision  between  the  earth  and 
another  planet.  Public  disclosure  that  the 
world  will  end  within  the  year  precipitates 
a  quarrel  among  scientific  leaders  that  is 
taken  to  the  floor  of  the  United  Nations. 
Eventually  the  dissenting  voices  come 
around,  and  on  the  eve  of  the  collision, 
preparations  are  made  for  Doomsday  ■ — 
people  are  evacuated  from  Coastal  cities. 
However,  only  one  group,  that  financed  by 
John  Hoyt,  is  ready  with  a  space  ship  to  fly 
from  earth  to  the  new  planet.  Just  before 
the  flight  some  interesting  emotional  ele- 
ments are  straightened  out;  in  the  nick  of 
time,  earth's  survivors  accompanied  by 
species  of  animals,  drugs,  vegetation,  etc., 
take  off  and  land  successfully  on  the  other 
planetary  body.    HANXA  (Hollywood) 


OBSESSED'  DULL  BRITISH  MYSTERY 

Rates  •  -4-  as  dualler 


United  Artists 
77  minutes 

David  Farrar,  Geraldine  Fitzgerald,  Roland 
Culver,  Jean  Cadell,  Mary  Merral,  Harcourt 
Williams,  Charles  Heslop,  Ronald  Adam. 
Directed  by  Maurice  Elvey 

"Obsessed",  which  plays  like  a  long, 
tedious  conversation  piece,  is  an  English 
import  that  will  have  a  tough  time  paying 
duty  and  transportation  charges  to  this 
country.  The  United  Artists  release  is 
minus  the  factors  that  could  make  it  at- 
tractive to  the  art  houses,  and  for  regular 
locations  is  simply  a  routine  dualler.  Adapt- 
ed fronj  "The  Late  Edwina  Black,"  a  British 
murder  mystery  that  accomplished  a  suc- 
•  essful  run  in  London  but  not  in  New  York, 
tip-  picture  is  presented  more  or  less  as  a 


photographed  version  of  the  play.  A  mini- 
mum of  sets  are  used,  and  these  are  not 
particularly  well  photographed.  The  Victori- 
an atmosphere  has  worn  out  its  welcome 
because  so  many  similar  stories  have  used 
it  as  a  background.  Dramatic  effect  must 
come,  then,  from  the  performances  and  di- 
alogue. Neither  element  delivers.  Director 
Maurice  Klvey  is  hard  pressed  to  imbue  it 
with  vitalitv  of  movement — the  truth  is,  he 
doesn't  seem  to  have  tried. 

STORY:  The  death  of  his  wife  leaves 
David  Farrar,  a  school  teacher,  heir  to  a 
sizable  fortune  and  the  freedom  to  marry 
Geraldine  Fitzgerald,  who  has  been  the  de- 
ceased's companion  for  many  years.  They 
plan  a  trip  to  Italy  together  that  is  inter- 
rupted with  the  arrival  of  Scotland  Yard 
inspector  Roland  Culver  who  announces  that 


he  has  been  assigned  to  discover  if  foul 
play  precipitated  the  death.  An  autopsy- 
reveals  traces  of  arsenic  poisoning.  Farrar 
and  Fitzgerald  begin  to  suspect  each  other, 
a  situation  that  threatens  their  love.  Eventu- 
ally the  housekeeper,  Jean  Cadell,  is  re- 
vealed as  the  culprit.  She,  it  appears,  acted 
on  the  wife's  orders  to  give  her  arsenic 
during  the  death  throes  in  order  that  the 
husband  and  Miss  Fitzgerald  would  know 
no  peace  after  her  death. 

The  performances  of  David  Farrar  and 
Geraldine  Fitzgerald  might  have  seemed 
quite  accomplished  on  the  stage,  but  under 
the  sharp  focus  of  the  camera  they  lack 
validity  and  purpose.  Roland  Culver  comes 
off  quite  the  best  of  the  company  with  a 
deft  portrayal  of  the  detective.  Jean  Cadell 
is  excellent  as  the  sinister  housekeeper. 

AXGKL 


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HAVANA  ROSE'  MEDIOCRE  PROGRAMMER 

Rates  •  +  as  dualler 


Republic 
77  minutes 

Estelita   Rodriguez,   Bill   Williams,  Hugh 
Herbert,  Florence  Bates,  Fortunio  Bonano- 
va,  Leon  Belasco,  Nacho  Galindo, 
Directed  by  William  Beaudine 

"Havana  Rose"  is  low  caliber  secondary 
fare — an  unfunny  farce  comedy  involving 
some  competent  players  and  director 
William  Beaudine  in  a  screenplay  complete- 
ly unworthy  of  their  talents.  The  silly  yarn 
is  way  overlong,  the  crazy  plot  is  carried 


The  gag  sequences  are  repetitious,  and  lack- 
ing humor  in  their  initial  playing;  it  is 
difficult  to  explain  why  they  pop  up  so 
often.  Audience  response,  at  very  best,  will 
be  merely  grimly  tolerant. 

Narrative  centers  around  the  attempts  of 
a  mythical  foreign  government  to  swing  a 
loan  from  weathy  Hugh  Herbert  and  his 
wife,  Florence  Bates.  An  escapade  of  the 
Amabassador's  daughter,  Estelita  Rodriguez, 
kayos  the  proposition.  She  feels  duty  bound 
to  right  things  for  her  harassed  father.  Poli- 
tical enemies  at  home  are  watching  the 
negotiations  with  keen  interest  and  when  it 


is  way  overiong,  me  crazy  piot  is  cameu  negotiations  wnn  Keen  interest  anu  wnen  it 
on  long  beyond  its  natural  termination  point.     appears  that  Estelita's  efforts  are  meeting 


with  some  success  they  plot  to  dispose  of 
Florence  Bates,  who  operates  the  check 
book.  Estelita  goes  to  Reno,  others  follow 
and  in  a  frantic  mix-up  the  whole  ridiculous 
business  is  straightened  out. 

Estelita  Rodriguez  gives  a  vivacious  ac- 
count of  herself,  singing  Latin  songs  ex- 
pertly, but  the  background  is  hardly  a 
proper  canvas  for  the  dynamic  entertainer. 
Bill  Williams  has  little  to  do  in  the  male 
lead.  Occasionally  Hugh  Herbert's  familiar 
mannerisms  register,  and  Florence  Bates 
works  hard  for  a  few  laughs  she  corrals. 
Supporting  players  zealously  overdo  their 
assignments.  ANGEL. 


LILLI  MARLENE'  DULL  BRITISH 

Rates  •  as  dualler. 

RKO-Radio  (Monarch) 
72  Minutes 

Hugh  McDermott,  Lisa  Daniely,  John  Bly- 
the,  Stanley  Baker,  Russell  Hunter, 
Directed  by  Arthur  Crabtree. 


"Lili  Marlene,"  a  title  that  might  have 
been  of  some  boxoflice  value  a  few  years 
back,  is  the  sole  point  that  might  warrant 
RKO-Radio  releasing  this  ineptly  turned 
British  production  purporting  to  tel!  the 
story  of  the  song  and  of  the  real  Lili  Mar- 
lene. It's  done  with  narrative,  flash-hacks, 
and  stock  shots  of  the  war  —  never  in- 
terestingly or  excitingly.  For  the  most  part 
it's  draggy  and  dull.  Film  prcbabiy  was 
longer  than  its  present  72  minutes,  and  it 


PROGRAMMER 

seems  the  editing-down  has  gone  into  the 
wrong  places.  Lili's  adventures  as  a  Nazi 
propaganda  puppet  are  dealt  with  briefly 
while  her  experiences  in  North  Africa  are 
stretched  out  endlessly.  The  direction  of 
Arthur  Crabtree  is  a  routine  job  at  most. 
"Lilli  Marlene"  seems  destined  for  a  dis- 
mal spot  on  the  lower  half  of  duallers. 

Hugh  McDermott,  cast  as  an  American 
radio  commentator,  handles  the  romantics 
in  fair  style.  Lisa  Daniely,  entrusted  with 
the  title  role,  is  a  looker  and  sings  "Lilli 
Marlene"  frequently  and  in  several  languag- 
es. The  supporting  players  are  not  up  to 
the  usual  high  standard  of  English  acting 
companies. 

STORY:   When  the   Nazis  discover  that 


Lisa,  the  inspiration  for  "Lili  Marlene"  is 
living  with  relatives  in  a  North  African 
village  they  decide  to  ship  her  back  to 
Germany  and  use  her  as  a  model  of  the 
superwoman.  The  english  retake  the  out- 
post before  the  transfer  is  completed.  Lili 
becomes  the  favorite  of  the  British  troops. 
The  Nazis  send  parachutists  to  recover 
their  prize,  fly  her  to  Berlin,  and  begin  to 
work  her  over.  Torture,  drugs,  mental  sug- 
gestion —  all  are  employed  to  convert 
Lili  into  a  useful  propaganda  machine.  She 
forgets  her  identity  as  a  French  woman, 
believes  she  is  German.  She  broadcasts  for 
the  Nazis.  After  the  war  the  truth  is  re- 
vealed and  it  is  learned  that  through  her, 
British  Intelligence  transmitted  coded  in- 
formation. HANNA  (Hollywood) 


C.  I.  JANE'  POOR  INDE  MUSICAL 

Rates  •  -f-  generally. 


Lippert  (Murray) 
62  minutes 

Jean  Porter,  Tom  Neal,  Iris  Adrian,  Jimmy 
Dodd,  Jean  Mahoney,  Jimmy  Lloyd,  Mara 
Lynn,  Michael  Whalen,  Robert  Watson, 
Directed  by  Reginald  LeBorg. 

"G.  [.  Jane,"  a  minor  musical,  starts  off 
brightly  enough,  but  after  some  ten  minutes 
the  scripts  deteriorates  into  an  unfunny 
hodge  podge,  poorly  written,  acted,  and 
directed.  The  corny  gags  fail  to  generate  the 
expected  laughter,  and  Reginald  LeBerg's 
direction  is  strictly  a  walk-through  job.  For- 


tunately, some  of  the  songs  afford  a  bit  of 
entertainment  This  will  get  by  as  a  support- 
ing feature  in  minor  runs. 

Jean  Porter  chants  the  ditties  effectively, 
and  Tom  Neal  plays  a  resourceful  G.  I.  with 
some  spirit  but,  handicapped  as  they  are,  the 
two  were  incapable  of  projecting  the  right 
romantic  touch.  Iris  Adrian  stalks  militantly 
through  the  part  of  an  efficient  WAC  lieu- 
tenant, doing  more  with  the  role  than  was 
offered  in  the  writing. 

STORY:  Tom  Neal,  a  producer  working 
on  recruiting  shows  for  the  WACS,  gets  his 


greetings.  Action  shifts  to  a  desert  outpost 
where  Neal  is  not  hitting  it  off  wih  he  com- 
manding officer.  He  contrives  to  get  the 
disagreeable  superior  shipped  to  Alaska  by 
mixing  transfer  orders.  Then  he  obtains  five 
WACS  for  the  camp  in  order  to  win  a  bet. 
Iris  Adrian,  finding  herself  the  only  com- 
missioned officer  on  the  premises,  assumes 
command  and  the  boys  rather  wish  they'd 
never  heard  of  the  WACS.  When  top  brass 
hears  of  the  situation,  Neal  is  in  for  a  rug- 
ged day.  The  disclosure  that  it's  all  a  dream 
somehow  brings  the  nonsense  to  a  welcome 
conclusion.  JAMES. 


YES  SIR,  MR.  BONES'  MINSTF 

Rates  •  +  as  dualler 

Lippert  (Spartan) 
54  Minutes 

Cotten   and   Chick  Watts,  Ches,  Davis,  F. 
E.   Miller,   Billy    Green,  Elliott  Carpenter, 
The  Hobnobbers,  Ellen  Sutton,  Sally  Ang- 
lim,  Gary  Jackson,  Phil  Arnold. 
Directed  by  Ron  Ormond. 


A  minstrel  :  how,  at  first,  might  seem  like 
a  bright,  novel  idea  for  a  movie,  but  min- 
strelsy is  "live"  entertainment,  lacking  the 
movemenl  necessary  to  the  celluloid  med- 
ium. "Yes  Sir,  Mr.  Bones"  tries  its  best  to 
pla)    54   minutes  of  black    face    show,  but 


L  SHOW  IS  MINOR  BORE 

the  Ron  Ormond  production  falls  far  short 
of  acceptable  standards.  The  minstrel  acts, 
of  themselves,  are  fair  enough.  The  cast  is 
composed  largely  of  old-timers  who  tell 
their  jokes,  strut  the  Cakewalk,  and  sing  the 
old  songs.  But  after  a  time  the  repetitious 
proceedings  pall,  and  you  begin  to  wonder 
if  the  show  boat  days  of  yesteryear  were  all 
grandpa  cracked  them  Up  to  be.  The  value 
of  the  I-ippert  release  lies  solely  in  its  title 
and  what  curiosity  can  be  created  among 
oldsters  for  a  looksee  at  a  once  popular 
entertainment  form. 

Cotten  and  Chick  Watts.  Ches  Davis.  F.  E. 
Miller  — ■  all  show  business  veterans  work 


hard  at  projecting  the  old  jokes  and  the 
familiar  songs.  Billy  Green  sings  his  round- 
ers in  bouncy  style.  A  line  of  girls  does  duty 
between  the  specialties,  but  their  routines 
are  unimaginatively  staged  and  suffer  from 
the  confinement  induced  by  working  in  such 
small  quarters. 

STORY:  Action  begins  at  a  club  along 
the  Mississippi  where  old  time  show  folk 
gather,  then  moves  to  a  show  boat.  Billy 
Green,  serving  as  narrator,  explains  to  a 
little  boy  just  what  a  minstrel  show  is. 
The  film  fades  into  just  such  a  show.  The 
old  codgers  in  the  club  strut  their  stuff. 
AX  GEL. 


V  1  L  M     15  C  I.  I.  E  T  I  N 


Short  Subjects 


By  BARN 


SAMUEL  GOLDWYN,  whose  public  ut- 
ili  terances  or  writings  have  rarely  failed  to 
!    stir  up  controversy,  does  it  again  in  a  by- 

I  lined  article  appearing  in  Collier's  of  Sept. 
29.    Encompassing  the  fields  of  home  tele- 

II  vision,  theatre  television,  subscription  tele- 
Ill   vision,  the  reasons  for  the  boxoffice  decline, 

and  the  future  of  the  motion  picture  in- 
dustry, Mr.  Goldwyn  steps  on  a  lot  of  toes, 
;  [    particularly   those   of   the    smaller  theatre 
owners  and  movie  producers. 

Although   he  believes   that    "the  theatre 
will  never  be  replaced  as  the  basic  medium 
for  the  public  showing  of  current  motion 
,    pictures,"  the  producer  predicts  that  "before 
i    five,  or,  at  most,  10  years  have  gone  by  we 
will    have    worked    out   a    combination  of 
[  I    theatre  and  home  showings  of  motion  pic- 

I  tures  for  admission  which  will  result  in  the 

I I  closing  of  many  of  today's  theatres  and,  at 
the  same  time,  a  considerably  expanded 
market  for  motion  pictures."  With  3800  of 
the  19,000  motion  pictures  accounting  for  83 
per  cent   of  all   American   movie  revenue, 

'  .    Goldwyn  declares,  "it  seems  inevitable  that, 
if  box-office   television   develops   at   all,  a 
great  many — perhaps  five  or  six  thousand  of 
these  marginal  movie  houses — may  go  out 
!    of  business." 

As  for  TV,  it  "cannot  continue  to  hold 
I  :ts  audience  indefinitely  if  it  confines  itself 
,  to  the  type  of  entertainment  it  is  now  offer- 
ing. It  is  burning  up  talent  at  a  rate  un- 
I  heard  of  in  entertainment  history."  Con- 
1  sequently,  television  "must  turn  to  Holly- 
I  wood  for  entertainment  of  a  kind  and 
|  quality  it  cannot  itself  produce;  and  we,  on 
1  the  other  hand,  will  find  through  television 
a  large  new  audience." 

"To  my  knowledge,"  Goldwyn  says,  "none 
of  the  major  production  companies  or  prin- 
cipal independent  producers  in  Hollywood 
has  so  far  sold  a  foot  of  film  to  television," 
although  some  companies  or  individuals  that 
were  "currently  in  the  red  or  whose  re- 
serves were  not  large  enough  to  stand  the 
strain  of  several  lean  years"  have  made  deals 
to  release  older  films  in  their  vaults  to  TV. 
As  for  reports  that  he  was  about  to  film 
features  for  TV:  "I  have  no  such  plans 
whatsoever." 

"Mass  production"  of  films  also  came  in 
for  criticism  from  Goldwyn.  Such  a  practice, 
he  said,  tends  to  bring  about  poor  pictures, 
and  alienates  the  public.  To  recapture  the 
former  audiences,  he  averred,  the  movie  in- 
dustry "must  devote  itself  to  making  better 
pictures  instead  of  to  making  more  pictures. 

Large  screen  theatre  television,  in  Gold- 
wyn's  opinion,  will  be  an  important  source 
l     of  revenue  to  theatres,  but  only  as  a  supple- 
ment to  the  showing  of  motion  pictures  in 
the  houses. 

CONTRASTING  THE  sniping  at  the 
movie  industry  by  Life  Magazine,  is  the 
total  of  31  pages  in  current  issues  of  two 
other  national  magazines  —  Coronet  and 
People  Today — devoted  to  Hollywood  and 
a  discussion  of  the  strength  and  entertain- 


ment in  Hollywood  product.  Coronet,  in  its 
September  issue,  carries  a  16-page  feature 
titled,  "Milestones  in  the  Movies",  with  a 
lead  caption,  saying:  "Invariably  .  .  .  the 
restless,  creative  minds  of  the  industry — 
script  writers,  directors,  actors,  producers — 
have  opened  up  unexplored  fields.  Drama 
and  comedy,  realism  and  fantasy,  hope  and 
despair — all  these  have  passed  before  the 
whirring  cameras."  In  "People  Today",  15 
pages  of  art  and  text  in  the  Oct.  10  issue, 
titled  "Hollywood:  Lively  Corpse"  reviews 
the  strong  public  interest  in  Hollywood, 
blasts  the  myth  of  "foreign  film  superiority" 
and  declares,  "Experts  agree  that  Holly- 
wood's best  movies  have  a  freshness  of  con- 
cept and  treatment,  a  technical  skill  that  is 
unequalled.  Despite  its  fears,  follies  and 
failures,  despite  TV  and  spiralling  produc- 
tion costs,  a  Hollywood  that  can  earn  such 
praise  is  not  expiring."  In  addition.  Look 
Magazine  will  be  on  the  stands  Oct.  9  with 
a  six-page  feature,  "Who  Says  Hollywood 
Is  Dying?"  This  article  will  be  cross-plug- 
ged in  a  pooled  newsreel  feature  in  Look. 
Publisher  Garner  Cowles  and  actor  George 
murphy  discuss  the  story  and  the  "Movie- 
time,  U.  S.  A."  celebration. 

WHEN  AN  advertising  executive  laud> 
a  picture,  that's  dog  bites  man.  Hut  when 
an  advertising  executive  praises  another 
company's  picture,  that's  news — or  a  damn 
good  "Movietime,  U.  S.  A."  spirit.  Anyway, 
that's  what  happened  the  other  day  when 
Si  Seadler,  ad  head  of  Metro-Goldwyn- 
Mayer,  wrote  radio  commentator  liill 
Leonard,  about  United  Artists'  "The  River". 
"I  feel  that  it  is  destined  to  be  on  many  of 
the  'Ten  Best'  lists  for  1951  and  will  run 
at  the  Paris  (Theatre) — I'm  out  on  a  limb 
now — for  a  year  or  more!",  Seadler  said. 

"In  any  case,  those  of  us  in  picture  busi- 
ness,  even   in   competitive   companies,  are 


overjoyed  to  sec  such  a  superb  use  of  our 
medium,  Assaulted  from  many  sides  and 
frequently  pilloried  by  our  inferiors,  we  feel 
that  when  the  screen  speaks  for  itself  with 
such  a  blending  of  the  arts  as  in  'The  River', 
this  is  the  only  voice  that  matters."  Bravo, 
Si!  The  only  error  in  your  comments  is 
that  last  phrase.  Voices  like  yours  matter 
too — a  great  deal. 

OF  M  EN  AND  THINGS:  Richard  Heer- 
mance  has  been  named  assistant  to  Mono- 
gram-Allied Artists  executive  producer 
Walter  ftfiriscb  .  .  .  That's  quite  a  schedule 
RKO's  Leon  J.  Bamberger  has  laid  out  for 
exhibitor  association  conventions  he  will  at- 
tend in  the  next  10  weeks:  TO  A;  Allied  of 
Mid-South;  National  Allied;  MPTO  of  St. 
Louis,  Mo.,  and  S.  Illinois;  Kansas-Missouri 
Theatre  Ass'n;  Independent  Exhibitors  of 
New  England;  Allied  of  Wisconsin  .  .  . 
Leo  Pillot  has  joined  the  20thFox  publi- 
city department.  He  was  formerly  special 
events  director  at  Columbia  .  .  .  Monogram- 
AA  sales  chief  Morey  Goldstein  has  elevated 
W.  E.  (Bill)  Finch  to  Dallas  branch  manag- 
er ..  .  They're  dedicating  the  US  sales 
drive  in  the  St.  Louis  exchange  to  booker 
Helen  Pausch.  "It's  about  time  a  movie 
company  drive  was  dedicated  to  somebody 
beneath  the  post  of  president  or  general 
manager,"  explains  branch  manager  F.  .1. 
Lee  .  .  .  Victor  Volmar  has  been  assigned 
to  handle  Monogram  International's  Latin 
American  territory  from  New  York,  with 
Keith  Everson  taking  over  as  Mono-Int'l 
publicity  manager  .  .  .  Warner  Erie  district 
manager  James  Totman  has  been  upped  to 
New  England  district  head  for  the  company 
.  .  .  Francis  X.  Bushman's  collapse  has  can- 
celled the  balance  of  his  itinerary  on  behalf 
of  "David  and  Bathsheba"  for  the  past  three 
months. 


PARAMOUNT  GETS  ITS  DIVISION  HEADS  TOGETHER 


At  the  recent  meeting  of  Paramount  division  managers  and  home  office  execu- 
tives, Terry  Pickman,  ad-publicity-exploitation  director  displays  one  of  the  key  ads 
for  "When  Worlds  Collide."  Seated  at  the  head  of  the  labie  is  A.  W.  Schwalberg. 
president  of  Paramount  Film  Distributing  Corp.,  with  E.  K.  (Ted)  O'Shea.  vice- 
president,  on  his  left. 


SEPTEMBER   24,    19  5  1 


23 


Your  Time  Is  'Movietime' 


{Continued  from  Page  8) 

A  week  after  the  newspaper  sendoff,  on 
October  8,  a  shower  of  stars  will  descend  on 
the  48  state  capitals  as  200  Hollywood  per- 
sonalities— stars,  prominent  featured  players, 
directors,  producers,  writers,  designers  — 
will  receive  proclamations  from  state  gover- 
nors officially  opening  "It's  Movietime,  U. 
S.  A."  throughout  the  Country.  From  the 
state  capitals,  the  Hollywoodites  will  spread 


MAYER  &  O'DONNELL 

S/mrk  Plugs 


out  through  the  state  for  a  full  week  to 
duplicate  the  procedure  in  other  municipali- 
ties. To  assure  complete  coverage,  local 
Movietime  Committees  are  arranging  to  take 
local  newspaper  editors,  publishers  and  radio 
commentators  from  towns  not  visited  to 
view  and  participate  in  the  gala  functions. 
In  other  words,  if  the  stars  can't  visit  your 
town,  take  your  town  to  meet  the  stars 
through  the  eyes  of  newspapers  and  radio. 

More,  much  more,  is  being  planned  by 
O'Donnell  and  the  Movietime  National  Com- 
mittee to  keep  the  ball  rolling.  Now  being 
worked  out  are  details  for  the  selection  of 
a  "Mr.  and  Mrs.  Moviegoer,  U.  S.  A."  and 
their  children  as  a  typical  movie-going 
family  from  all  of  the  nation's  moviegiers. 
The  selection  will  be  made  on  a  voting  basis 
purely,  with  nobody  required  to  buy  any- 
thing or  draw  anything.  The  grand  prize  is 
an  all-expenses-paid  trip  to  and  from  Holly- 
wood, with  the  winning  family  receiving  the 
plushiest  red-carpeting  the  movictown  has 
ever  lavished.  Every  theatre  in  the  U.  S. 
can  participate  in  this  one,  which  promises 
to  be  a  highlight  of  the  campaign. 

While  "Movietime,  U.  S.  A."  seems  des- 
tined to  reach  its  goal  of  bringing  millions 
back  to  the  movie  theatre,  what  with  the 
superb  tools  offered  and  the  widespread  en- 
thusiasm engendered  in  every  part  of  the 
industry,   success   will   be    weighed   in  the 


efforts  of  individuals.  The  quarter  of  a 
million  employes  on  industry  payrolls,  plus 
the  theatre  owners,  stockholders  and  those 
engaged  in  allied  industries,  as  well  as  their 
families  can  give  the  boxoffice  drive  a 
million  press  agents.  Not  only  can  their 
voices  boost  the  fine  pictures  that  are  being 
shown,  but  they  can  also  refute  the  long- 
notorious,  self-styled  critics  who  think  it's 
smart  to  pan  the  movies  at  every  oppor- 
tunity. 

COMPO  has  set  up  the  pattern  to  enlist 
these  voluntary  press  agents  with  the  first 
group  of  industry  rallies.  It  urges  local 
committees  to  hold  morning  mass  meetings 
in  every  community  possible,  to  be  attended 
by  theatre  employes  and  their  interested 
families,  along  with  all  others  who  have  an 
interest  in  the  campaign's  success,  to  hear 
about  Movietime  and  how  they  can  play  a 
vital  role  in  its  projection. 

The  "others  who  have  an  interest", 
principally  the  merchants  in  the  town,  can 
make  a  most  significant  contribution  to  the 
drive.  Many  of  these  are  'unaware  that  what 
is  good  for  movie  business  is  good  for  their 
business.  People  who  go  to  the  movies  are 
going  OUT,  and  that  is  a  prerequisite  for 
business  in  any  establishment  that  caters  to 
the  public.  People  going  out  are  in  a  spend- 
ing frame  of  mind.  Crowded  theatres  mean 
crowded  restaurants,  soda  fountains,  night 
spots,  taxis  and  busses.  The  movie  is  usual- 
ly the  hub  of  a  shopping  center,  bringing 
customers  into  the  area,  and  keeping  many 
other  businesses  going.  The  films  create 
demand  for  goods,  set  styles,  show  off  the 
latest  in  a  multitude  of  saleable  commodities. 
And  these  are  only  a  few  of  the  arguments 
to  present  to  the  businessmen  in  town  to 
enlist  their  aid.  The  far-sighted  merchants 
in  the  community  should  be  quick  to  see 
how  they  can  benefit  by  associating  them- 
selves with  the  campaign.  A  specific  point 
should  be  made  to  get  them  to  the  local 
rallies. 

The  role  industryites'  families  can  play  is 
of  equal  importance.  They  can  spread  the 
good  news  wherever  they  meet  people  — 
over  the  back  fence,  across  the  bridge  table, 
at  club  meetings,  at  the  supermarket,  the 
hairdresser's. 

While  there  is  no  gainsaying  the  necessity 
of  recruiting  active  cooperation  from  all 
those  mentioned  previously,  in  the  final 
analysis  it  is  the  exhibitors  of  the  nation 
who  are  the  key  men  in  the  success  of  the 
campaign.  It  is  the  theatreman  who  must 
make  use  of  the  splendid  ideas  in  the  Show- 
manship Portfolio.  It  is  he  who  has  daily 
contact  with  the  paying  customers,  who 
knows  his  specific  audiences  and  how  to  sell 
movies  to  them.  Thus,  the  greatest  burden 
for  the  success  of  "Movietime,  U.  S.  A.", 
must  willy-nilly,  fall  upon  his  shoulders. 

"Movietime"  formally  celebrates  the 
Golden    Jubliee    of    the    American  Movie 


Theatre.  That  theatre  must  show  the  results 
of  a  half  century  of  progress.  It  should  be 
brought  up  to  the  highest  state  of  attractive- 
ness and  efficiency.  Equipment  should  be 
carefully  checked,  painting  and  repairing 
done  wherever  necessary.  Seats,  carpeting, 
lobbies,  rest  rooms,  should  be  in  the  finest 
condition.  Ushers  and  usherettes  should  be 
carefully  groomed. 

The  exhibitor  is  inviting  people  to  come 
to  his  house.  Just  as  he  would  not  want 
anyone  to  come  into  his  own  disorderly 
living  room,  or  into  an  ill-smelling,  towel- 
less  bathroom,  so  must  his  theatre  be  kept 
ready  to  receive  guests. 

Of  extreme  importance  as  a  prelude  to  the 
campaign  is  a  serious  meeting  with  the  staff. 
The  cashier  is  the  first  contact  with  the 
theatre;  a  cheery  smile  welcomes  the  patron, 
but  a  surly  puss  strikes  a  sour  note  even 

before  the  customer  walks  into  the  door. 
The  doorman,  the  ushers,  the  attendants  and 


McCORMICK 

Press  Book  Supreme 


everyone  else  who  comes  in  contact  with  the 
"guest"  should  be  pleasant,  polite,  efficient, 
willing  to  serve. 

Merchant  cooperation,  a  careful  promo- 
tion campaign  for  each  picture,  a  judicious 
but  complete  use  of  the  publicity  and  ex- 
ploitation devices  described  in  the  Portfolio; 
newspaper,  radio  and  TV  promotions,  and 
a  host  of  other  activities  belong  in  the  pro- 
vince of  his  responsibility. 

The  American  motion  picture  exhibitor 
owes  it  to  himself  and  to  the  industry  whichf 
has  given  him  his  livelihood,  to  lend  his 
active,  wholehearted  cooperation  to  the  drive 
whose  goal  it  is  to  make  his  boxoffice 
healthier  than  ever  before. 


24 


FILM  BULLETIN 


Critics  Acclaim  Peck      e^  IOT£C*> 

Visual    BeUUly    Df    'David'         VJUU  I  fc>         What  the  Newspaper  CnHcs  Sa,  About  New  fib. 


Rave  notices  flowed  from  the  pens  of  the 
majority  of  New  York's  newspaper  critics, 
who  resorted  to  the  superlative,  at  times,  in 
describing  20th  Century-Fox's  Technicolor 
biblical  spectacle,  "David  and  Bathsheba." 
All  the  scribes  agreed  that  Darryl  Zanuck 
has  succeeded  in  bringing  to  the  screen  a 
visually  beautiful,  highly  dramatic,  though 
somewhat  verbose,  version  of  an  ancient  love 
story.  To  Gregory  Peck  went  the  reviewers' 
unanimous  acclaim  for  his  protrayal  of 
David. 

Pointing  up  the  importance  of  Peck's  con- 
tribution, the  Times'  Abe  Weiler  writes: 
"Without  a  convincing  David  .  .  .  this  com- 
bination of  romance  and  religion  would  have 
been  merely  a  two-hour  dissertation  no  more 
exciting  than  a  lantern-slide  lecture.''  It  does 
make  its  point  with  "feeling  and  respect," 
he  concludes,  "for  all  of  its  verbosity  and 
occasional  slickness  and  sensuality." 

"It's  a  pretty  good  picture,"  says  Archer 
Winsten  in  the  Post,  "surprisingly  so  if  you 
had  been  pessimistic,  but  somehow  lacking 
in  cumulative  drive." 

Eileen  Creelman,  in  the  World-Telegram, 
finds  it  "a  super-duper-epic"  which,  at 
moments,  "approaches  greatness."  It  is,  she 
adds,  "Gregory  Peck's  picture,  and  director 
Henry  King's,  from  first  scene  to  last." 

"A  wondrous  motion  picture,"  comments 
the  Journal-American's  Jim  O'Connor,  "a 
spectacular  screen  story  of  sweep  and  scope 
.  .  .  played  reverently  and  superbly  .  .  . 
a  picture  of  dramatic  impact,  of  power." 

In  the  Herald  Tribune,  Joe  Pihodna 
stresses  the  "many  long  scenes  of  dull  dia- 
logue" which,  he  contends,  "keep  the  pic- 
ture in  low  gear."  He  admits  however,  that 
the  picture  is  "visually  about  as  handsome 
as  Hollywood's  production  opulence  could 
make  it." 

'SATURDAY'S  HERO' 

COLUMBIA 

"Comes  as  a  pleasant  surprise  .  .  .  Bit 
off  more  than  it  could  chew  effectively." 

Winsten,  N.  Y.  Post 
"Fast  and  angry  film  ...  A  stinger,  all 
right.   It  rings  the  bell." 

Crowther,  N.  Y.  Times 
"Somewhat  more  sensational  than  reveal- 
ing .  .  .  Timely  .  .  .  but  of  only  minor 
impact  and  shallowy  significance  .  .  .  Lacks 
keenness  and  subtlety." 

Guernsey,  N.  Y.  Herald  Tribune 
"Main  theme  .  .  .  thumpingly  Overempha- 
sized (or)  would  rate  as  pretty  fair  enter- 
tainment .  .  .  Does  not  miss  by  far." 

Cook,  N.  Y.  World-Telegram 
"Not  conventional  movie  gridiron  plot  .  .  . 
Hard-hitting  drama  .  .  .  Realistic,  forthright 
.  .  .  Vigorously  written  and  handled." 

Pelswick,  N.  Y.  Journal-American 

THE  RIVER' 

UNITED  ARTISTS 

"Exotic  and  handsome  .  .  .  Brilliant  mood 
piece,  abounding  in  visual  pleasures." 

Guernsey,  N.  Y.  Herald  Tribune 

"Exotic  panorama  .  .  .   Blissfully  senti- 


mental and  emotionally  adolescent  little 
tale." 

Crowther,  N.  Y.  Times 
"Full  of  odd  and  unpredictable  curiosity 
.  .  .  Lovely,  ingratiating  experience." 

Cook,  N.  Y.  World-Telegram 
"Another  great  has  been  added  to  motion 
picture  history  .  .  .  Incomparably  beautiful 
in  its  glowing  Technicolor.'' 

Winsten,  X.  V.  Post 
"Extraordinarily   beautiful    .   .    .    An  en- 
chanting picture." 

Pelswick,  N.  Y.  Journal-American 

MARK  OF  THE  RENEGADE' 

UNIVERSAL  INTERNATIONAL 

"A  feast  for  the  eye.  As  for  the  mind, 
that's  something  different." 

Winsten,  N.  Y.  Post 
"Series  of  costumed  poses  made  up  into 
what  passes  for  an  adventure  story  ...  It 
is  all  very  mannered,  highly  colored  and  all 
but  empty  at  the  Palace." 

Guernsey,  N.  Y.  Herald  Tribune 
"Just  about  as  banal  as  a  Technicolored 
costume  film  can  he  .  .  .  One  of  those  over- 
blown horse  operas." 

Crowther,  N.  Y.  Times 
"Bright  color  tale  of  sword  play  .  .  .  An 
overlong  81  minutes." 

Cook,  N.  Y.  World-Telegram 
"Caballeros,    pirates    and  revolutionists 
dash  hither  and  yon  .  .  .  All  mixed  up  in 
some   lively  doings  .   .   .   Costume  drama 
handsomely  done  up  in  Technicolor." 

Pelswick,  N.  V.  Journal-American 

PEOPLE  AGAINST  O'HARA' 

M-G-M 

"Sustained  but  fruitless  effort  to  weld 
fine  acting  to  a  confused  and  wandering 
screen  play." 

Barstow,  NX.  Y.  Herald  Tribune 
"Fits  Mr.  Tracy  like  an  old  show.  Un- 
fortunately, it  creaks  as  well  .  .  .  Neatly 
suspenseful,  thanks  mainly  to  Mr.  Sturges' 
smooth  and  level-headed  direction." 

H.  H.  T.,  N.  Y.  Tims 
"As  a  whole  doesn't  rise  above  its  lawyer- 
cop-ganster  level  of  melodrama  despite  the 
individually  rewarding  bits." 

Winsten,  N.  Y.  Post 
"Emerges  with  little  of  the  tension  and 
snap  essential  to  these  dramas." 

Cook,  N.  Y.  World-Telegram 
"Spun  out  with  a  good  deal  of  suspense 
.  .  .  Script  dotted  with  interesting  if  fre- 
quently irrelevant  detail." 

Pelswick,  N.  Y.  Journal-American 

CRIMINAL  LAWYER' 

COLUMBIA 

"Routine  melodrama." 

Creelman,  N.  Y.  World-Telegram 
"Struck  me  as  pretty  routine  stuff  .  .  . 
Harmless  but  not  very  exciting." 

Watts,  N.  Y.  Post 
"Unusually  good  melodrama  .  .  .  By  no 
means  a  great  film,  but  it  comes  close  to 
being  a  'sleeper'." 

Barstow,  N.  Y   Herald  Tribune 


"(  >ncc  -  over  -  lightly  courtroom  drama 
shouldn't  put  anybody  to  sleep.  Neither  is 
it    something    to    write    home   about   .    .  . 

Unreels  with  glib  forthrightness." 

II.  II.  T..  N.  Y.  Times 

TOMORROW  IS  ANOTHER 
DAY' 

W  \RXI-  k  BROS. 

'For  first  fifteen  minutes  or  so  .  .  .  looks 
like  a  better-than-average  crime  melodrama 
.  .  .  Soon  fizzles  out  into  a  scries  of  con- 
trued  romance  and  chase  sequences." 

BarstoW,  X.  Y.  Herald  Tribune 

'Plot  is  neat,  too  neat  .  .  .  helped  con- 
siderably by  the  characterizations  .  .  .  The 
mood  js  ponderous." 

Creelman,  N.  Y.  World-Telek'ram 

"Surprisingly  fresh  and  real  .  .  .  Runs  its 
full  ninety-minute  course  without  a  dull 
minute." 

Winsten,  N.  Y.  Post 
"hollows  an  ancient  formula  .  .  .  Tensions 
are  manufactured  and  apparent  .  .  .  Just 
another  picture." 

A.  W.,  N.  Y.  Times 
"Plot   is  kind  of  cornball  at  times — but 
this  is  a  movie." 

O'Connor,  N.  Y.  Journal-American 

JIM  THORPE- 
ALL-AMERICAN' 

WARNER  BROS. 

"Highly  sentimentalized  treatment  .  .  . 
Not  likely  to  prove  an  inspiration  to  Ameri- 
can youth." 

Pihodna,  N.  Y.  Herald  Tribune 
"Disturbingly     standard     history     .     .  . 
Follows  the  pattern  set  by  previous  sport 

sagas." 

A.  W.,  N.  Y.  Times 
"Doesn't  ring  quite  true  .  .  .  Sentimental 
salute  to  a  fading  figure  .  .  .  Never  dull  but 
never  makes  a  daring  break  from  the  Rover 
Boy  formula  ...  Its  heart  gets  too  muscle- 
bound  for  its  own  fj;ood." 

Rice,  N.  Y.  Post 
"Timely  .   .  .  sympathetic  and  dramatic 
biography  .  .  .  Seems  honestly  planned,  with 
a  minimum  of  sentimentality." 

E.  C,  N.  Y.  World-Telegram 

FORCE  OF  ARMS' 

WARNER  BROS. 

"Love  and  war  .  .  .  blended  realistically 
and  professionally  .  .  .  Deserves  cheers  .  .  . 
Forceful  amalgam  of  ruggedness  arjd  ro- 
mance." 

N.  Y.  Times 

"Curious  mixture  of  battleground  realism 
and  romantic  hokum  .  .  .  Stark,  uncom- 
promising picture  of  men  at  war." 

Barstow,  X'.  V.  Herald  Tribune 

"Brothers  Warner  are  proud  of  this  drama 
of  war.  They  have  reason  to  be  ...  No 
masterpiece  ...  a  love  story  beautifully 
acted." 

Creelman,  XT.  Y.  World-Telegram 
"Will  tug  at  your  heart  .  .  .  Tender,  simple 
love  story." 

O'Connor.  N.  Y.  Journal-American 


SEPTEMBER   24,  1951 


25 


ALL-OUT  EFFORT  PLEDGED 
AS  "MOVIE  TIME'  KICKS  OFF 

From  here  on  in,  it's  "Movietime,  U.S.A." 
in  every  city,  town  and  hamlet  in  America. 
With  the  kickoff  tonight  (24)  on  the  Lux 
Radio  Theatre,  which  will  apprise  30,000, 
(XX)  listeners  of  the  industry's  boxoffice 
drive,  the  greatest  institutional  campaign  in 
movie  history  gets  going. 

Among  the  areas  holding  meetings  of  in- 
dustry members  during  the  past  week  Phila- 
delphia, Minnesota,  and  Richmond  Va.  In 
San  Francisco,  the  Independent  Theatre 
Owners  of  Northern  California  withdrew  its 
support,  while  the  California  Theatre  As- 
sociation requested  membership  in  COMPO, 
and  in  Los  Angeles,  the  Southern  Califor- 
nia Theatre  Owners  of  America  pledged 
support. 

Other  plans  to  boost  the  campaign  were 
being  formulated  in  all  sectors  of  the  in- 
dustry. A  13-week  series  of  radio  programs 
supporting  the  movies  was  listed  by  national 
director  Robert  J.  O'Donnell,  with  the  first 
show  to  be  broadcast  October  15. 

During  the  next  three  months  Arthur 
DeBra,  MPAA  official,  will  make  a  series  of 
pep  talks  before  motion  picture  councils 
around  the  nation,  assisted  by  Marjorie  G. 
Dawson,  his  associate  director  and  the 
motion  picture  chairman  of  14  national 
women's  organizations. 

Speakers'  kits  will  be  provided  exchange 
area  chairmen  by  the  speakers  bureau  head- 
ed by  RKO's  Leon  J.  Bamberger.  A  week 
after  the  Lux  radio  sendoff,  a  full-scale 
newspaper  advertising  campaign  will  be  in- 
augurated, followed  on  October  8  by  the 
start  of  personal  appearances  by  at  least  250 
Hollywood  personalities  operating  from  the 
capitals  of  the  48  states. 

Meanwhile,  notes  of  dissent  were  heard  in 
some  quarters,  as  exhibitors  voiced  charges 
of  "gouging"  of  film  rentals.  The  charges 
that  higher  rentals  than  normal  were  being 
asked  were  denied  by  the  distributors.  Only 
"specials"  like  '"David  and  Bathsheba"  or 
"Quo  Vadis"  would  be  subject  to  higher 
rentals,  it  was  professed,  to  account  for  the 
higher  production  costs  and  increased 
public  demand. 


MYERS  WARNS  AGAINST 
GOUGING  DURING  'MOVIETIME' 

Complaints  of  a  "general  nature,"  charg- 
ing some  of  the  distributors  with  gouging 
exhibitors  by  demanding  excessive  rentals 
for  films  scheduled  for  release  and  exhi- 
bition during  the  "Movietime  U.  S.  A." 
campaign,  brought  forth  a  warning  against 
the  use  of  such  tactics  from  Abram  F. 
Myers,  general  counsel  for  National  Allied. 

In  stressing  the  importance  of  the  success 
of  the  drive,  Myers  said  in  a  bulletin  to 
Allied  members: 


BULLETIN 

Vol.  19.  No.  20  September  24,  1951 

News 

and 
Opinion 


ALLIED'S  MYERS 

No  Throwback  to  Jungle  Days 


"It  is  no  exaggeration  to  say  that  the 
future  of  effective  intra-industry  coopera- 
tion, as  well  as  the  future  of  COMPO,  de- 
pends on  the  success  of  this  great  effort. 

"To  insure  this  success,  so  vital  to  the 
entire  industry,  all  elements  must  maintain 
and  not  mar  the  fine  enthusiasm  that  now 
prevails.  Nothing  could  be  more  demorali- 
zing than  for  a  distributor  to  take  advantage 
of  this  satisfactory  condition  by  raising  film 
rentals,  or  for  an  exhibitor  to  demand  un- 
warranted concessions  as  the  price  of  his 
participation  in  the  campaign." 

Hastening  to  add  that  the  complaints 
came  from  a  limited  number  of  territories, 
Myers  found  it  "unthinkable  that  any  re- 
sponsible film  executive  would  permit,  much 
less  order,  his  sales  iforce  to  endanger  the 
'Movietime'  campaign  by  widespread  de- 
mands for  increased  prices  for  the  pictures 
to  be  shown  during  the  campaign." 

Myers  said  National  Allied  prefers  not 
to  make  a  charge  of  gouging  unless  the 
facts  force  it  to  do  so,  requesting  Allied 
regional  associations  and  regional  leaders  to 
make  inquiries  of  their  members  and  report 
any  such  cases  to  his  office.  He  called  for 
continued  cooperation  with  "Movietime 
U.  S.  A.",  expressing  confidence  that  the 


matter  can  be  straightened  out  without 
injury  to  the  campaign,  citing  an  example 
whereby  one  Allied  leader  reports  the  easing 
of  terms  and  tension  in  his  territory  as  a 
result  of  the  publicity  arising  from  the 
situation. 

"The  motion  picture  business  is  showing 
strong  signs  of  having  reached  maturity," 
said  Myers,  "and  it  would  be  a  throw-back 
to  the  jungle  days  if  the  great  cooperative 
enterprise  now  in  progress  should  be  jeopar- 
dized by  a  few  irresponsible  opportunists." 


TOA  'WORK  CONVENTION' 
FEATURES  IMPORTANT  AGENDA 

W'th  an  agenda  brimming  over  with  vital 
industry  topics,  the  Theatre  Owners  of 
America  conventioneers  were  arriving  in 
New  York  over  the  weekend  for  the  organi- 
zation's convention  and  trade  show  at  the 
Astor  Hotel,  September  23-27. 

Described  as  "a  work  convention"  by 
Samuel  Pinanski,  president  of  TOA,  the  as- 
sembly's business  sessions  will  ■feature  dis- 
cussions of  such  important  matters  as 
government  regulations  on  upkeep  and 
maintenance,  the  competition  of  16mm  films, 
theatre-TV  integration,  exhibitor-distributor 
relations,  and  showmanship  in  1952. 

The  most  promising  prospect  to  succeed 
Pinanski  as  TOA  president  is  Mitchell 
Wolfson,  of  the  WOMETCO  Circuit  in 
Florida,  and  the  present  chairman  of  the 
board. 

All  of  the  trade  show's  100  booths  have 
been  sold  to  61  manufacturers,  concession- 
aires and  service  organizations,  and  more 
than  800  registrants  are  expected  to  view  the 
five-day  exhibit.  Over  a  thousand  additional 
one-day  registrants  are  expected  to  boost 
the  attendance  to  close  to  2000. 

Convention  officials  are  S.  H.  Fabian, 
general  chairman;  Chick  Lewis,  assistant 
general  chairman;  George  P.  Skouras, 
finance  officer;  Philip  F.  Harling,  conven- 
tion coordinator;  Walter  Read,  Jr.,  vice 
chairman,  and  Winifred  A.  Cutler,  conven- 
tion secretary. 


PEP-SADDLER  SHAPES  UP 
AS  ANOTHER  TV  SELL-OUT 

With  another  knockout  credited  to  its 
record,  as  well  as  to  Sugar  Ray  Robinson's, 
theatre  television  turned  its  attention  to  the 
prospect  of  another  sell-out  attraction  in 
the  Willie  Pep-Sandy  Saddler  featherweight 
title  scrap  this  Wednesday  night  (26th). 
While  nothing  approximating  the  mobs  that 
turned  out  for  the  Robinson-Turpin  match 
was  anticipated,  early  reports  showed  a 
brisk  advance  sale  for  the  Pep-Saddler  go. 

Every  one  of  the  fourteen  theatres  that 

(Continual  on    ^  <- 1 /  Page) 


26 


II  1.  M     B  UI.  I.ETIN 


Netvs  unci  Opinion 


{Continued  from  Preceding  Paget 

were  on  the  Robinson- Turpin  exclusive  net- 
work turned  away  thousands  of  seat-hungry 
customers  and  in  several  situations  the 
crowds  were  too  much  for  police  to  handle. 

Meanwhile,  RKO  was  reaping  a  harvest 
(as  were  exhibitors)  from  the  films  of  the 
Robinson-Turpin  fight.  With  some  13(H) 
prints  in  circulation,  it  was  expected  that 
a  record  number  of  theatres  will  show  the 
fight  pictures.  The  Fcp-Saddler  bout  will 
also  be  filmed  by  RKO  and  the  same  number 
of  prints  will  be  made  on  this  W  ednesday's 
event. 

MPAA  EXEC  SEES  5-YEAR 
HIGH  IN  EUROPEAN  RECEIPTS 

An  upsurge  in  the  exhibition  of  American 
films  in  Europe  which  will  result  in  the  best 
business  abroad  since  1946  was  predicted  by 
John  G.  McCarthy,  vice-president  in  charge 
of  international  affairs  for  Motion  Picture 
Association  of  America. 

McCarthy  just  returned  from  an  extended 
tour  of  England  and  the  continent,  credited 
the  following  factors  for  the  expected  boom: 

(1)  The  general  improvement  in  European 
economy. 

(2)  The  easing  of  financial  and  trading 
restrictions  against  American  films  in  some 
of  the  countries. 

(3)  The  continued  enthusiastic  popular 
response  to  American  motion  pictures  every- 
where in  Europe. 

The  MPAA  executive  expressed  the  hope 
that  dollar  remittances  from  England  alone 
might  run  as  much  as  $2,000,000  over  earlier 
estimates.  The  higher  receipts  are  expected 
to  come  from  continued  strong  attendance 
which  might  be  boosted  even  more  by  the 
outstanding  lineup  of  Hollywood  product 
set  for  release  in  Rritian  during  the  coming 
months. 

17  SCRIPTS  IN  READINESS 
PROMPTS  PARA.  OPTIMISM 

"A  total  of  seventeen  scripts  completed 
or  in  preparation  for  future  production,  with 
top  casts,  producers  and  directors  already 
assigned,  places  Paramount  in  the  most  ad- 
vantageous position  in  years,"  according  to 
a  statement  by  studio  head  Y.  Frank  Free- 
man. This  optimistic  pronouncement  was 
read  at  the  opening  session  of  the  company's 
three-day  sales  meeting  in  New  York  by 
A.  W.  Schwalberg,  president  of  Paramount 
Film  Distributing  Corp. 

Barney  Balaban,  Paramount  president, 
told  the  assembled  division  managers  and 
home  office  representatives  that  the  com- 
pany can  expect  outstanding  business  from 
such  pictures  as  "That's  My  Boy,"  "A  Place 


PARAMOUNT'S  BALABAN 

Big  B.  O.  Looms 


in  the  Sun"  and  "Here  Comes  the  Groom," 
emphasizing  that  the  distribution  of  these 
films  deserves  exceptional  sales  efforts. 

Merchandising  plans  were  discussed  by 
Jerry  Pickman,  director  of  advertising,  pub- 
licity and  exploitation,  who  also  introduced 
to  the  gathering  the  newly-appointed  studio 
publicity  head,  Teet  Carle. 

Attending  the  confabs  were  E.  K.  (Ted) 
O'Shea,  vice-president  of  the  distributing 
corporation;  Nat  Holt,  Paramount  pro- 
ducer; Oscar  Morgan,  Sid  Blumenstock,  Sid 
Mesibov,  Robert  J.  Rubin,  Monroe  R.  Good- 
man, all  of  the  home  office;  and  division 
managers  Hugh  Owen  (Eastern  and  South- 
ern), Howard  G.  Minsky  (Mid-Eastern),  I. 
J.  Donahue  (Central),  M.  R.  Clark  (South 
Central),  George  A.  Smith  (Western)  and 
Gordon  Lightstone,  Canadian  general  mana- 
ger. 

'PROSPEROUS'  U-l  SLATES 
36  FEATURES,  HALF  IN  COLOR 

Universal-International  is  flexing  its 
muscles  and  feeling  mighty  good,  despite  all 
the  gloom  in  exhibitor  circles.  Riding  the 
crest  of  a  fiscal  year  just  ended  which  is 
described  by  company  officials  as  "one  of  its 
most  prosperous  periods",  U-I  is  plunging 
ahead  with  an  ambitious  slate  of  36  features, 
half  of  them  to  be  in  Technicolor. 

The  new  season's  program  was  announced 
following  a  series  of  meetings  between  pro- 
duction and  distribution  executives,  includ- 
ing president  Nate  Blumberg,  Leo  Spitz,  and 
William  Goetz,  studio  chiefs,  and  Alfred 
Daff,  vice-president  in  charge  of  world  sales. 

"As  in  the  past,"  a  U-I  statement  de- 
clared, "diversity  of  product  will  be  stressed 
during-  the  coming  year  and  the  new  pic- 
tures will  be  aimed  to  appeal  to  all  classes 
and  tastes  of  the  moviegoing  public." 


TINTED  TV  SEEN  LIKELY 
SOONER  WITH  NEW  COLOR  TUBE 

Color  television  loomed  a  bit  closer  as  the 
Paramount  affiliate,  Chromatic  Television 
Laboratories,  made  public  the  successful 
operation  of  a  new  tri-color,  direct  view 
tube  developed  by  an  atomic  scientist. 

Described  by  Paramount  president  Barney 
Balaban  as  the  solution  to  the  squabble  over 
the  merits  of  various  color  television  sys- 
tems, the  Chromatic-Paramount  tube  de- 
veloped by  Dr.  Ernest  O.  Lawrence,  is  said 
to  be  compatible  with  any  method  of  color 
TV  transmission. 

Chromatic  president  Richard  Hodgson  an- 
nounced that  his  company  would  begin  im- 
mediate production  and  that  in  a  few  weeks 
the  tube  will  be  available  in  sufficient  quanti- 
ty for  public  demonstrations. 

COLOSSEUM  HEADS  CHARGE 
CHICAGO  LOGE  WITH  POLITICS 

Cries  of  politics  resounded  in  the  Colos- 
seum of  Motion  Picture  Salesmen  following 
the  withdrawal  of  the  Chicago  loge  in  pro- 
test over  the  recent  wage  agreement  reach- 
ed after  negotiations  with  eight  distributors. 

H.  I'».  Wynn,  Jr.,  Colosseum  president,  and 
David  Beznor,  general  counsel,  accused 
Chicago  loge  leader  Harold  Zeltner  of  bolt- 
ing because  he  had  been  unable  to  attain 
leadership  of  the  Colosseum. 

Meanwhile,  the  Minneapolis  loge  entered 
a  protest  against  the  $7  a  week  increase 
agreed  upon  by  the  negotiators,  claiming  it 
is  not  in  keeping  with  the  increased  cost 
of  living.  However,  there  was  no  indication 
that  the  group  would  follow  the  Chicago 
lead  and  leave  the  Colosseum. 

FILM  INDUSTRY  SHOWS  DIP 
IN  REVENUE  &  COSTS  IN  '50 

While  the  overall  national  income  picture 
showed  a  new  high  in  1950,  a  Department 
of  Commerce  survey  revealed  a  decrease  in 
both  the  amount  spent  by  the  industry  for 
services  and  the  amount  spent  by  the  public 
for  ticket  admissions  during  the  year. 

The  income  from  admissions  totalled 
$1 ,235,000,000,  slightly  less  than  11  per  cent 
of  the  $11,290,000,000  spent  on  all  recreation. 
The  admissions  figure  for  1949  was  about 
$100,000,000  higher  and  13  per  cent  of  the 
recreation  total. 

The  industry  contribution  to  the  national 
income  in  1950  was  $847,000,000,  as  against 
a  1949  total  of  $908,000,000  and  a  record  high 
in  1946  of  $1,116,000,000.  The  last  mentioned 
year  also  recorded  a  peak  admissions  in- 
come of  $1,512,000,000. 


SEPTEMBER   24,  1951 


27 


EXPLOITATION  PICTURE 


EXPLOITATION  SUPER  -  NATURAL 

20th -Fox  Spurs  Theatres  Bally 


One  need  not  be  a  showmanship  sage  to  find  the  ballyhoo  angles  in  20th  Century- 
Fox's  "The  Day  the  Earth  Stood  Still";  the  title,  plus  a  glance  at  the  stills  and  story 
opens  wide  the  avenues  of  ballyhoo  potential.  The  selling  aids,  as  well  as  the  added 
showmanship  incentive  provided  by  20th-Fox,  are  the  factors  that  merit  exhibitors' 
special  attention. 

Obviously  realizing  the  opportunity  for  a  field  day  on  the  exploitation  front, 
Charles  Einfield's  staff  of  ace  boxofficers  have  created  a  mass  of  advertising,  publicity 
and  exploitation  campaigns  for  use  by  theatres  from  the  smallest  to  the  largest.  And 
to  encourage  not  only  employment  of  the  press  book  suggestions,  but  the  individual 
showman's  imagination  as  well,  the  company  is  offering  $15,000  in  bond  prizes  to  go 
to  over  300  theatre  managers  and/or  admen  for  the  best  campaign  on  the  film. 

The  story,  a  documentary-like  accounting  of  a  visit  from  another  planet  of  a 
crusader  and  his  all-powerful  robot  to  warn  the  Earth  to  seek  peace  or  face  destruc- 
tion, has  been  filmed  with  an  eye  to  both  scientific  fact  and  dramatic  effect.  Such 
acclaimed  radio  commentators  as  Drew  Pearson.  Elmer  Davis  and  H.  V.  Kaltenborn 
have  been  recruited  for  trailer  penetration  and  for  radio  campaigns.  Tie-ups  with 
planetariums,  and  science-fiction  clubs  in  schools,  special  accessories  to  attract  the 
youngsters,  the  eye-catching  effects  for  posters  and  bill-boards,  a  special  tabloid 
herald  that  is  a  shocker  and  an  ideal  piece  for  house-to-house  distribution,  civil  defense 
campaigns,  helicopter  premieres,  balloon  bombardment — all  these  and  more  are  out- 
lined in  the  exciting  pages  of  the  20th-Fox  pressbook. 

"The  Day  the  Earth  Stood  Still"  is  an  excellent  example  of  a  natural  exploitation 
picture  with  the  added  values  supplied  by  expert  showmen.  Properly  ballyhooed,  it 
can  be  a  boxoffice  beauty. 


TRAILERS 

The  important  selling  power  of  trailers  has  been 
capitalized  by  20th-Fox  to  give  this  film  one  of  the 
most  thorough  trailer  campaigns  ever  organized  for 
a  movie.  In  addition  to  the  regular  production  trailer 
— a  humdinger! — there  are  three  teaser  trailers  that 
will  have  'em  talking  weeks  before  playdate.  Each  is 
shot  in  news  ash  form  and  features  Drew  Pearson, 
H.  V.  Kaltenborn,  and  Elmer  Davis,  respectively.  The 
regular  trailer  cuts  off  the  screen  in  a  blackout,  with 
a  narrator  "interrupting  this  program  to  give  you  a 
bulletin  just  eceived  from  one  of  our  naval  units  at 
sea  ..."  Remember  the  Orson  Welles'  Mars  invasion 
airwaver  that  stood  the  nation  on  its  ear?  You'll  get 
the  same  momentary  shock  effect  with  this  one.  In 
addition,  there  is  a  TV  trailer.  Special  handling  of 
these  trailers  are  detailed  most  effectively  in  the  press 
book. 


SPECIALS 

In  addition  to  the 
regular  accessories, 
three  special  novel- 
ties are  available.  A 
diecut  counter  card 
(right),  a  robot 
mask  for  the  young- 
sters and  a  tabloid 
herald,  in  the  shape 
sensational 


of 

newspaper  feature. 


IMPRINT 


TIE-INS 

The  film  dramatizes  with  startling  effect  what 
happens  when  all  electricity  on  earth  is  suddenly  cut 
off  for  a  half  hour.  The  electrical  utility  company  in 
each  city  offers  an  excellent  opportunity  for  a  close 
tie-in  with  the  films.  The  theme  can  be  twofold  pro- 
viding the  local  electric  company  with  a  showcase  for 
its  wares  and  a  public  relations  pitch  on  the  ines- 
timable value  of  its  product,  and  at  the  same  time, 
make  excellent  use  of  the  stills  and  publicity  for  your 

'l  ou  can  also  work  a  public  service  to  your  com- 
munity with  a  civil  defense  tie-in,  with  a  fifteen- 
minute  demonstration  during  which  all  activity  in  the 
city  stops.  With  defense  needs  crying  to  be  dramatic- 
ally brought  home  to  the  citizens,  proper  handling  in 
this  direction  can  be  both  beneficial  to  the  community 
and  of  tremendous  publicity  value  to  the  film. 

At  left,  the  large  variety  of  newspaper  teaser  ads, 
an  important  phase  of  the  campaign.  The  regular 
display  ads  are  variations  of  these. 

FILM  BULLETIN 


-SE 


The  Day  The  Earth  Stood  Still 

The  world  is  panic-stricken.  Flash  reports  of  a  strange  ohject  speeding 
toward  the  earth  at  4.000  miles  per  hour  have  the  peoples  in  a  frenzy.  Then, 
as  a  low  hum  becomes  a  terrifying  whine,  a  pant  white  Hying  saucer  settles 
to  the  grass  near  the  Washington  Monument  in  our  capitol.  The  ship's 
dome  splits  open,  a  ramp  reaches  out  and  a  figure,  apparently  human,  steps 
out  followed  by  a  huge  robot. 


With  this  beginning.  20th-Fox  producer  Julian  Blaustein  and 
director  Robert  Wise  ha%e  set  forth  a  dramatic  and  engrossing 
account  of  the  attempts  by  a  messenger  from  another  planet's 
advanced  civilization  to  prevent  the  earth's  peoples  from  destroying 
themselves  and  the  other  planets  in  a  frightful  atomic  war.  The 
principals  are  well  chosen,  with  Michael  Rennie  as  the  space- 
man, and  Patricia  Neal.  Hugh  Marlowe,  Sam  Jaffe  and  Billy  Gray 
in  important  roles. 


EXHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


BRIGHTER  DRIVE-IN  PRINTS 

North  Central  Allied 

On  more  than  one  occasion  of  a  visit  to 
a  drive-in  theatre,  we  have  heard  patrons 
complain  about  poor  screen  light,  attributing 
the  reason  to  faulty  projection  equipment. 
In  every  instance,  it  was  a  case  of  dark 
photography — night  shots,  interiors,  etc. 
Some  features  are  of  this  nature  almost  in 
their  entirety.  It  would  seem  to  us  that 
drive-ins  are  important  enough  that  at  least 
one  less  opaque,  or  lighter  print,  could  be 
alloted  to  each  exchange  to  meet  this  pecu- 
liar problem  of  drive-ins.  It  should  be 
merely  a  matter  of  development  time  and,  if 
it  is  not  done,  the  didstributors  are  going  to 
lose  a  lot  of  revenue  on  good  pictures  with 
too  much  dark  background  because  they  are 
not  suitable  for  outdoor  exhibition. 


HOLD  THE  LINE! 

ITO  of  Iowa  &  Nebr. 

Regarding  the  high  flat  rentals  now  being 
demanded  by  some  distributors  for  certain 
current  pictures  which  the  meeting  discussed 
at  length,  it  was  felt  that  only  the  individu- 
al exhibitor  knows  best  whether  he  can  pay 
these  increases.  By  using  the  information 
Allied  furnishes  our  members  regularly,  and 
the  Profit  and  Loss  sheets  of  these  distri- 
butors, the  exhibitor  can  easily  and  readily 
determine  with  mathematical  certainty  what 
and  who  he  should  pay.  Certainly,  if  that 
distributor  is  not  entitled  to  any  increase; 
if  his  Profit  and  Loss  sheet  shows  bad 
results,  then  he  is  as  unfair  to  ask  increases 
as  the  exhibitor  would  be  silly  to  pay  them. 
Such  a  distributor  with  a  possible  "bonus 
picture"  would  be  smart  to  sell  and  deliver 
it  on  the  regular  top  bracket  terms  to  let 
the  exhibitor  make  up  some  of  his  losses. 
The  exhibitor  must  know  his  present  box- 
office  level  and  results,  whether  they  can 
stand  higher  rentals.  He  must  also  give 
consideration  to  establishing  probable 
higher  precedents  he  cannot  live  with  which 
always  cause  trouble  for  the  exhibitor,  dis- 
tributor and  Allied.  If  an  exhibitor  must  pay 
out  the  major  portion  of  his  profits  in 
rentals,  what  has  he  accomplished  except 
precedents  which  he  will  be  expected  to 
meet  from  then  on — make  no  mistake  about 
that!  How  much  better  off  he  would  be  to 
say  "No"  and  hold  the  line! 

Allied  of  Iowa  and  Nebraska  stands  firm- 
ly opposed  to  any  percentage  terms  for 
small  theatres;  to  harsh  and  'unreasonable 
rental  or  other  demands  of  any  kind,  and 
to  illegal,  discriminatory,  unfair  clearances 
and  trade  practices.  Allied  is  also  opposed 
to  cheating  or  stealing  film.  Rut  Allied  is  in 
favor  of  its  members — all  exhibitors — paying 
fair  film  rentals,  as  much  as  they  can  pay 
while  avoiding  percentage  and  precedents, 
and  retaining  their  fair  share  of  the  profit. 

Earning  reports  of  the  film  companies 
show  clearly  that  they  are  doing  fine.  At 

30 


a  time  when  most  American  corporations, 
clue  to  the  higher  corporation  and  excess 
profit  taxes,  are  showing  drops  of  greater  or 
lesser  degree  in  earnings  compared  to  1950, 
Dore  Schary  describes  1950-51  as  "one  of 
the  most  profitable  years"  in  MGM  history. 
And  Paramount  Pictures,  whose  per  share 
net  earnings  were  up  in  both  the  March  and 
June  quarters,  a  total  of  26c  or  slightly  over 
5%  above  1950.  Then  look  at  big  corpora- 
tions like  CIT  Finance  down  25%,  General 
Motors  down  42%,  or  Chrysler  down  over 
100%!  Yes,  the  picture  companies  are  doing 
OK.  I  wish  I  could  report  the  exhibitors 
in  small  towns  and  theatres  in  these  parts 
were  doing  as  well. 

•  • 

HAILS  HERALD 

Allied  Theatres  of  Michigan 

As  the  result  of  our  bulletin  of  last  week 
this  office  received  a  telephone  call  from  the 
Paramount  Exchange  Manager.  He  agreed  di- 
rectly with  what  was  said  and  stated  that 
Paramount  was  doing  all  it  could  to  assist  the 
exhibitors  in  bringing  the  people  back  into 
theatres.  He  mentioned  specifically  one  particu- 
lar activity.  The  information  garnered  is  as 
follows : 

It  appears  that  a  short  time  ago  Paramount 
started  to  inject  old  time  showmanship  in  the 
smaller  situations  in  Michigan.  The  salesmen 
were  instructed  to  sit  down  with  exhibitors  and 
discuss  means  whereby  Paramount  could  as- 
sist in  bringing  more  customers  into  the 
theatre.  Distribution  and  the  judicious  use  of 
heralds  was  one  of  the  phases  and  the  sales- 
men were  taking  important  time  to  discuss  this 
matter. 

It  was  reported  that  some  of  the  exhibitors 
had  started  using  heralds  but  others  appeared 
indifferent.  Several  incidents  occured  that  were 
hard  to  believe.  A  salesman  after  a  discussion 
with  an  exhibitor  on  the  advisability  of  using 
heralds  and  voluntarily  offering  to  accompany 
the  exhibitor  to  several  mercantile  establish- 
ments where  space  on  the  herald  would  be  sold 
to  defray  the  cost  and  also  to  arrange  for 
distribution  in  the  town  through  stores,  was 
advised  that  the  exhibitor  did  not  have  the 
time  to  accompany  the  salesman.  Hard  to  be- 
lieve !  It  did  happen. 

A  brochure  compiled  by  Paramount  entitled 
"How  Too  Make  The  Most  Of  Heralds",  in- 
tended for  Paramount  personnel  was  mailed 
to  all  exhibitors  at  a  heavy'  printing  cost.  That 
brochure  consisting  of  six  pages  contained  all 
the  tried  and  tested  ways  and  means  of  using 
heralds  to  the  exhibitor's  full  advantage. 

Our  problems  of  inducing  people  to  our 
box  office  is  more  acute  today  than  in  many 
previous  years.  It  is  an  indictment  against  us, 
if  we  do  not  use  the  help  of  distribution 
which  appears  willing  to  give  of  their  time 
and  money  to  assist  us  on  all  pictures,  not  only 
their  own. 

We  think  this  herald  idea  is  a  good  one. 
If  you  have  "misplaced"  your  copy  on  "How 
To  Make  The  Most  Of  Heralds",  the  Para- 
mount office  will  send  you  another  copy  or  you 
may  secure  one  by  contacting  this  office. 


FIGHTING  BACK 

Iowa   &  Nebr.  Allied 

HEADLINES  in  the  Wall  Street  Journal, 
the  daily  papers  and  the  trade  press  give 
a  most  colorful  and  confusing  view  of  the 
picture  business.  Fortune  mag,  says  the 
movies  are  all  through;  TV  is  taking  over 
the  entertainment  field!  Life  mag.  in  a 
double  page  spread  issue  Aug.  13,  with  pur- 
ported authentic  pictures  of  closed  theatres, 
says  the  movie  biz  is  sick,  on  it's  last  legs; 
TV  is  the  cause.  The  Omaha  meeting  di- 
rected the  officers  to  write  the  editor  of  Life 
telling  him  he  is  full  of  prune  juice;  that  we 
are  not  dead  or  even  dying,  and  that  we 
have  every  reason  to  believe  we  will 
live  as  long  or  longer  than  his  magazine. 
And  then  there  was  that  little  item  in  the 
Minneapolis  paper  quoting  a  Manley  pop- 
corn machine  salesman  to  the  effect  that 
Popcorn  (and  Manley  machines,  of  course) 
are  what's  keeping  us  on  our  feet  and  going 
after  we  have  been  knocked  out.  Says  70% 
to  80%  of  the  take  from  popcorn  is  pure, 
clear,  unadulterated  profit! 

This  little  item  is  rather  unimportant,  but 
certainly  in  bad  taste  from  a  man,  and  a 
company  that  gets  a  major  portion  of  its 
business  from  motion  picture  theatres.  And 
it  all  adds  up  to  what  has  happened  to  us 
over  the  years — it  seems  everybody  not  actu- 
ally in  this  business — and  some  that  are — 
delight  in  digging  up  something  which  ap- 
parently our  good  friends  ?  ?  the  news- 
papers are  equally  delighted  to  print  so  long 
as  it  blasts  the  movies!  Meanwhile  accept- 
ing our  advertising,  yes,  demanding  our  ad- 
vertising, at  premium  rates.  Like  Life  in  the 
same  issue  that  says  we're  all  washed  up 
had  many  thousands  of  dollars  in  paid 
motion  picture  advertising!  We,  who  havel 
everything  to  fight  with — prestige,  money,| 
talent — have  all  too  long  lacked  the  guts 
we  have  preferred,  like  the  lazy  old  dog,  to 
take  it  laying  down,  hoping  our  tormentersj 
would  soon  forget  and  go  away  and  leave 
us  alone.  We,  who  are  pretty  smart  in  a  lo 
of  things,  have  failed  to  take  notice 
heart  from  the  few  instances  where  we  have 
flared  back  and  seen  our  tormentors  run 
like  scared  sheep. 

But  somehow,  I  think  those  days  are  over 
I  have  the  feeling  that  we  are  going  to  figh 
now,  but  good!  and  give  the  lie  to  those  wh 
wishfully  thinking  have  us  practically  dea 
and  buried.  I  feel  we  will  take  TV  in 
stride;  use  it  like  we  used  radio,  and  one 
more  emerge  on  the  top  of  the  entertain 
ment  heap  where  we  rightfully  belong.  Be- 
cause I  think  we  are  just  about  "mad' 
enough  to  fight,  to  accomplish  things,  and 
have  never  known  an  industry  to  do  a  bette 
job  on  anything  it  tackles  once  we  set  OU 
collective  minds  to  it.  I  believe  this  becau 
of  the  signs  of  life  which  are  told  in  othe 
headlines,  and  in  the  plans  of  our  at  las 
united  industry  through  COMPO— MOVIE 
TIME,  U.S.  A. 

FILM  BULLETII 


RODUCTIOn 
R€L€flS€ 


R6CORD 


COLUMBIA 


950-51  Features 
Serials 
Westerns 


Completed 
Completed 
Completed 


(45) 
(  3) 
(15) 


In  Production  (4) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 

1  PRODUCTION 

TITLE — Running  Tim*  Cast 

aptain  Blood  Returns  Louis  Hayward 

:ath  Of  A  Salesman  March-Dunnock 

nropean  Edition      -  Glen  Ford 

[,e  Mother  Loretta  Young 

OMPLETED 

|q  Gusher.    The   (68)  Morris-Foster 
[otsMalone  Holden-Clements 

ave  Bulls,  The  1107)   

ave  Warrior 

igand.   The  (T) 
Ijrky  of  Gasoline  Alley 
ftina  Corsair  178)    

sngo  Bill    -.   

lain  of  Circumstance  1681 
Hminal  Lawyer  173) 
,  ipple  Creek 

irk  Page   

refighters,  The  

»e  193) 


5-5 1 
7-51 


178) 


of  the  Congo  

arlem  Globetrotters,  The  

lawk  of  Wild   River.  The  

I er  First  Romance  (73)  

er  Wonderful  Lie     -  - 

urricane  Island  (C)   

ingle  Jim  in  the  Forbidden  Land 

I'ngle   Safari  .....    

[idy  and  the  Bandit,  Th 

>rna  Doone  (T)   

I  H0)    

agic  Carpet  _.. 

Ian  In  the  Saddle  IT)   Scott-Leslie    

ask  of  the  Avenger   (T)    (83)   Derek-Quinn    _   7-51. 

|ever  Trust  A  Gambler  179)   Clark-O'Donnell      8-51 

Id  West,  The    _   Autry-Davis 

:kup  180)   Haas-Michaels  8-51 

jrple  Heart  Diary  F.  Langford-T.  Romano 

'dtrs  of  the  Whistling  Pines  Autry-White 


..Ferrer-Quinn 
Jon  Hall 
Dexter-Lawrence 
S.  Beckett-J.  Lydon  9  51 

Hall-Farraday  6-51 
McGuire-Moore 
M.  Feld-R.  Grayson 
O'Brien-Wyatt  10  51 

.Montgovery-Booth 

Crawford-Derek   

Williams-Reynolds     

S.  Douqlas-W.  Phipps 
...Weismuller-Talbot  _  4-51 

.  Gomei-Dandridge   

Starrett-Burnett 
O'Brien-Martin  ... 
..Kiepura-Eqgerth 
..Hall-Windsor 

Weissmuller-Ryan   

.  Weissmuller-Greene   

Hayward-Medina  9-51. 

Hale-Greene     4-51. 

Wayne-DaSilva    _   .3-51 

..Ball-Agar 


i.nte  Fe  IT)  (87) 
turday's  Hero  (III) 

|cret.  The     

[ver  Canyon  (70)  .... 
occo  1981    

nokv  Canyon  

sail  Wonder  ._  


|  n  of  Dr.  Jekyll   

und  Off 

«ny  Side  of  the  Street   

n  Tall  Men  (T)   

las  Rangers  IC)  

ief  of  Damascus.  The 
lentino   fT)  103) 

lley  of  Fire  

ar  Cry  IC)  _  

ten  the  Redskins  Rode  (C)   (78)  Hall-Castle 

hirlwind   Autry-Burnette 

histle  at  Eaton  Falls,  The  (90)  Bridges-Gish 


Scott-Carter   

Derek-Reed 
Derek-Cobb 

Autry-Davis  

Bogart-Loran 
Starrett-Burnette 

Cummings-Hale   

Hayward-Knox   

Mickey  Rooney 
Lane-Daniels 
Lancaster- Lawrence 
Geo.  Montgomery 

Henreid-Sutton  _  

Parker-Dexter 

Aotry-Burnette   

Montgomery-Long 


-5  1 


9-51 


5-51 
4-51 
8-51 


LIPPERT 


'50-51  Completed    (28)      In  Production  (2) 


RELEASE  CHART 

—  1950-51  — 

I  PRODUCTION 

TITLE— Running  Tim*  Cast 

I-  Men  Only  P.  Henreid  

3MPLETED 

I  You  Were  Tracy-Sawyer 
idit  Queen  Britton-Parker   


nde  Blackmail  

nger  Zone   

1  Girl    

I.  Jane  

eat  Adventure,  The 
ghly  Dangerous 

ntucky  Jubilee    

jve  It  To  the  Marines 

tie  Big  Horn   _ 

;t  Continent 


'age  Drums  170) 


>el  Helmet,  The 

ip  That  Cab   

merman  and  The  Mole  Me 
es  of  Robin  Hood 

known  World  Kellogg-Nash 

•leties  On  Parade     Rose-Carroll 

s  Sir,  Mr.  Bones       F.  Miller 


Brent-Chapman 
Beaumont-Travis  ... 

Romero-Totter   

Porter-Neal   

Price-Hawkins 
Clark-Lockwood 

Colonna-Porter   

S.  Melton-M.  Lynn 

Ireland-Bridges   

Romero-Brooke 

Travis-Ryan   

Beaumont-Savage  _ 
Sabu-Baron 
S.  Melton-M.  Lynn 

Edwards-Brodie   

Melton-Adrian   

Reeves-Coates 
Clarke-Hatcher 


4-  10...  5017   

10-26      5002  10-19 

__.  7-6  SO  12 

I  1-2  5021 
10-12  5029 

5-  18  .    5007  . 
9-2  5005 

6-  18  .... 5003  _  . 

8-27      5004  9-10 

3-17  5013   _ 

.5-1 1  5018   

6-  22      5001  7-30 

10-  19.  5024 

..  2-2  .  5006  _  1-29 
_  3-31  501  

11-  16  5030 
11-30  5008 
10-26  5101 

7-  20  5020 
7-13      5019  _  . 


EPTEMBER    2  4,  1951 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Dat«. 
"No."  is  the  release  Number  "Rev."  is  the  issue  in  which  th« 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


METRO-COLD  WYN 

-MAYER 

1950-51   Features      Completed  (68) 

In  Production  (7) 

RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE— Running  Time 

Because  Your  Mine 

l  a  Hurry 


Young  Man  ir 
Ivanhoe  IT) 
Merry  Widow 
Invitation  The 
Scarmouche 
Skirts  Ahoy 


The  (T) 


Cast 

LaniaWhitmore 

Roman-Nype 

R.  Taylor-E.  Taylor 

Turner-Lamas 

McGuire-Johnson 

S    Granger-E.  Parker 

Williams-Blaine 


6-18  COMPLETED 


Across  the  Wide  Missouri  IT)  195) 
American  in   Paris  IT) 
Angels  in  the  Outueld  1 1021 
Belle  of  New  York  IT) 
Bannerline 

Callaway  Went  Thataway 
Calling  Bulldog  Drummond  175) 
County  Line 

Excuse  My  Dust  IT)  182)  .  . 
Father's  Little  Dividend  182)  ...  . 

Go  For  Broke  (92)  

Great  Caruso.  The  ITI  (109) 

Home  Town  Story  (61)  

Inside  Straight  190)  

It's  A  Big  Country 
Just  This  Once 
Kind  Lady  1781 

Law  and  the  Lady,  The  I  1041  . 

Light  Touch,  The  

Lone  Star   

Love  Is  Better  Than  Ever 

Man  With  A  Cloak   

Niqht  Into  Morninq  (861        .  _ 

Mr.  Imperium  (T)  (87)  

No  Questions  Asked  181)  _  

Painted  Hills,  The  IT)  (68)    

Pandora  and  the  Flying  Dutchman 

(T)    (123)  ....    _  .    

People  Against  O'Hara  (102) 

Quo  Vadis  IT] 

I   Was  a  Stranqer 

Red  Badge  of  Courage  181) 

Rich,  Younq  and  Pretty  ITI   (95)  . 

Royal  Wedding  (T)  192)   

Show  Boat  IT)  (.1081 

Singin'   In  The  Rain  IT)   

Soldier's  Three   192)   _ 

Stranger  In  The  House,  The 


Gable-Hodiak 

Gable-Caron 

Douglas-Leigh 

Astaire-Vera-Ellen 

Forrest-Braselle 


Oct 
Nov 
Sep 


Skeiton-Forrest 
Tracy-Taylor 

June 
Apr 

133 
124 

6-4 
2-26 

Johnson-Anderson 

May 

129 

4-9 

Lanza-Blyth 
Crisp-Reynolds 

Apr 

May 

127 
128 

4-23 

5-7 

Brian-Dahl 
All  Star 

Mar 

123 

Leigh-Lawford 
Barrymore-Evans 

July 

134 

7-2 

Garson-Wilding 

  July. 

136 

7-16 

Grainger-Angeli 

Gable-Gardner 

Tavlor-Parks 

Oct 

Cotten-Stanwyck 

Milland-Hodiak 

June 

130 

6-4 

Turner-Pima 

Sep 

203 

6  4 

Sullivan. Dahl 

_  June 

132 

6  18 

Williams-Keel 

May 

125 

l-l 

Mason-Gardner 
Tracy-O'Brien 

_  Nov 
Sep 

201 

8  27 

Strictly  Dishonorable  195) 
Strip,    The  (85) 
Tall  Target,    The  178) 

Teresa    (1051  .   

Texas  Carnival  (T) 

Three  Guys  Named  Mike  190)  . 

Too  Younq   To  Kiss  191) 

Two  Weeks  with  Love   (T)   (92)  . 

Unknown  Man.  The 

Vengenance  Valley  IT)  (83)   

Westward  the  Women  _  . 

When  In  Rome 

Wild  North  Country.   The  (A) 


Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
Astaire-Powell  _ 
Gardner-Keel 
Kelly-O'Connor 
Granger-Pilgeon 
Murphy-Davis 
Pinza-Leqih 
Rooney-Forrest 
Powell-Raymond 
Angeli-Erickson 
Williams-Skelton 
Wyman-Johnson 
Ailyson-Johnson 
Powell-Montaiban 
Pidgeon-Harding 
Lancaster-Walker 
Taylor-Darcel 
Johnson-Douglas 
Granger-Corey 


Sep 

AM9ar 

  Julv  _ 

204  8-27 
138  7-16 
121  2-26 
135  7-2 

Apr. 

.  12*  

Julv 

Aug 

140 

Aug 
Julv 

139          8  13 
137  3-12 

Mar 

Nov 

119  2-12 

n   

Nov 
.  July 

10-23 

r   

Feb 

117  2-12 

MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (33) 
Completed  (12) 


Production  (  3  ) 
Production  (0) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Rodeo   (C)    Jane  Nigh 

COMPLETED 

According  to  Mrs.  Hoyle  (60)  Byington-Chandler 
Aladdin   and   His  Lamp  (CI 
Blazing  Bullets      .  _____ 

Bronc  Rider  

Casa   Manana  173 

Cavalry  Scout  (C)  (78)  

Counterfeit  _____ 


Elephant  Stampede   

Father  Takes  The  Air   

Flight  to  Mars  IC)  

Fort  Osage  IC) 

Ghost  Chasers  169)  

Gypsy    Fury  (63)  

Joe  Palook*  in  Triple  Cross 
Longhorn,  The 


Medina-Sands 
Brown-Hall 
Wilson-Knight 
Forbes-Herlihy 
Cameron-Long 
DeFoe-King 


Sheffield 
Walburn-Gray 
Chapman-Mitchell 
Cameron-Nigh 

Gorcey-Hall   

Viveca-Lindfors  _ 
Kirkwood-Downs 
tlliott-Coates 
Sheffield-Whitfield 


 Wilson-Clyde  


10-  15  5110 
6-17  5126 
9-30  5103 

11-  11  5102. 

4-29  5112   S-21 

3-18  5192  7-14 

9-16  5118 


3-25      5109   4-4 


Navy  Bound   

Nevada  Badman 

Oklahoma  Justice    

Stagecoach  Driver 
Teras  Lawmen 
Trail  Dust 

Vengeance  Trail   

Vicious  Years.  The  179) 
Wanted:  Dead  or  Alive  159) 

Whistling  Hills  .... 

Wild  Horse  Prairie 
Win    Place  and  Show 


Wr 


The 


Neal-Toomey 

/Vilson-Knight  

Brown-Ellison 

Wilson-Knight   

Brown-Ellison 
Albright-Winters 
.Elliott-Stewart 
Cook-Moore 
Wilson-Clyde 
Brown-Ellison 

Wilson-Knight  

Gorcey-Hall   

Kirkwood-Gleason 

Morris-O'Flynn   

 Grant-Davis   

ALLIED  ARTISTS 


2-25 
5-27 
8-19 


2-18 
9-9 

4-8 


5120 
5152 
5144 
5153 


5154 
5151 


Babe  Ruth  Story,  The 

Disc  Jockev  ............. 

Highwayman,  The  IC)  183) 
Let's   Go  Navy  (681 
I  Was  An  American  Spy  (85) 
It  Happened  On  Fifth  Avenue 


BendU-Trevor   

Simms-O'Shea 

May 
8-23 
9-8 
7-29 
4-15 

 21  

4-18 

Hendrix-Coburn 
H.  Hall-G.  Gorcey 
Dvorak-Evans   

20 
5113 

 1?  

8-27 
8-27 
.5-21 

DeFore-Storm  

May 

PARAMOUNT 


1950-51   Feautres       Completed    (51)      In  Production  (3) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Shane  IT)  

Somebody  Loves  Me   

Son  of  Paleface  IT) 

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT) 
Anything  Can  Happen 

Appointment  With  Danger  (89)  

At  War  with  the  Army  (93)  .„ 
Big  Carnival,  The  1112) 

Rev.  under  title:  Ace  in  the  Hoi 

Big  Timber  IT)   _  

Branded  IT)  (103)      

Carrie  

Crosswinds  IT)   

Darlinq,  How  Could  You  (95) 

Dear  Brat  (82)   ...  .  

Detective  Story   

Flaming   Feather  IT) 

Great  Missouri  Raid,  The  (T)  (85) 

Greatest  Shaw  On  Earth  (T)   

Green    Gold  of  Nevada  (T)   

Here  Comes  the  Groom  (114)   

Hong  Kong  ITI     

Last  Outpost,  The   IT)  1891 

Lemon  Drop  Kid,  The  (91)  

Matino    Season.    The  (101) 

Molly  183)  _  

Rev.  under  title:  The  Goldbergs 

My  Favorite  Spy   

My  Son  John   

Passage  West  (T)    180)  .....    

Peking  Express  185) 

Place  in  The  Sun,  A  (122)   

Quebec  (T)   (851   ... 

Raae  of  the  Vulture.  The 
Redhead  and  the  Cowboy  (82) 

Red  Mountain  (T)   

Rhubard  1951 

Samson  and  Delilah  (T)    (128)  . 
September  Affair  (104) 
Silver  City  ITI 
Something  To  Live  For 

Stooge,  The  .... 

Submarine  Command  189)  .. 

That's   My  Boy  (98)   

The  Denver   &  Rio  Grande  IT)  . 

Trio  (91)  

Warbonnet  (T) 

Warpath  195)  (T) 

When  Worlds  Collide  182)  (T) 


Ladd-Arthur 

Hutton-Meeker 

Hope-Russell 


Shore-Young  .  .... 

Ferrer-Hunter  

Ladd-Calvert 

Martin-Lewis  

Douglas-Sterling 

Payne-Moorhead 

Ladd-Freeman   

Olivier-Jones  

Payne-Fleming  

Fontaine-Lund 

Freeman-Arnold 

Douglas-Parker 

S.  Hayden-G.  Russell 

Corey-Carey  

Stewart-Hutton   

Payne-Morrow  

Crosby-Wyman  

Reagan-Fleming 

Reagan-Fleming   

Hope-Maxwell    

Tierney-Lund   

Berg-Loeb 

Hope-Lamarr  

Hayes-Heflin   

Pavne-O'Keefe  

Cotten-Calvet  

Clift-Winters 
Barrymore.  Jr.-Calvet 
Ladd-Kerr 

Ford-Fleming  

Ladd-Kennedy   

Milland-Sterling   

Lamarr-Mature  

Fontaine-Cotten 

DeCarlo-O'Brien   

Fontaine-Milland 

Martin-Lewis  

Holden-Olson  

Martin-Lewis 

O'Brien-Hayden 

Simmons-Rennie       ...  . 

Heston-Hanson 

O'Brien-Jagger 

Derr-Rush 


10-51 
1 1-51 
6-5 1 


5019 
5014 
5023 


5104 
5108 
5021 


5020 
5018 
5016 
5011 


5022 
5024 
5102 
5017 


5103 
5010 
5012 


4-23 
12-18 

7-2 


12-18 
8-13 


3-25 
1-2* 
12-4 


8-13 
11-21 

1-15 


Honeychile  ITr)   

In  Old  Amarillo  167) 
Insurance  Investigator  (60) 
Lady  Possessed 

Lost  Planet  Airmen   IReedited  fro 

"Kinq  of  the  Rocket  Men"   

Million   Dollar  Pursuit  (60)   

Oh  Susanna   ITr)    (90)  ... 
Oklahoma  Annie  IC) 
Pals  of  the  Golden  West 

Quiet  Man,  The  (T)   

Robinson-Vs.  Turpin  153) 

Rodeo  Kind  &  The  Senorita  (67) 

Sea  Hornet.  The   

Secrets  of  Monte  Carlo 
Silver  City  Bonanza 

South  of  Caliente   

This  Is  Korea  150) 

Thunder  In  God's  Country  (67) 

Utah  Waqon  Trail   

Wells  Fargo  Gunmaster   

Woman  In  The  Dark   

Wyoming   Saddle  Pals   


Canova-Foy 
Rogers-Edwards 
Denning-Long 
Mason-Havoc  ... 

Coffin-Clarke  . 

Edwards-Flagg 

Cameron-Tucker 

Canova-Russell 

Rogers-Evans 

Wayne-O  Hara 

Fight  Pictures 

Allen-Kay 

Cameron-Booth 

Douglas-Hall 

Allen-Ebsen 

Rogers-Evans   

Documentary 

Allen  

Allen-Edwards 
Lane-Chapin 
Edwards-Elliott 
Chapin-Janssen 


5031 
5028 
5008 


RKO  RADIO 


1950-51  Features       Completed    (58)      In  Production 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 


TITLE    Running  Time 

Cast 

Rel 

No 

Rev 

Big  Sky.  The 

Douglas-Martin 

COMPLETED 

Alice  In  Wonderland   IT)  (76) 

Disney  Cartoon   

8-51 

292 

7-1 

Behave  Yourself  (80) 

Best  of  the  Badmen  (Tl  (84)   

Winters-Granger   

Ryan-Trevor 

9-51 
  6-5 1 

206 
176 
263 
109 

9-2 
5- 

Blue  Veil,  The  1114] 

Company  She  Keeps  (83)  

Wyman-Carlson 
Greer-O'Keefe   

10-51 
1-51 

9-2 
l-l 

Crack  Down 
Cry  Danqer  179) 

Williams- Armstrong 
Powell-Fleming 

2-51 

115 

2-2 

Day  Without    End  ... 

Flyinq  Leathernecks  (T)  1102) 

Lupino-Ryan 
Wayne-Ryan 

8-51 

261 

8-1 

Footliqht  Varieties  (61)  

Pear-Buttons 

116 

4- 

Gambling  House  (80)     _ 

Bendix-Mature 

1-51 

1  10 

2-1 

Girl  in  Every  Port,  A  

Gun  Notches  

Gun  Thunder  

Marx-Wilson   

.  Holt-Martin   

...  Holt-Martin 

12-51 

Happy  Go  Lovely  187) 

D.    Niven-Vera  Ellen 

7-51 

262 

Half-Breed,  The  

Hard,  Fast  and  Beautiful  (76)   

His  Kind  of  Woman  (120) 

 Young-Carter   

...  Trevor-Forrest   _ 

Russell-Mitchum   

12—51 

119 

201 

6- 

7-3 

6-  51 

7-  51 

1    Want  You 

Andrews-McGuire   

It's  Only   Money  1801   

Sinatra-Russell  

10-51 

Jet   Pilot   IT)    II  181  

Wayne-Leigh  

  12-51 

Jungle   Headhunters    (T)    (65)  . 
Kon-Tiki  1731  

Travel  

  6-5 1 

177 

5-51 

172 

..".'4- 

Las  Vegas  Story,  The 

Russell-Mature 

11-51 

Macao  

Russell-Mitchum   

.....    11-51 ... 

On  Dangerous  Ground   

Ryan-Lupino 

 1 1-51... 

Whip  Hand,  The  (82)   

Reid-Tuttle  

My  Forbidden  Past  (70)    

Gardner-Mitchum 

ZZ4-5L. 

1  14 

4- 

On  The  Loose  (74)   

Evans-Earl   

9-51 

202 

8-1 

Overland  Telegraph  160)   

Payment  on  Demand  (90)    

Pistol  Harvest  (60)  

Holt-Martin  

Davis-Sullivan   

Holt-Martin 

2-51 

171 

205 

Zw 

Riirkol  Th« 

Road  Agent   

.  ..Mitchum-Scott 
Holt-Martin   

10-51 

Roadblock  173)   

McGraw-Dixon 

204 

Hustler's  Range       

_  Holt-Martin 

Saddle  Legion  (61)     

 Holt-Martin 

1 1 7  1 

Sealed  Cargo  (891  .. 

.....Andrews-Rains    

5-51 

 1 18 

4-2 

Sons  of  the  Musketeers  (Tl   

...  Wilda-O'Hara 

11-51 

Target  

Tarian's  Peril  (79)  

.  McGraw-White 
...  Barker-Huston 

"  3-51 

I  Trill 

Texas  Triqgerman    

Thing,  The  187)  

Tokyo  File  212  1841 

Two  Tickets  to  Broadway  (T)  

.....  Holt-Martin 

Tobey-Sheridan 
.  Marlv-Peyton 

4-  51 

5-  51 

174 

175 

......  5- 

Leiqh-Martin  „  

10-51 

20th  CENTURY-FOX 


REPUBLIC 


1950-51   Features       Completed  (29) 
Serials  Completed   (    I  ) 

Westerns      Completed  (17) 


In  Production  (0) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


COMPLETED 

Adventures  of  Captain  Fabian  (100)   E.  Fly 
Arizona   Manhunt  160) 
Belle  La  Grand  (90) 
Buckaroo    Sheriff   of   Texas  160) 
Bullfiqhter  and  the  Lady  (87) 
Colorado  Sundown 
Cuban   Fireball  1781 
Dakota  Kid.  The  (60) 
Desert   of  Lost  Men 
Don   Daredevil   Rides  Aqain 
Fiqhtinq  Coast  Guard  186) 
flight  from  Fury 
Fort  Dodge  Stampede  160) 
Fugitive    Lady  (78) 
Havana  Rose 
Heart  of  the  Rockies  (67) 


32 


E.  Flynn-M.  Prelle   

Chapin-Janssen 
Ralston-Carroll 
Chapin-Janssen 

....  9-15 
1-27 
  5-1  . 

5101 
5068 
5006 
5066 

Stack-Paqe 
Rex  Allen 

  5-15 

5009 

I  .'7  5-7 

Estelita-Vincent 
Chapin-Janssen 
Lane 

.............  — ■ 

5007 

  7-1.. 

5067 

Curtis-Towne 
Donlevy- Tucker 

6-1 
6-1 

5084 
5010 

5-7 

Edwards-Clark 

6-18 

Lane-Kay 

8-24 

5062 

Paiqe-Barnes 
Roqers-Rodrigues 
Rogers-Edwards 

7  15 

...  5-15 

501  1 

7  30 

3  30 

5042 

1951   Features  Completed  (42) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

Bells  On  Their  Toes  Crain-Loy 

5  Fingers  Mason-Rennie 

Phone  Call  From  A  Stranger   Merrill-Winters 

Return  of  the  Texan  Robertson-Boone 

Wait  Till  The  Sun  Shines  Nellie  (T)  Peters-Wayne 

COMPLETED 

Anne  of  the  Indies  (Tl   Jordan-Paget 

As  Young  As  You  Feel  (77)  ..   Woolley-Ritter 

Bird  of  Paradise  (T)   (100)  Jordan-Paget 

David  and  Bethsheba  (T)   (123)  Peck-Hayward 

Day  The  Earth  Stood  Still,  The   ......  Rennie-Neal 

Decision  Before  Dawn     Merrill-Basehart 

Desert  Fox.  The  ...........  Mason-Young 

Elopement  Webb-Francis 
Fixed  Bayonets  Basehart-O'Shea 

Follow  the  Sun  190)     Ford-Baxter 

Fourteen  Hours   (91)     Douglas-Basehart 

Friendly  Island  (T)    Lundigan-Greer 

Froqmen   (96)  Widmark-Andrews 
Golden  Girl   (T)  Day-Gaynor 
Guy  Who  Came  Back.  The  (91)   Douglas-Darnell 

.  •  F  I  L 


In  Production  (5 


11-51 
6-51 
3-51 


Half  «TI  1801 

"Can  Get  It  For  vou  Wholesale  191) 
I'd  Climb  the   Hiqhest  Mountain 

IT)  1881 
Journey  Into  Light  187) 
Kangaroo  ITI 

Kefauver  Crime  Investigation 
Kitty  and  The  Marriage  Broker 
Let's  Make  It  Legal 
aove  Nesi- 

Lydia  Bailey  IT)  

;Man  of  Two  Worlds 

Meet  Me  After  The  Show  IT)  186) 

Millionaire  for  Christy  191) 
•  Mr.  Belvedere  Rings  The  Bell  188) 

No  Hiqhwav  In  The  Skv 

On  the  Riviera   IT)    190)   _  

People  Will  Talk    1 1  10) 
■  Pride  of  St.  Louis 

Rawhide  1841 

Red  Skies  of  Montana  IT)    

Secret  ot  Convict  Lake 
Take  Care  of  My  Little  Girl  IT)  193) 
Viva  Zapata 

With  A  Song  In   My  Heart  _  

You're  in  the  Navy  Now  193) 
Rev   under  title:  U.S.S.  Teakettle 


Da"  ey -  Hay' wa i  d 

J-Sl 

1  1 1 

4-9 

Haver-Lundigan 

ll-SI 

 131  

Hayden-Lindfors 
O'Hara-Lawiord 

10  SI 

1 32 

9 

10 

12  SI 

News  Feature 

4  SI 

...J.  Crain-T.  Hitter  -    -  

^oiDert-t,arey 
Haver-Lundigan 

ll-SI 

10-SI 

131 

Robertson-Francis 
Power-Smith 

II  51 

Grable-Carey 

8  51 

8 

13 

MacMurray-Parker 

9  51 

127 

8 

1  3 

Webb-Dru 

8  51 
10  51 

124 
121 

8 

1  3 

Kaye-1  ierney 
Grant-Crain 

5-5 1 

9-51 

115 
126 

V 

23 
10 

Dailey-Dru 

Power-Hayward 

5-51 

113  . 

4- 

23 

..  Widmark-Smith  _ 

Ford-Tierney 

8-51 

123 

Crain-Peters 

7-51 

119 

M.  Brando-J.  Peters 

Hayward-Calhoun  ... 

Cooper-Albert 

4-51 

1  10 

3 

-12 

UNITED  ARTISTS 


1950-51   Features       Completed    (43)      In  Production  (5) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Another  Man's   Poison    - 

Ma  Night,  The  —   

Chicago  Calling    

■Robinson-Hunt 
(Saturday   Island  ITI 

COMPLETED 

African  Queen   IT)  -  

Badman's  Gold   154)   -  

Slue  Lamp  184)  .    

Circle  of  Danger  (84) 

(Cloudburst   

Cyrano  De  Berqerac  (112)  

Irabiola    194)   - 

:irst  Legion   (84)  -   

:ort  Defiance 


Cast  I 
Davis-Merrill 
J.  Barrymore-P.  Foster 
Duryea-Anderson 

  Duet 

Linda  Darnell   


Jeep  197)    

Sold  Raiders  (541 

He  Ran  All  the  Way  177)   

Hoodlum.  The  143)   

Motel  Sahara  187)  - 

Learn  To  Love 

,.ong  Dark  Hall.  The  (841 

,vlan  From  Planet  X  170)   

:vlan  With  My  Face  (75)   

Mister  Drake's  Duck   181 1 
Ivlr.  Peek-A-Boo  (74) 

ivly  Outlaw  Brother  182)   

Naughty  Arlette  184)  

Hew  Mexico   (A)  174)  

Obsessed  177)     

Odette  1105)   

Oliver  Twist  (105)  „ 

Pardon  My  French  181) 
'rowler.  The  192) 
Pueen  For  A  Dav  1 107) 
.Scarf.  The  184) 
(River.  The  (T)  (99) 
Ijecond.  Woman.  The  (911 
[Skipalong  Rosenbloom  (72) 
[So  Long  at  the  Fair  185) 

St.  Benny,  the  Dip  180)  

Thev  Were  Not  Divided 

Three  Steps  North  (85)   

Try  and  Get  Me  (90)   

Formerly:  Sound  of  Fury 
Two  Gals  and  a  Guy  170) 
Jnderworld  Story 

'olcano  1110)    

»Vell.  The  (85)  _. 

vVhen  I  Givw  Up  190)   


Boaart-HeDburn       H-R 

Carpenter- Lock  wood 

4-3 

Warner-Hanley 

3-1 

Milland-Roc 

3-22 

Preston-Sellars      _  . 

Ferrer-Powers  

Michele  Morgan 

8-3 
7-20 

Kr. 
Lev 

1  1-20 

Boyer-Bettger 

D.  Clark-B.  Johnson  _ 

5-11 
!  8-24 

.  Sirk ..... 

Lindfors-Meeker 

O'Brien-Ryan 

Garfield-Winters 

9-14 

...  7-13 

Reb 

7-16 

Tierney-Roberts 

7-27 

6  18 

DeCarlo-Ustinov 

10-15 

Jar  . 

O'Keefe-Keyes 
Harrison-Palmer  ... 

4-10 

5-7 

Clark-Field 

Nelson-Matthews 

Fairbanks-Donlan 

4-27 
6-8 
9-21 

Cor 

6-4 

Greenwood-Bourvil   

3-15 

Sach. 

Rooney-Hendrix 

3-15 

Tettering-Williams   

...      3-9  _ 

Ain 

6-18 

Ayres-Marshall 
Harrar-Fitzgerald 

8-24 
9-7 

Neagle-Howard  _  

5-15 

Newton-Guinness  . 

_  4-17 

5-7 

Oberon-Henreid 

.  8-10 

9  10 

Heflin-Keyes 
Avery-McGavin 
Ireland-McCam  bridge 
American-Indian 
Young-Drake 

5-25 

Eag 

6-4 

  7-7 

4-9 

4-4 
9-14 
3-14 

G-C 
Ren 
Pop 

3-26 
2-12 

Baer-Coogan 

Simmons-Bogarde 

Roch-Haymes 

Underdown-Clanton 

Bridges-Padavoni 

Lovejoy-Ryan 

4-3 
3-29 
8-24 

  2-1 

6-15 
.  5-4 

Dan 

I  1-29 
7-16 

Wil 
Stm 

12-18 

Paige-Alda 

8-31 
7-21 
_  5-1 

C-E 

Duryea-Storm 
Magnani-Brani 

D.  Fairbanks 
Preston-Scott  

9-14 
4-20 

Pop 

~  9-10 

Flame  of  Arabv  ITI 

Chendler-OHere 

Francis  Goes  to  the  Races  188) 

O  Connor-Laurie 

.  July 

125 

4  4 

Golden  uidt.  The  IT)   

Blythe-Farrer 

Oct 

134 

Groom  Wj,i  Spurt  110)   

Roqers-Carson 

Mar 

1  14 

2  24 

Here  Come  The  Nelsons 

Oiiie  end  Harriet 

Hollywood   Story  1761 

Conte-Adami 

June 

124 

5  21 

Irnn    Man  l»?l 

Keyes-Chendler 

Aug 

130 

7  16 

Katie  Did  It  1811 

Blythe-Stevent 

May 

122 

5-21 

1  Arly   (mm  T««*»  ITI 

Hull-Duff 

Oct 

136 

Lady  Pays  Off.  The 

Carnell-McNally 

Lavender  Hill   Mob  The 

Guinness- Hoi  low  ay 

Little  Eqypt  ITI  182) 

Fleming-Stevens 

Sept 

131 

8  27 

Ma  and  Pa  Kettle  at  the  Fair 

Main-Kilbride 

Ma  and  Pa  Kettle  Back  on  the  Farm 

Main-Kilbride 

Apr 

117 

4-9 

Mark  of  the  Renegade  (T)  1811 
Meet  Danny  Wilton  

Montalban-Charisse 
Sinatra-Winters 

Auq 

128 

8  13 

Pool  of  London 

Coheano-Shaw 

Prince  Who  Was  A  Thief.    ITI    1851  Curtis-Laurie 

July 

124 

6  18 

Raging  Tide.  The 

Winters-Conte 

Reunion   In  Reno 

Stevens-Dow 

Oct 

135 

Smuggler's  Island   IT)  1751 

KeyesChandler 

May 

121 

5-2 

Target  Unknown  190)  

Stevens-Nicol 

Feb 

1  1  1 

Thunder  On  the  Hill  185) 

Colbert-Blyth 

Sept 

1  33 

8-  13 

Treasure  of  Lost  Canyon.  The  ITI 

W.  Powell-J  Adams 

Up  Front  19?) 

Wavna-Ewell 

Apr 

118 

3-12 

Weekend  With  Father 

Nea!-Heflin 

You  Never  Can  Tell 

Powell-Dow 

Sept 

132 

9  10 

WARNER  BROTHERS 


1950-51   Features        Completed    (30)      In  Production  (8) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev. 

About  Face  ITI  Mac Rae-Brac ken 

Big  Trees,  The  IT)   Cochran-Aldon  

Carson  City  Scott-Massey 

Crimson  Pirate.  The  IT)  B.  Lancaster 

I'll  See  You  In  My  Dreams  Day-Thomas 

Lion  and  the  Horse.  The  Cochran-Teal 

Room  For  One  More  Grant-Drake 

Where's  Charlie?  IT)  Bolger-Mc Lerie 

COMPLETED 

Along  the  Great  Divide  188) 
Bugles  in  the  Afternoon  IT) 
Close  To  Mv  Heart 
Come  Fill  the  Cup  1113) 

Captain  Horatio  Hornblower  (T)  ll7Peck-Mayo 
Distant  Drums  IT)  Cooper-Alden 


Douglas-Mayo 

R.  Milland-H.  Carter 

Milland-Tierney 

Cagney-P  Thaxter 


Force  of  Arms  I  100) 
Fort  Worth  IT)  180) 
Goodbye,  My  Fancy  1107) 
I  Was  A  Communist  183) 
Inside  Walls  of  Folsom  Pi 
Jack  and  The  Beanstalk 
Jim  Thorpe.  Ail-American  (107) 
Lullaby  of  Broadway  (T)  (92) 
North  of  the  Rio  Grande 
On  Moonlight  Bav  (Tl  1951 
Only  The  Valiant  1 105) 


Holden-Olson 
Scott-Brian 
Crawford-Young 
Lovejoy-Hart  ... 
187)  Brian-Cochran 
Abbott-Costello 
Lancaster-Bick'ord 
Day-Nelson 
McCrea-Mayo 
MacRae-Day 
Peck-Payton 


Painting  Clouds  with  S'hine  ITI   187)  Mayo-Morgan 


Raton  Pass  (84) 
Starlift 

Strangers  On  A  Train  1101) 
Streetcar  Named  Desire,  A  (122) 
Tanks  Are  Coming,  The 
Tomorrow  Is  Another  Dav  190) 


7-28 
7-28 
4-21 
10  6 


028 
024 
023 
026 

101 
020 
029 
029 
022 
105 


2-06 
4-23 
5-7 


Morgan-Neal 
Cagney-Mayo 
Walker-Roman 
Brando-Leigh 
S.  Cochran-E.  Miller 
Roman-Cochran 


103  8-27 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Fil 

250  N.  Juniper  St.,  Phila.  7, 


n  Carriers 

Pa.  —  LOcust  7-4823 


UNIVERSAL-INTERNATIONAL 


1950-51   Features       Completed  (48)       In  Production  (4) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 
lend  of  the  River  (Tl    Stewart-Kennedy  


Ironco  Buster  (T) 


Lund-Brady 


•OMPLETED 

vbbott  &  Costello  Meet  the 
Invisible  Man      _  ....  ... 

>ir  Cadet    _  _ 

.pache  Drums  IT)  (75) 

attle  of  Apache  Pass  IT)   _ 

right  Victory  197) 

•attle  Drive   (T)  177) 

:ave  of  the  Outlaws,  The  IT) 

•imarron  Kid,  The  (T) 

-omin'  Round  the  Mountain  (77) 

oor.  The 

ouble  Crossbones  IT)  175) 
at  Man.  The  177) 
nders  Keepers 


Abbott  &  Costello 
McNally-Russell 
Grey-McNally 
Chandler-Lund 
Dow-Kennedy 
McCrea-Stockwell  . 
Smith-Carey 
A.  Murphy-Y.  Dugay 


Abbott  &  Costello-Shay     July  127. 

Laughton-Karloff 

O'Connor-Carter  Apr        117  5-21 

Smart-London    May        120  5-21 

Ewell-Adams    !  „  :  


EPTEMBER    2  4,  1951 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236   N.  23rd   St.,   Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


VU  SMOUW  SEEJ/WAr  *\h?PZHS  TO 


FARLtr 


ALL  BECAUSE  OF 


op""09  Lp,embe' 
»op  T°9°  *spaP«r 


JERRY  WALD-  NORMAN  KRASNA 

PRODUCTION 

with  WILLIAM  DEMAREST  -  FRANCIS  L  SULLIVAN 

MARGALO  GILLMORE  •  LON  CHANEY  and  "ARCHIE,"  The  Dog 


\  Set 


Screenplay  and  Direction  by  GEORGE  BECK 


RADIO 


MOST  HONORED!  MOST  PUBLICIZED! 

M-G-M's  TECHNICOLOR  MASTERPIECE 


82,992,017 

MAGAZINE  READERS 
SOLD  BY  EDITORIAL 
ENDORSEMENT! 

Just  a  fete  tributes  and 
they'' re  still  corning: 

"MOVIE  OF  THE  WEEK' 

Look  Magazine,  readership  18,453,000 

"FIRST  SELECTION" 

Good  Housekeeping,  readership  9,971,000 

"  SUPER  -  MUSICAL" 

Life  Magazine,  readership  18,212,477 

"RECOMMENDED  PICTURE" 

W  oman's  Home  Companion,  readership  6,424,000 

"PICTURE  OF  THE  MONTH" 

Seventeen  Magazine,  readership  2,500,000 

"PICTURE  OF  THE  MONTH" 

Redbook,  readership  4,304,283 

"MEDAL  FOR  OUTSTANDING  MOVIE" 

Parents'  Magazine,  readership  4,294,721 

"BEST  MUSICAL  OF  THE  MONTH" 

Cosmopolitan,  readership  3,898,000 

"PICTURE  OF  THE  MONTH" 

Coronet  Magazine,  readership  9,261,381 

"PICTURE  OF  THE  MONTH" 

American  Magazine,  readership  5,673,155 


Plus  154,198,164 

MAGAZINE  READERS 
SOLD  BY  M-G-M's  BIG 
AD  CAMPAIGN! 

Appearing  in  these  magazines  (many  in 
full  color)—  American  •  Look  •  Collier's 
Life  •  Saturday  Evening  Post  •  McCall's 
True  Story  •Ladies'  Home  Journal- Parents' 
Modern  Screen  Stories  •  Movieland  •  Screen 
Guide  •  Motion  Picture  •  Cosmopolitan 
Seventeen  •  Redbook  •  Good  Housekeeping 
Woman's  Home  Companion 

TOPPED  BY  GIANT  NEWSPAPER 
AND  RADIO  PROMOTION! 


EXTRA!  AT 
PRESS-TIME! 

Its  off  to  terrific  start  at  Radio  City 
Music  Hall,  N.Y.  and  special  pre- 
release engagements  in  Evansville, 
Cleveland,  New  Orleans,  San  Francisco 


U-G-U  presents  "AN  AMERICAN  IN  PARIS"  •  To  the  Music  of  GEORGE  GERSHWIN  •  starring 
GENE  KELLY  •  and  introducing  LESLIE  CARON  •  with  OSCAR  LEVANT  •  GEORGES 
Gl  ET  IRY  >  NINA  FOCH  •  Color  by  TECHNICOLOR  *  Story  and  Screen  Play  by  Alan  Jar  Lerner 
Lyrics  by  Ira  Gershwin  -  Directed  by  Vincenle  Minnelli  •  Produced  by  Arthur  Freed*  An  M-G-M  Picture 


BULLETIN 


EDITORIBL 

|»L.  19.  No.  21  October  8,  1951 

Pace  Three 


&  • 

PROGRESS 

We  begin  by  trying  to  alter  the  faults 
F  those  about  us,  we  go  on  to  make 
le  best  of  them,  and  perhaps  end  by 
iving  them. 
—FRANCIS  HERBERT  BRADLEY 


REVIEWS  in  This  Issue 


tective  Story      8 

•VENTURES  OF  CAPTAIN  FaBIAN 

.  8 

ie  Magic  Carpet   _    

 _.  8 

ie  Desert  Fox  __  _   

  ...  9 

ie  Lady  from  Texas     

9 

ie  Clouded  Yellow   

9 

.ver  City   _  ,.  

  -10 

ster  Drake's  Duck     

....   10 

e  Palooka  in  Triple  Cross 

  10 

union  in  Reno   _  -  

  _.16 

FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
FICE: 35  West  53rd  St..  New  York. 
19;  Circle  6-9159.  David  A.  Bader. 
Business  Manager:  Leonard  Coulter, 
Editorial  Representative.  PUBLICA- 
TION —  EDITORIAL  OFFICES: 
1239  Vine  St..  Philadelphia  7.  Pa., 
RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Taylor.  Pub- 
lication Manaeer:  Robert  Heath.  Cir- 
culation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave..  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
in  the  United  States;  Canada.  $4.00; 
Europe,  $5.00.  TWO  YEARS,  $5.00 
in  the  United  States;  Canada,  $7.50; 
Europe,  $9.06. 


LITTLE  VOICES'  RISING 


A  ground  swell  of  exhibitor  resentment  is  rising  against  the  trade  practises  of 
certain  film  compaines.  again  threatening  to  engulf  the  industry  in  strife.  Evidence 
that  this  growing  tide  will  soon  be  lapping  at  the  doors  of  distributors  was  offered 
by  the  "revolt"  of  the  'little  fellows"  at  the  recent  TOA  convention  in  New  York. 

Our  industry  has  enjoyed  something  of  a  honeymoon — a  honeymoon  of  despair, 
if  you  will — for  the  past  year  or  so.  Beset  by  the  mutual  problem  of  declining 
through  the  dark  period  together,  arm-in-arm.  but  now  that  the  first  glimmer  of 
dawn  appears  to  be  breaking,  the  old  frictions  and  animosities  again  threaten  our 
business. 

Why? 

Why.  one  must  ask.  at  a  well  organized  convention  like  the  TOA's  is  there  a 
spontaneous  outburst  of  indignation  from  the  little  fellows  demanding  that  action  be 
taken  to  curb  alleged  abuses  in  trade  practises  by  the  distributors?  Why.  one  must 
also  ask.  do  those  same  practices  fail  to  stir  the  ire  of  the  circuit  operators? 

There  must  be  an  explanation  that  makes  sense.  Can  it  be  found  in  the  answer 
to  this  question:  Are  practises  and  policies  acceptable  to  circuits  and  large  theatres 
so  economically  incompatible  with  the  profitable  operation  of  smaller  theatres  that 
they  will  forever  be  an  unending  source  of  contention  between  distributors  and  their 
thousands  of  smaller  customers? 

Dissension,  at  this  time  particularly,  is  fraught  with  peril,  for  it  endangers  the 
most  important  cooperative  action  the  movie  business  has  ever  taken — COMPO  and 
the  "Movietime,  U.  S.  A."  campaign.  In  the  September  21  issue  of  FILM  BULLETIN, 
we  expressed  the  hope  that  exhibitor-distributor  differences  would  be  put  aside  for 
'the  duration  of  the  "Movietime"  drive:  '"Let's  quarrel,  if  we  must,  about  these 
differences  after  the  campaign  is  over  and  not  rock  the  boat  while  it  is  in  midstream." 

Is  not  this  period  of  comparative  goodwill  the  moment  for  distribution  executives 
to  consider  altering  their  policies  to  remove  the  basic  causes  of  friction  which  arouse 
the  little  fellows  against  them?  If  any  degree  of  permanent  peace  is  to  be  established 
in  our  industry,  a  new  set  of  rules  must  be  written.  It  is  obvious  that  the  same  pic- 
ture-pricing formula  which  is  applied  to  the  larger  theatres  will  never  be  acceptable 
to  the  mass  of  smaller  exhibitors. 

This  is  a  sood  lime  for  the  distributors  to  start  thinking  in  such  term.-. 


MO  \\  \X 


THE  CROWDS 
ARE  BACK 
THANKS  TO 
20TH 


century  -  fox  ^m^mm 

and  they1  lip 
getting  BIGGEJ 
BIGGEM 

Bid 


when  you  pi 


keymen  face  the  convention.  From  left,  Charles  P.  Skouras,  board  chairman;  Mitchell  W'oljson,  president,  and  S.  H.  Fabian,  conientioi 

Theatremen  Talk  Television 


4\ 


CxcluMDe  $L  BULLETIN  Oeature 


Bv  Leonard  Coulter 

ive  you  heard  the  one  about  the  woman 
;e  car  stalled  on  the  highway  and  held 
long  line  of  following  vehicles' 
ter  a  raucous  ten  minutes  the  irate 
:r  immediately  behind  her  got  out, 
le  up  to  her  car  and  let  forth  a  violent 
:ntof  sarcasm. 

le  lady  stopped  fiddling  with  the  ignition 
:h,  fixed  him  with  a  glassy  stare,  and 
"W  ell,  it  you're  so  smart,  you  come  and 
this  motor  running,  while  I  go  back 
ean  on  your  horn." 

lis  little  yarn  illustrates  the  state  of 
1  into  which  many  folk  in  the  motion 
ire  business  (not  you,  of  course)  have 
n  in  viewing  the  problem  of  television. 

know  the  sort  of  thing:  a  bitter  de- 
lation of  TV,  a  groan  or  two  about  its 
:ts  on  boxoffice  revenues,  and  a  total 
sal  to  do  anything  about  it  beyond  con- 
ning it.  Some  of  us  have  even  been 
ling  that  the  boxoffice  decline  hasn't 
i  due  to  television  at  all.    And  one  or 

experts  have  even  produced  figures  to 
•e  it. 

et's  stop  kidding  ourselves, 
he  best  thing  to  happen  in  this  industry 
a  long  time  was  the  recent  Xew  York 
vention    of    the    Theatre    Owners  of 
erica.    Compared  with  some  other  or- 


70A  Contention  fcefrteJ  DUelj  Jc  The 

J>n4uJtHf  J  Iflc&t  Preying  Problem  —  TV 


ganizations  in  the  business  TOA  is  a  fledge- 
ling. It  only  came  into  existance  at  the 
back  end  of  19-47.  A  good  many  exhibitors 
still  look  down  their  noses  at  it  because  it 
represents  the  major  circuits — businesswise, 
that  is.  And  admitedly,  despite  divorcement, 
many  of  its  members  retain  —  as  is  only 
human — a  soft  spot  for  the  production-dis- 
tribution interests  with  which  their  theatres 
were  once  linked. 

We  don't  want  to  pursue  this  unprofitable 
line  of  debate  just  now.  What  this  maga- 
zine feels  it  must  do  is  to  tip  its  hat  to  TOA 
for  putting  the  horse  before  the  cart  where 
television  is  concerned.  The  boys  at  its  top 
table  have  given  exhibitors  everywhere — not 
merely  their  own  members — an  object  lesson 
in  cold  realism  and  ruthless  logic.  For  out 
of  a  wearying,  week-long  talkfast  at  the 
Astor  Hotel  emerged  this  undeniable  fact: 
television  is  here  to  stay;  we  can  use  it  to 
our  advantage,  but  don't  waste  any  more 
time  just  sneering  at  it. 

TV  didn't,  of  course  monopolize  the 
TOA's  deliberations.  There  was  plenty  of 
good  roundhouse  slugging  in  the  closed 
sessions.  Names  were  named:  grievances 
were  aired.  Distributors  were  blasted  on  the 
question  of  multiple  runs  and  print  shortage. 


Competitive  bidding  was  attacked  as  basical- 
ly legal  but  morally  indefensible.  There  was 
a  call  for  more  prints,  for  industry  arbi- 
tration. Opposition  was  registered  to  the 
Pennsylvania  proposal  of  a  $1,500  annual 
license  fee  for  theatre  television.  A  test  case 
will  be  fought  on  this  issue,  and  on  Xew 
Jersey's  proposed  5%  TV  tax.  Smalltown 
exhibitors  voiced  their  resentment  about 
rentals  being  especially  critical  of  Para- 
mount and  Warner  Bros.  Movietime  USA 
and  Compo  were  praised.  Immediate  pur- 
chase of  supplies  and  equipment  was  urged 
before  the  shortages  problem  worsens,  as 
seems  likely.  A  truce  in  the  Drive-In  war 
was  demanded. 

All  these  and  a  score  more  vital  industry 
matters  were  fully  ventilated.  But  they  were 
dwarfed  by  the  over-riding  topic  of  the  day: 
Television.  And  rightly  so,  for  TV  pro- 
vides, as  was  pointed  out,  the  greatest  op- 
portunity which  this  business  has  had  for 
many  a  year;  certainly  since  the  advent  of 
sound  film. 

The  stage  was  set  by  Alfred  Starr  of 
Xashville,  Tennessee,  whose  keynote  speech 
carried  this  passage:  "We  have  consistently 
urged  that  television  produce  its  own  pic- 
tures separately  and  apart  from  those  pro- 


CTOBER 


195  1 


Theatremen  Talk  Television 


iluced  for  motion  picture  theatres.  Our  tele- 
vision policy  lias  been  to  bring  theatre 
television  into  motion  picture  theatres,  not 
to  replace  fine  motion  pictures  which  are 
the  best  low-cost  entertainment  ever  known 
to  man." 

Si  Fabian,  Convention  Chairman,  added: 
"  The  statesmanlike  and  aggressive  way  we 
handle  the  problem  of  television  will  deter- 
mine the  future  of  the  film  industry  for 
many  years  to  come." 

Then  Sam  Pinanski  launched  his  ideas. 
"Imagine,  as  showmen,  what  we  could  do 
in  the  way  of  bringing  extraordinary  added 
attractions  to  our  patrons  with  most  of  the 
theatres  in  America  equipped  with  efficient 
television  sets  at  reasonable  cost." 

The  howl  of  monopoly  raised  against  the 
exhibitor  following  the  exclusive  big-screen 
showing  of  the  Turpin-Robinson  middle- 
weight boxing  bout,  roused  Pinanski.  "I 
don't  understand  what  they  are  talking 
about,"  he  said.  "The  fight  was  a  private 
venture,  staged  for  private  profit.  I  know 
of  no  legal  requirement  that  private  property 
be  given  free  to  the  public  ...  or  that  ad- 
mission to  the  World's  Series  or  to  'South 
Pacific'  be  free  merely  because  of  great 
public  interest.  Why,  then,  a  special  rule  for 
theatre  TV?" 

Then  there  was  Charles  P.  Skouras,  who 
at  the  President's  banquet,  predicted  that 
when  producers  and  exhibitors  got  closer 
together  on  TV,  as  they  must,  it  would  be 
of  immense  benefit;  of  at  least  "as  much 
benefit  to  the  industry  as  radio  has  proved 
to  be." 

Barney  Balaban  proclaimed  the  turning  of 
the  tide.  "We  are  on  the  upbeat  now",  he 
declared,  thanks  to  the  revitalizing  influence 
of  the  better  product  which  has  been  coming 
from  Hollywood.  Hut,  he  added  sagely, 
"While  the  position  of  the  motion  picture 
theatre  as  an  American  institution  will  en- 
dure, despite  competition  from  any  other 
form  of  entertainment,  television  is  now  a 
major  entertainment  medium.  It  will  con- 
tinue to  grow.  It  is  futile  to  stand  on  the 
sidelines  and  thumb  our  noses  at  the  march 
of  progress,  I  urge  you  not  to  ignore  the 
momentous  Fact  of  television.  .  .  .  There  is 
a  revolution  going  on  in  the  entertainment 
world. 

"The  maturity  of  television",  Balaban 
added,  "will  keep  us  on  our  toes  to  produce 
better  pictures,  to  merchandise  our  product 
better  and  to  give  our  patrons  the  best  pos- 
sible facilities  and  service.  To  the  pioneer 
the  future  is  always  exciting,  full  of  new 
opportunities." 

There  was  much  practical  discussion  too, 
apart  from  the  theory.  Nathan  Halpern, 
head  of  Theatre  Network  Television,  which 
booked  the  recent  boxing  bouts,  went  on 
record  with  the  disclosure  that  the  theatres 
concerned  had  cither  lost  money  or  had  just 
about  broken  even. 

The  reasons  were,  said  Halpern,  the  new- 
ness of  closed-circuit  telecasts  and  the  small 
number  of  theatres  with  big-screen  equip- 
ment.  When  more  theatres  were  available, 

6  t 


KEYNOTER  STARR  &  PINANSKI 

Bring  TV  to  Theatres 


costs  would  drop  and,  presumably,  profits 
would  appear. 

He  said  there  were  28  big-screen  installa- 
tions now  completed,  and  that  manufacturers 
had  orders  for  200  more  units.  Total  attend- 
andce  for  the  five  closed-circuit  fight  tele- 
casts (excluding  the  Saddler-Pep  bout)  was 
142,616  and  the  estimated  turnaway  was  at 
least  150,000. 

Highlights  of  the  great  TV  debate,  how- 
ever, was  the  story  told  by  Mitchell  Wolf- 
son,  of  Miami,  Florida,  newly-elected  TOA 
President.  Wolfson,  a  theatre  operator  whp 
also  owns  a  television  broadcasting  station, 
produced  a  number  of  fascinating  facts  and 
figures.  Some  of  them: 

A  total  of  107  TV  broadcasting  stations 
is  now  in  operation.  No  new  stations  have 
been  authorized  by  the  FCC  since  Septem- 
ber 1948.  About  13,350,000  television  sets 
are  in  use  throughout  America,  and  the 
number   is  growing. 

Market  prices  for  television  stations  are 
increasing.  WLAT-TV  in  Grand  Rapids, 
Michigan,  was  constructed  at  an  initial  cost 
of  $162,000.  It  recently  sold  for  $1,300,000. 
KEYL-TV,  San  Antonio,  which  cost 
$306,000  when  it  was  built,  changed  hands 
for  $1,050,000.  Stations  elsewhere  have  sold 
for  comparable  prices.  "Obviously",  said 
Wolfson,  "television  broadcasters  like  the 
future  of  the  business.' 

It  has  a  rosy  outlook,  atid  that  is  why 
local  exhibitors  who  are  qualified  and  able 
to  do  so,  should  get  into  it.  Those  who  feel 
so  inclined,  however,  must  begin  prepara- 
tions now,  for  the  FCC's  "freeze"  on  new 
stations  may  end  next  year. 

"Mitch"   Wolfson   is   one   of  those  who 


believe  television  broadcasting  has  not  be< 
the  primary  cause  of  the  decline  in  theat 
attendances.  Now  that  the  worst  of  the  ii 
flalion  is  over,  boxofrice  figures  are  recova 
ing.  Nonetheless,  the  exhibitor  who  si 
back  and  says  smugly,  "I  have  a  goc 
chance  of  riding  this  out",  is  deluding  hir 
self. 

Says  Wolfson:  "For  the  smart  exhibit 
who  wants  to  continue  the  progressr 
pioneering  spirit  which  has  made  the  motij 
picture  industry  strong,  I  suggest  not  th 
you  survive  in  spite  of  television,  but  prosp 
with  it  .  .  .  Get  in  on  the  ground  floe 
Utilize  television  as  anyone  would  logical 
use  new  developments  in  his  field.  Take 
long  look  at  theatre  television,  and  decii 
to  adapt  this  splendid  new  medium  to  yd 
theatres  sooner  or  later — preferably  soom 
Look  carefully  into  television  broadcastin 
and  get  into  that  if  possible." 

In  Wolfson's  opinion,  big-screen  entertaj 
ment  will  not  be  confined  to  sports  eveni 
but  w  ill  embrace  musical  comedies,  circust 
stage  plays  and  other  special  events,  J 
will  use  stars  of  Bob  Hope  calibre.  In  tl 
his  ideas  coincide  with  those  of  the  Skour 
brothers.  They  visualize  a  complete  te 
vision  organization  for  theatres,  includi 
studios,  programming,  licensing  and  trar 
mission,  besides  supplying  equipment.  1 
using  such  a  network  the  exhibitor  wo- 
not  have  to  rely  on  chance  programs 
his  theatre  TV,  or  put  himself  at  the  mer 
of  some  outside  promotor. 

The  essence  of  Wolfson's  philosophy 
that  exhibitors,  instead  of  shrinking  fff 
television,  should  grasp  it  as  an  opportun 
to  expand  their  operations.  This  is  how 
puts  it:  "I  think  many  of  you  can  si' 
by  the  wayside  without  dying  by  the  wf 
side  if  you  stay  away  from  television,  j" 
let  me  also  say  that  if  you  are  to  contit 
along  the  constructional,  progressive  a 
pioneering  path  which  this  great  motion  p 
ture  industry  has  always  followed  then  jr 
Mr.  and  Mrs.  Exhibitor,  will  lake  full 
advantage  of  the  new  means  which  te 
vision  offers  for  you  to  continue  to  give  \ 
people  of  your  communities  the  finest 
visual  entertainment  and  information." 

When  this  year's  TOA  Convention  i 
being  planned,  it  took  as  its  platform  "1| 
bilizing  For  Better  Box  Office"  and 
nounced  to  all  and  sundry  "We  have  pra 
cal  and  tangible  answers  to  the  gr 
questions  with  which  we  are  faced". 

As  one  who  attended  the  Convention 
spent  much  time  observing  and  intervie 
the  great,  the  near-great  and  the  no| 
great  in  the  business,  I  can  tell  you 
TOA  made  good  its  boast.  It  has  pulled 
industry's  head  out  of  the  sand.  It 
ranged  itself  beside  the  small  group  of 
gressive  exhibitors  who  have  had  the 
and  the  good  sound  sense,  to  get  into 
vision  while  the  going  was  good.  In 
respect,  Si  Fabian,  one  of  the  country's 
showmen,  wasn't  exaggerating  when 
called  it  "the  most  important  gathcri- 
theatre  men  in  50  years."  On  the  Str 
of  this  year's  pow-wow,  the  TOA  might 
give  itself  an  alternative  title:  "The 
port  unity  Association." 

FILM  BULLE1 


ii  I 


ptess 


Boa 


—  a'1 


*+  ■ 

★'V 


STARS  OVER  AMERICA! 

Personality  Tours  Commence  Oct  8th 

THE  FACTS: 

1.  VISITS  TO  48  STATE  CAPITALS  AND  WASH.,  D.  C. 

Units  (of  from  5  to  7  people)  consisting  of  tke  most  prominent  persons  in  the  acting, 
directing,  producing  and  writing  divisions  of  tke  industry  will  appear  at  each  of  the 
48  state  cap  itals  and  Washington,  D.  C,  Monday,  Octoher  8th. 

2.  MORE  THAN  250  VOLUNTEERS  ON  TOUR 

There  will  he  more  than  250  people  involved  —  all  of  them  volunteers  working  for  you! 
Their  messages  will  not  he  their  recent  successes  hut  their  entire  concentration  will  he 
on  "It's  Movietime,  U.  S.  A." 

3.  COVERING  AS  MANY  TOWNS  AS  POSSIBLE 

From  the  State  Capitals  hy  plan  of  the  local  state  committee  the  units  will  proceed  as  a 
whole  or  will  he  kroken  into  smaller  units  to  cover  as  many  towns  as  possible  within 
the  period  hetween  Monday,  Octoher  8th  and  Saturday,  Octoher  13th. 

4.  SATURDAY,  OCT.  13™  is  THE  FINAL  DAY 

All  volunteers  have  been  promised  that  Saturday,  October  13th,  means  return  to  the 
various  studios  and  their  important  jobs  of  making  "Movietime"  an  all  year  round 
realization.  There  will  positively  be  no  deviation  from  this  for  any  reason. 

5.  BUT  THERE'S  NO  END  TO  "MOVIETIME,  U.  S.  A." 

This  is  only  the  beginning!  The  show  will  go  on!  This  industry  has  proved  it  can  do  a 
great  job  working  kand  in  kand,  unselfiskly,  sincerely!  In  unity  tkere's  strength! 
"Movietime,  U.  S.  A."  will  continue  all  year  long! 


DETECTIVE  STORY'  PUNCH-PACKED  MELODRAMA 


Rates  •  •  •  generally,  more  where  exploited 


Paramount 
103  minutes 

Kirk  Douglas,  Eleanor  Parker,  William 
Bendix,  Cathy  O'Donnell,  George  Macready, 
Horace  McMahon,  Gladys  George,  Joseph 
Wiseman,  Lee  Grant,  Gerald  Mohr,  Frank 
Feylen,  Craig  Hill,  Michael  Strong,  Luis 
Van  Rooten,  Bert  Freed,  Warner  Anderson, 
Grandon  Rhodes,  William  "Bill"  Phillips, 
Russell  Evans. 
Directed  by  William  Wyler 

As  transcribed  for  the  screen  by  producer- 
director  William  Wyler,  "Detective  Story" 
is  a  smashing,  hard-hitting  adaptation  of 
Sydney  Kingsley's  hit  play  that  will  stand 
high  among  the  year's  screen  melodramas. 
Still  played  within  the  confines  of  a  New 
York  police  precinct,  Wyler's  terse,  taut  di- 
rection and  brilliant  supervision  of  the 
players  reads  pace  and  action  into  the  piece 
to  a  point  where  absence  of  physical  move- 
ment is  indiscernable.  Dialogue  and  char- 
acterizations are  cunningly  employed  to 
make  "Detective  Story"  vital  and  affecting 
celluloid  drama.  It's  a  good  story — real, 
authentic,  vigorous,  frequently  touching.  The 


•  POOR  •  •  FAIR 

•  •  •  GOOD  •  •  •  •  TOPS 


star  players  of  Hollywood  are  given  superb 
support  by  a  featured  group,  smartly  re- 
cruited from  the  original  Broadway  play. 
Their  charactaerization,  as  fresh  as  an  open- 
ing night,  fill  out  "Detective  Story"  admir- 
ably, contributing  much  to  the  overall  validi- 
ty that  distinguishes  the  picture.  Except  for 
family  houses  and  rural  areas,  "Detective 
Story"  looms  as  a  boxoffice  natural,  fast, 
slick  entertainment  with  appeal  for  a  wide 
variety  of  filmgoers. 

STORY:  Making  almost  no  digressions 
from  the  original,  the  tale  is  an  account  of 
a  psychopathic  detective  whose  hatred  of 
crinre  pursues  his  relentlessly — so  much  so 
that  he  turns  on  his  own  wife  when  he  dis- 
covers she  had,  prior  to  their  marriage, 
visited  a  doctor  to  bear  the  child  that  re- 
sulted from  her  romance  with  a  shady 
underworld  character.  The  disclosure  is  in- 
duced by  his  superior's  insistence  on  getting 
at  the  bottom  of  the  reason  for  the  detec- 


tive's brutal  beating  of  the  doctor  in  a  policej 
van.  The  detective,  driven  to  near  insanity] 
sacrifices  his  life  in  a  shooting  foray  involv-J 
ing  a  four  time  loser,  thus  ending  his! 
torment.  This  is  the  fabric  of  the  central 
plot — the  effectiveness  of  "Detective  Story'j 
is  derived  from  the  sub-plots,  all  told  in. 
terms  of  the  various  people  who  come  to  thq 
precinct  in  the  course  of  a  single  day. 

Under  the  firm  direction  of  Wyler,  Kirk* 
Douglas  and  Eleanor  Parker  form  aj 
dynamic  romantic  team  as  the  detective  an* 
wife.  William  Bendix  creates  a  sympathetic 
portrait  of  an  old  time  cop,  and  Cathjl 
O'Donnell  is  charming  as  the  socialite  gir! 
who  comes  to  the  rescue  of  her  sister's  bo>| 
friend  arrested  on  an  embezzlement  charge 
George  Macready  is  quietly  sinister  as  the: 
abortionist,  and  Horace  McMahon  plays  thffl 
inspector  with  conviction  and  authority 
Gladys  George  figures  briefly  but  stringing^ 
as  a  bought-off  witness  against  the  doctor  I 
Lee  Grant  grabs  a  lion's  share  of  laugh^l 
with  her  brilliant  playing  of  a  girl  picked  un 
on  her  first  shoplifting  charge.  The  N.  Y| 
actors  fill  out  the  large  supporting  cast  tcj 
excellent  effect.   HANNA  (Hollywood) 


ADVENTURES  OF  CAPTAIN  FABIAN'  TRITE  PERIOD  MELODRAMA 

Rates  •  •  on  name  value  only 


Republic 
100  minutes 

Errol  Flynn,  Micheline  Prelle,  Vincent 
Price,  Agnes  Moorehead,  Victor  Francen, 
Jim  Gerald,  Helena  Manson,  Howard 
Vernon,  Roger  Blio,  Valentine  Camax, 
Georges  Flateau,  Zanie  Campan,  Reggie 
Nalder,  Charles  Fawcett,  Aubrey  Bower. 
Directed  by  William  Marshall 

"Adventures  Of  Captain  Fabian,"  with  a 
script  credited  to  Errol  Flynn,  proves 
beyond  shadow  of  a  doubt  that  the  actor  is 
far  better  equipped  for  performing  swahs- 
buckling  make-believe  than  for  writing  it. 
Flynn's   saga   of   sinister   doings   in  New 


<  )rleans  in  the  last  Century  is  a  story  that 
might  have  been  culled  directly  from  the 
ten-twent-thirt  melodramas  that  played  on 
the  old-time  Mississippi  Show  Boats.  The 
situations  are  old-fashioned — amusing,  actu- 
ally, in  their  attempts  to  be  taken  seriously. 
The  dialogue  is  stilted,  and  as  for  acting,  it 
hardly  seems  possible  that  perfermances  by 
Micheline  Prelle,  Vincent  Price  and  Agnes 
Moorehead,  and  the  rest  of  the  cast,  which 
incidentally,  boasts  not  a  single  sympa- 
thetic character,  could  be  as  bad  as  they  are 
under  the  direction  of  William  Marshall. 
The  director  is  also  credited  with  the  pro- 
duction of  "Captain  Fabian."  The  Republic 
release  will  have  to  depend  solely  on  Flynn's 
name  value  for  its  boxoffice  appeal. 

STORY:  Vincent  Price,  scion  of  a  prom- 


THE  MAGIC  CARPET'  ARABIAN  NIGHTS  FANTASY  MISSES 

Rates  •  •  as  a  dualler 


Columbia 
90  minutes 

Lucille  Ball,  John  Agar,  Patricia  Medina, 
Gorge  Tobias,  Raymond  Burr,  Rick  Vallin, 
Joe  Gilbert,  William  Fawcett,  Doretta  John- 
son, Linda  Williams,  Perry  Sheehan,  Eilean 
Howe,  Mina  Zorka,  Winona  Smith. 
Directed  by  Lew  Landers 

This  Supercinecolor  production  by  Sam 
Katzman  permits  the  Arabian  Nights  for- 
mula te  get  way  out  of  hand  with  a  story 
that  pursues  a  fantastic  course  involving  a 
magic  carpet,  a  treacherous  Caliph  and  a 
royal  child  who  is  spirited  away  only  to 
return  in  his  maturity  to  fight  for  and  claim 
his    rights.    The   screenplay   is   a  trashily 


written  affair  filled  with  silly,  unconvincing 
dialogue.  Katzman's  physical  production  is 
more  gilt  than  gossammer.  The  two  stellar 
players,  Lucille  Ball  and  John  Agar,  fail 
to  meet  the  requirements  necessary  to  get 
away  with  this  sort  of  nonsense — their  per- 
formances are  woefully  inadequate,  frequent- 
ly ludicrous.  Lew  Landers'  direction  misses 
its  mark  in  every  respect.  Except  in  loca- 
tions where  this  formula  has  been  parti- 
cularly successful.  "The  Magic  Carpet" 
must  he  relegated  to  the  dualler  category. 

STORY:  Lucille  Ball,  outrageously  gotten 
up  in  golden  veils  that  display  her  midriff 
has  the  part  of  a  Princess  in  the  palace 
where  John  Agar  has  succeeded  in  ingrati- 


inent  and  influential  New  Orleans  famil) 
commits  a  murder  and  pins  the  crime  on  hi; 
paramour,  Micheline  Prelle — standing  tria 
and  about  to  be  convicted,  Errol  Flynn,  i 
sea-captain  succeeds  in  getting  her  acquitted 
sets  her  up  in  the  bar  business.  Price  plan; 
to  carry  a  social  equal.  After  his  bachelor's 
dinner,  Miss  Prelle  accompanies  him  home 
goads  him  into  a  fight  with  his  uncle.  An 
other  murder  takes  place.  The  price  of  he? 
silence  is  marriage  to  Price.  Price,  in  turn 
tries  to  pin  the  crime  on  Flynn.  In  a  las 
minute  and  hasty  solution  of  the  mudd 
waters  surrounding  the  prinicipals,  Flynn 
script  permits  actor  Flynn  to  battle  his  wa 
from  prison  and  enclose  Miss  Prelle  in  h 
arms  while  "the  end"  makes  its  welcom 
appearance.  HANNA  (Hollywood) 


ating  himself  as  a  young  man  of  amazing 
powers  in  the  realm  of  medicine.  Agar  i 
the  youth  who  has  grown  up  as  the  child  0 
simple  people  but  who  is  really  the  rightfu 
heir  to  the  throne.  When  his  foster-fathe 
is  killed  he  learns  of  the  existence  of 
magic  carpet  and  utilizes  it  as  an  instrumen 
in  overthrowing  the  corrupt  rulers  of  hi 
country.  The  magic  carpet  sequences  hav 
some  humor  to  them  and  are  probably  th 
most  effective  interludes  in  the  drama. 

Miss  Ball's  performance  is  about  as  con 
vincing  as  Gypsy  Rose  Lee's  might  be  I 
"Camille."  John  Agar  is  far  beyond  hi 
depth  as  the  gallant  fighter  for  freedom 
Best  <>f  the  principals  is  Patricia  Medina 
playing  a  dancing  girl.  JAMES 

FILM    BULL  FT I 


THE  DESERT  FOX'  INTERESTING  BUT  COLD  BIOCRAPHY 

Rates  •  •  -r  generally 


20th  Century-Fox 
91  minutes 

James  Mason,  Sir  Cedric  Hardwicke,  Jessica 
Tandy,  Luther  Adler,  Everett  Sloane,  Leo 
G.  Carroll,  George  Macready,  Richard 
Boone,  Eduard  Franz,  Col.  Von  Stauffen- 
berg,  William  Regnolds,  Charles  Evans, 
Walter  Kingsford,  John  Hoyt,  Don  de  Leo, 
Richard  Elmore.  John  Vosper,  Dan 
O'Herlihy,  Scott  Forbes,  Victor  Wood. 
Lester  Matthews,  Mary  Carroll,  Paul  Cav- 
anaugh,  Jack  Baston,  Carleton  Young,  Free- 
man Lusk. 

Directed  by  Henry  Hathaway 

|  Like  the  biography  from  which  it  is  adapt- 
Ld,  "The  Desert  Fox"  is  an  interesting,  but 
cold  biography  of  the  life  of  Field  Marshall 
Rommell,  with  a  questionable  appeal  to  mass 
Ludiences.  Although  the  production  and 
[screenplay  by  Nunnally  Johnson  attempts 
Bo  utilize  those  portions  of  the  narrative 
hnost  likely  to  interest  American  filmgoers, 
tan  overemphasis  on  dates  and  places  and 
Ihe  episodic  character  of  the  film  tend-  to 
[detract  from  what  should  be  the  prime 
Factor — to  entertain.  Individual  scenes  pro- 
duce the  effect  of  looking  across  the  fence 


into  enemy  territory  lor  the  first  time.  The 
frankness  of  von  Rundstedt,  Hitler's  deli- 
brate  repudiation  of  Rommell,  the  attempts 
of  important  Germans  to  rid  themselves  of 

Hitler,  the  bravery  of  those  involved  in  the 

bombing  of  <ler  Fuehrer — these  produce  en- 
grossing individual  scenes,  aided  immeasur- 
ably by  the  competent  hand-picked  cast  and 
directed  with  a  Strong  air  of  authenticity  by 
Henry  Hathaway.  However,  the  sum  total 
impression  of  "The  Desert  Fox"  is  thai  of 
an  impersonal  documentary.  The  story  i- 
cold,  passionless.  It  lacks  sympathy  for  the 
principal  character,  necessarily  so.  The 
story's  numerous  time  lapses  arc  bridged 
with  vocal  narrative,  and  the  running  time 
is  tilled  out  with  newsreel  shots  of  memor- 
able points  in  the  progress  of  World  W  ar 
II.  W  ith  James  Mason  as  the  only  marquee 
name,  and  vvord-of-motith  apt  to  be  spotty, 
the  1?.  O.  outlook  is  not  a  very  promising 
one. 

S  |'(  >RY:  The  film  begins  with  the  author's 
meeting  with  Rommell  and  his  investigation 
after  the  war  into  the  life  of  the  German 
military  genius.  From  South  Africa,  Rom- 
mell  returns  to  Germany  for  conferences. 


then  back  to  the  desert  where  he  disobeys 
Hitler's  orders  to  sacrifice  his  army  in  a 
last  ditch  stand.  Instead  Rommdl's  men 
surrender.  Rommell,  back  in  Germany,  is 
injured  in  an  automobile  accident  after 
which  his  name  is  dropped  from  the  public 
|>rints  Disgusted  with  Hitler's  \  ;ivj ari» and 
defeatism,  Rommell  joins  in  schemes  to  rid 
(■crinany  of  the  dictator.  An  eminisarv 
arrives  with  an  indictment  for  treason  — 
Rommell  quickly  agrees  to  stand  trial.  Bat 
he  is  told  that  Hitler  then  will  offer  no  pro- 
tection to  his  wife  and  son.  The  Field 
Marshall  decides  instead  to  accept  the  poisotl 
capsule  conveniently  at  hand. 

lames  Mason  plays  Rommell  with  ^reat 
authority.  Sir  Cedric  Hardwicke  is  tine  as 
a  civilian  leader  in  the  oust  Hitler  move- 
ment. Jessica  Tandy  plays  Frau  Rommell 
with  stark,  effective  simplicity.  Probably  the 
best  reading  of  Hitler  ever  given  on  the 
screen  is  that  of  Luther  Adler  who  visuali- 
zes the  Fuehrer  as  a  madman,  but  still  suf- 
ficiently intelligent  to  be  powerfully  prepos- 
sessing. Leo  G.  Carroll  is  superb  as  the 
witty  von  Rundstedt.  Players  in  the  large 
supporting  cast  are  thoroughly  good. 
HANNA  (Hollywood) 


THE  LADY  FROM  TEXAS'  PLACID  TECHNICOLOR  WESTERN 


Rates  •  •  as  a  dualler 


'Universal-International 
78  minutes 

Howard   Duff,    Mona   Freeman,  Josephine 
Hull,  Gene  Lockhart,  Craig  Stevens,  Jay 
2.  Flippen,  Ed  Begley,  Barbara  Knudson, 
Chris-Pin  Martin. 
Directed  by  Joseph  Pevney 

I  Although  "The  Lady  from  Texas"  sounds 
like,  looks  like  and  plays  like  a  western, 
It  is  much  more  a  gentle  little  family  film, 
jnuch  too  placid  for  the  action  fans.  Filmed 
In  Technicolor  by  producer  Leonard  Gold- 
stein, the  picture  records  the  adventures  of 

(  wandering  buckaroo  and  a  zany,  but  Iov- 

ible  old  lady,  who  resist  the  conspiracy  of 
ureedy   ranch    owners    to    take    over  the 

vidow's  land.  Except  for  a  few  stirring 
moments,  the  script  is  slow,  plodding  and 

ontrived  and  the  characters  only  fleetingly 
Interesting.    Situations   are  repetitious  and 


the  action  never  reaches  the  point  expected 
in  a  film  with  this  one's  trimmings.  With 
its  lightweight  cast  and  general  debility  in 
the  action  department,  only  the  color  and 
title  will  give  this  a  draw  beyond  the  pro- 
gram picture  quality  in  most  locations.  It 
will,  no  doubt,  frankly  disappoint  the  sage- 
brush devotee,  but  may  prove  a  pleasant 
surprise  to  some  who  come  in  expecting  to 
see  the  routine  western.  Its  strong  ending 
is  another  credit  factor  which  may  cause 
audiences  to  feel  that  it's  a  better  picture 
than  is  actually  the  case. 

STORY:  Howard  Duff  is  the  Galahad,  a 
likeable  Joe  on  the  prowl  for  work.  Mona 
Freeman  succeeds  by  a  ruse  in  having  him 
fired  from  her  father's  ranch  in  order  to 
acquaint  Hovvan'  with  the  problem  of 
Josephine  Hull,  a  bird-like  woman  whose 
ranch  has  been  depicted  through  the  years. 
She  speaks  of  her  dead  husband  as  though 


he  were  alive,  pays  her  bills  with  confeder- 
ate money  which  people  accept.  Members 
of  a  nearby  family  are  trying  to  force  Miss 
Hull  to  sell  out  in  order  to  expand  their 
own  interests.  They  try  to  force  a  court 
ruling  of  insanity.  It  doesn't  work,  thanks 
to  the  intercession  of  Duff  and  Miss  Free- 
man, and  Miss  Hull's  moving  reading  of  a 
letter  from  Abraham  Lincoln  about  her  hus- 
band's death  as  a  i  ero  with  the  President's 
admonition  to  keep  her  husband's  memory 
alive. 

Howard  Duff  is  likeable  as  the  ranch 
hand;  Mona  Freeman,  pert  and  charming 
as  the  girl.  Josephine  Hull  is  her  gay, 
bright  self  as  the  little  old  woman  but  the 
part  is  hardly  a  match  for  her  considerable 
talents.  Gene  Lockhart.  Craig  Stevens,  Jay 
C.  Flippen  and  othe  i,'ood  character  players 
round  out  the  supporting  cast.  Joseph 
Tevney's  direction  is  just  fair.  JAMES 


THE  CLOUDED  YELLOW  ABOVE  PAR  BRITISH  MYSTERY 


Rates  •  •  4-  in  art  houses 

Columbia  (Rank) 
'6  minutes 

ean  Simmons,  Trevor  Howard,  Sonia  Dres- 
|lal,  Barry  Jones,  Maxwell  Reed,  Kenneth 
vfore,  Andre  Morell,  Gerard  Heinz,  Lily 
Cann,  Geoffrey  Keen,  Michael  Brennan,  Eric 
Jholmann,  Sandra  Dome,  Gabrielle  Blunt, 
C  C.  Ooi,  Marianne  Stone,  Richard  Wattis, 
vlaire  O'Neill,  Anthony  Oliver, 
directed  by  Ralph  Thomas 

I  "The  Clouded  Yellow"  is  a  better  than 
Iverage  British  mystery  melodra.  While  it 
Is  necessary,  the  J.  Arthur  Rank  production 


for  Columbia  release  holds  interest  and 
should  do  well  along  the  art  circuit.  Other 
locations  can  use  it  satifactorily  to  round 
out  a  bill.  Piece  is  typical  English  mystery 
stuff,  abounding  in  atmosphere,  underplayed 
me'iodramatics,  and  the  effect  of  the  long 
arm  of  coincidence.  Ralph  Thomas'  direc- 
tion holds  a  suspenseful  note  and  does  a 
remarkable  job  of  sustaining  interest  con- 
sidering the  fact  that  the  plot  is  simple  to 
an  extreme. 

STORY:  Discharged  by  the  Secret  Ser- 
vice, TrevOr  Howard  takes  a  job  in  the 
country  cataloguing  butterflies.  Adventure 


comes  his  way  when  a  hired  hand  is  killed 
and  suspicion  is  fastened  on  Jean  Simmons, 
pretty  but  strange  young  niece  of  his  em- 
ployers. They  decide  to  flee  the  country  but 
just  as  they  are  about  to  leave  her  memory 
clears  and  some  untold  facts  about  the  so- 
called  murded  and  suicide  pact  come  to  life. 
It  turns  out  that  a  homicidal  killer  is  at 
large  and  is  tracked  down  in  the  nick  of 
time. 

The  English  actors  do  full  justice  to  the 
story.  Howard  is  splendid  as  the  investi- 
gator and  friend.  Jean  Simmons  is  charm- 
ing as  the  young  girL  TAMES 


OCTOBER   8.  1951 


9 


SILVER  CITY'  WELL-MADE  TECHNICOLOR  WESTERN 

Rates  •  •  •  —  in  action  houses;  good  dualler  generally 


Paramount  (Nat  Holt) 
91  minutes 

Edmond  O'Brien,  Yvonne  DeCarlo,  Barry 
Fitzgerald,  Richard  Aden,  Gladys  George, 
Laura    Elliot,    Edgar    Buchanan,  Michael 
Moore,  John  Dierkes. 
Directed  by  Byron  Haskin 

"Silver  City"  is  an  interestingly  plotted, 
nctionful  and  somewhat  unusual  Techni- 
color sagebrush  drama.  Although  in  the 
final  half  hour  of  its  running  time,  the 
script  degenerates  into  a  crude  mix-up  and 
complicated  chase. 


It's  a  shame,   for  the 
best  efforts  of  producer  Nat  Holt  are  evident 


in  the  excellent  physical  presentation  and 
high  grade  cast.  Byron  Haskin's  direction 
holds  the  drama  in  a  firm  grip  until  the 
latter  sequences,  when  the  script  gets  out 
of  hand.  There  is,  however,  an  excellent 
action  fade-out  set  against  the  rugged  back- 
drop of  a  lumber  mill  and  the  fans  who  go 
for  this  type  of  film  will  be  well  satisfied. 
Returns  will  be  above  average  in  action 
houses  and  generally  satisfactory  in  the 
dualler. 

STORY:  Edmond  O'Brien  is  cast  as  an 
engineer  who  makes  tentative  expedition 
into  a  life  of  crime,  relents  and  makes  resti- 
tution. However,  his  partner  Richard  Arlen 
refuses  to  forgive  the  slip  and  badgers 
O'Brien   up   and   down   the  West  —  get- 


-MISTER  DRAKE'S  DUCK'  FAIRLY  AMUSING  FARCE 

ftates  •  •  generally 


United  Artists 
81  minutes 

Douglas  Fairbanks,  Jr.,  Yolande  Donlan, 
Howard  Marion-Crawford,  Reginald  Beck- 
with,  Wilfred  Hyde-White,  John  Boxer, 
John  Pertwee,  Peter  Butterworth,  Tom 
Gill,  A.  E.  Matthews. 
Directed  by  Val  Guest 

An  amusing  idea  is  only  spottily  effective 
in  "Mister  Drake's  Duck",  a  farce  comedy 
filmed  in  England  by  Douglas  Fairbanks, 
Jr.,  discoursing  on  the  woes  of  a  honey- 
mooning couple  when  their  living  quarters 
are  besieged  by  the  Army,  the  Navy  and 
the  Air  Force  after  one  of  their  duck  lays 
an  atomic  egg.  Doctor  Val  Guest  has  man- 
aged to  hang  quite  a  few  laughs  on  this 
premise,  but  too  many  of  the  attempts  at 
comedy  go  awry  for  satisfaction.  An  im- 
portant handicap  is  the  plethora  of  heavy 
British   accents.    American   audiences  will 


have  to  strain  to  sift  the  dialogue  from  the 
dialect  and  many  will  be  tempted  to  give 
up  after  a  while.  To  its  credit,  however,  the 
film  does  move  at  a  good  clip  and  producer 
Daniel  M.  Angel  has  mounted  it  without 
any  obvious  to  hold  too  tight  a  grip  on  pro- 
duction pursestrings.  It  also  has  exploitation 
possibilities  that,  properly  utilized,  may  lift 
grosses  slightly  above  average. 

Both  principals,  Fairbanks  and  Yolande 
Donlan,  turn  in  creditable  performances. 
The  latter,  a  Hollywood  girl  who  failed  to 
get  a  break  in  this  country  and  went  to 
London  where,  in  the  past  year  or  two,  she 
has  achieved  much  popularity,  plays  the 
femme  lead  in  a  manner  that  suggests  she 
may  be  recalled  to  the  U.  S.  Fairbanks  per- 
forms with  customary  polish  and  zest.  But 
from  there  on,  the  performances  dip  sharply 
as  the  other  character  players  muffle  and 
clip  their  lines  in  an  attempt  to  assume  local 
English  dialects. 

STORY :Doug  Fairbanks  is  persuaded  by 


JOE  PALOOKA  IN  TRIPLE  CROSS1  GOOD  SERIES  ENTRY 


Rates  •  •  +  as  dualler 


Monogram 
60  minutes 

Joe  Kirkwood,  Jr.,  James  Gleason,  Cathy 
Downs,  John  Emery,  Steve  Brodie,  Don 
Harvey,  Rufe  Davie,  Jimmy  Wallington, 
Mary  Young,  Eddie  Gribbon,  Sid  Tomack, 
Dickie  Leroy,  Jimmy  Lloyd,  Cliff  Clark, 
Hank  Worden. 
Directed  by  Reginald  LeBorg 

"Joe  Palooka  In  Triple  Cross"  is  zippy 
action  fare,  neatly  designed  to  please  the 
Palooka  fans  and  do  excellent  duty  in  sup- 
porting position.  The  story  involves  Pa- 
looka in  an  adventure  with  escaped  con- 
victs and  holds  interest  right  down  the  line. 
To  carp  briefly  it  does  seem  that  a  picture 
aimed  primarily  at  juvenile  patronage  could 
do  with  less  brutality  than  is  found  in  the 
several   slugging   scenes.    The   plot  would 

10 


play  just  as  well  without  them.  Hal  E. 
Chester's  production  is  craftsmanlike  in  all 
divisions,  particularly  good  in  spotting  ex- 
cellent players  in  support  of  the  regulars 
in  the  "Palooka"  company.  Reginald 
LeBorg  direction  is  paced  to  draw  the  best 
in  suspense  and  action  values  from  the 
tightly-knit  script. 

STORY:  Joe's  harrowing  adventures 
begin  when  he  and  his  wife,  Cathy  Downs, 
gives  a  ride  to  three  hitchhikers,  one  of 
them,  a  woman.  Eventually  their  identity 
as  crooks  is  revealed  and  the  "woman"  turns 
out  to  be  the  toughest  of  the  trio,  female 
impersionator  quick  with  his  fists  and  gun. 
The  top  boy  of  the  gang,  John  Emery, 
decides  to  hold  Mrs.  Palooka  as  hostage, 
the  ransom  money  to  be  collected  from 
Palooka's  forthcoming  bout.  The  hoodlums 
quarrel  among  themselves,  and  Steve  Brodie 


ting  him  fired  from  every  job.  Finally! 
O'Brien  sets  up  shop  as  an  asseyor.  Yvonne) 
DeCarlo  and  her  father  hit  a  strike  and  try! 
to  urge  him  to  come  in  as  partner  and  runj 
things.  He  refuses  until  he  discovers  than 
he,  too,  is  included  in  the  heavies'  plans! 
to  get  the  mine  away  from  Miss  DeCarloJ 
He  battles  them  through  the  disorderly  com-l 
plications  and,  of  course,  emerges  the  victorjf 
Edmond  O'Brien's  easy  going  heroics  are 
first  rate,  and  Yvonne  DeCarlo  is  well  cast 
as  the  fiery  miss  of  the  old  West.  Barry 
Fitzgerald's  presence  as  a  cunning  heavy 
is  a  novelty.  Richard  Arlen,  Gladys  George 
and  Laura  Elliot  do  well.  Newcomer 
Michael  Moore  is  a  standout  as  Fitzgerald': 
henchman.  ANGEL 


his  wife  Yolande  Donlan  to  honeymoon  or 
his  English  farm.  At  a  local  auction  shi 
accidently  bids  for  five  dozen  ducks,  oni 
of  which  lays  an  egg  containing  uranium 
When  the  Army  hears  of  it,  the  farm  be 
comes  a  prohibited  area.  Then  the  Nav; 
moves  in,  and  finally  the  Air  Force.  Thi 
Cabinet  meets  to  ponder  the  problem.  Then 
are  urgent  deliberations  at  the  Unitec 
Nations.  An  elaborate  plan  of  isolation  i: 
put  into  motion  to  determine  the  atomii 
duck  and,  meanwhile  Fairbanks  and  hi 
bride,  together  with  a  number  of  othe 
people,  are  kept  prisoner  on  the  farm.  Th 
honeymoon  grows  steadily  wilder.  At  loni 
last,  with  the  place  wrecked  beyond  recogni 
tion,  the  offending  duck  is  discovered  an 
the  armed  forces  move  out.  But,  when  the 
have  gone,  and  the  duck  has  been  dissectd 
officialdom  learn  a  mistake  has  been  madi 
the  Army  moves  back  in  and  the  wild  pr 
cess  seems  destined  to  start  all  over  agait 
LEO 


takes  over  the  operation.  He  contrives 
other  twist — forcing  Palooka  to  throw  th 
fight  so  that  he  can  get  big  odds  on  a  be 
Joe  enters  the  ring  while  his  wife  sits  und» 
Brodie's  surveillance.  In  a  desperate  try  I 
square  the  situation,  Joe  hurdles  out  of  tl 
ring,  konks  Brodie,  shows  him  up  as 
crook,  then,  sails  back  into  the  joins  | 
score  a  victory. 

Joe  Kirkwood,  Jr.  plays  the  title  role  wi 
the  easy  style  that  comes  with  long  ass 
ation.  James  Gleason's  wry  humor  is  alwa 
pleasant,  and  Cathy  Downs  is  good  as 
patient  wife  of  the  champ.  John  En 
heavy  is  smooth  indeed;  Brodie  scores 
his  cigar-chewing  female  impeisona 
Don  Harvey,  Rufe  Davis,  Jimmy  Wal 
ton  as  a  sports  caster,  and  Mary  Young 
addequate  in  support.  JAM  I  S 

(More  Reticles  on  Pa, 


FILM  BL'I.I.I-TI 


wm 


8hes  go 

'CAUSE  SHE 
WANTS  TO 
"DIVORCE" 
HER  MOM 
AND  POP  f 


HER  GIRL-FRIEND 

So  confused 
she  wants  a  // 
lawyer  too  - 
for  a  husband! 


Mark 


STEVENS  •  DOW 


with  Frances  DEE  •  Ray  COLLINS  •  Leif  ERICKSON  '  

tar*  b)  HANS  IH  and  SHIRLEY  WHITE  ■  Directed  bj  KURT  KIHMM  •  Produced  by  LEONARD  GOLDSTEIN  ■  A Unrversal  International  Wire 


FROM®°2...  again  hitting  straight  at  the  heart  of  the  J 
60X-0FFiCE...vyith  the  heart-stortj  of  the  tjear !  | 


Short  Subjects 


By    B  A  R  h 


"WHEN  YOU  GO  to  the  movies  over 
here,  you  get  out  of  Korea  for  a  couple  of 
hours."  It's  doubtful  if  Hollywood  ever  re- 
ceived a  more  stirring  tribute  than  this 
statement  by  an  infantryman  fighting  with 
the  United  Nations  forces.  Nor  has  the  im- 
portance of  movies  to  our  fighting  forces 
overseas  been  pointed  up  more  than  in  a 
story  in  the  Pacific  edition  of  Stars  and 
Stripes  which  calls  movies  "one  of  the 
principle  contributing  factors  to  continued 
high  morale"  among  UN  forces  in  Korea. 
Movies,  the  article  says,  "have  played  as 
much  a  key  role  in  building  a  great  fighting 
force  as  have  hot  chow,  letters  from  home, 
top  battle  equipment  and  tobacco  rations." 
It  goes  on  to  say  how  soldiers  have  sat  on 
open  ground  through  drenching  summer 
downpours  to  see  a  movie  to  the  end,  how 
they  crowded  into  seatless,  unheated,  bomb- 
splintered  buildings  last  Winter  in  28-below- 
zero  temperatures  to  view  a  film,  or  walked 
for  miles  for  the  opportunity.  "There  is  no 
such  thing  as  a  'bad  picture'  in  Korea.  They 
are  good  pictures,  terrific  pictures  and  pic- 
tures-you-don't-want-to-miss  .  .  .  Most  of 
them  have  been  the  newest  and  best  turned 
out  by  Hollywood." 

Movie-knockers,  please  copy. 


THOSE  DIE-CUT  accessories,  distribut- 
ed by  National  Screen  Service  in  an  arrange- 
ment with  20th  Century-Fox  whereby  they 
are  sold  below  actual  manufacturer  cost,  are 
catching  on  in  a  big  way  with  exhibitors. 
Starting  with  the  "David  and  Bathsheba" 
counter  cards,  followed  by  "Mr.  Belvedere 
Rings  the  Hell"  lobby  hangers  and  the 
•'People  Will  Talk"  door  hangers,  latest  in 
the  group  seems  to  be  getting  quite  a  play. 
It's  a  counter  card  and  a  striking  mask  for 
"The  Day  the  Earth  Stood  Still",  with  the 
card  sporting  a  chilling  photograph  of  the 
nine-foot  metal  robot  who  deals  death  rays 
from  his  Cyclopean  eye,  and  the  mask, 
modeled  after  the  head  of  the  mechanical 
monster,  making  a  big  hit  with  the  young- 
sters as  a  giveaway  piece. 


THAT--WAS  quite  a  ribbing  Paramount 
ad  manager  Sid  Blumcnstock  took  following 
his  initial  appearance  on,  if  you'll  pardon 
the  expression,  television.  Plugging  the  new 
Crosby  film  for  Paramount,  "Here  Comes 
the  Groom,"  Sid  appeared  on  the  "What's 
Playing"  TV  show,  which  features  film  epi- 
sodes from  new  pictures.  Immediately  after 
the  show,  ABC  received  a  flood  of  wires 
commenting  on  the  appearance.  Some 
sample^ : 

"More  appearances  like  yours  and  motion 
pictures  will  have  nothing  to  fear  from  TV. 
Keep  up  the  good  work." — Paramount  Em- 
ployees Club. 

"Regret  TV  set  functioning  improperly. 
Could  only  see  one  of  your  heads." — Bob 
Kaufman. 

"Regret  TV  set  Functioning  properly,  Saw 
vour  show." — Carl  Clausen, 


PARAMOUNT'S  BLUMENSTOCK 

TV  Star 


"Are  you  available  for  further  TV  appear-; 
ances?  Have  never  seen  such  natural  dis- 
tortion before.  Please  advise." — TV  Service 
and  Repair  Co. 

"Are  you  available  for  modeling?"  — 
Charles  Addams  (New  Yorker  magazine 
artist  specializing  in  ghouls  and  creeps). 

NO.  ONE  BOOSTER  of  movies  in  the 
multi-million  circulation  publication  field, 
Look  Magazine  will  carry  its  powerful 
weight  into  the  "Movietime-'  campaign  with 
a  seven-page  article,  "Who  Says  Hollywood 
Is  Dying?",  in  its  issue  out  Oct.  9th,  which 
will  review  the  best  films  for  1951.  An 
honored  guest  at  the  recent  TOA  conven- 
tion, Woodrow  Wirsig,  executive  editor  of 
Look,  reiterated  his  confidence  in  the  motion 
picture  industry  with  an  inspiring  detailing 
of  Look's  long  months  of  research  for  the 
article — in  direct  contract  to  another  na- 
tional magazine's  recent  attack  on  the  in- 
dustry in  a  garbled  report  that  could  hardly 
be  called  factual.  According  to  Wirsig,  when 
the  editors  of  Look  saw  the  "tremendous 
list  of  exceptionally  fine  films  coming  up", 
they  felt  that  special  arrangements  must  be 
made  to  report  them  properly  to  the  mag's 
18^2  million  readers.  "I  tell  you  frankly," 
said  the  editor,  "that  never  have  I  seen  such 
an  overpowering  number  of  fine  films  come 
out  of  Hollywood."  The  magazine,  from  its 
first  issue  14  years  ago,  has  backed  the 
nioyics  with  a  constructive  coverage  of 
films,  devoting  a  higher  proportion  of  its 
editorial  content  to  movies  and  movie  people 
than  any  other  top  circulation  periodical. 
In  1951,  Look  will  have  devoted  21.2%  of  its 
editorial  pages  to  movies  and  amusements, 
more  than  ever  before  in  its  history.  With 
the  preponderance  of  publications  that  think 
it's  smart  to  knock  movies — and  know  that 
they'll  grab  reader  interest  with  the  subject 
— Look  stands  out  even  more  boldly  as  a 
consistent  champion  of  the  country's  princi- 


pal entertainment  medium — and  the  movi 
industry  is  grateful. 

BOB  SAYTNI  has  acquired  a  pair  c 
Edward  Gross  productions,  both  based  o 
the  King  Features  comic  strip,  "Barne 
Google  and  Snuffy  Smith",  for  re-releas 
by  his  Astor  Pictures  Corp.  They  ai 
"Hillbilly  Blitzkrieg"  and  "Private  Snuff 
Smith",  originally  released  by  Monogran 
starring  Bud  Dunra  l  and  Edgar  Kennedv 
Astor  has  slated  tl  e  pair  for  immediate  na 
tional  release  with  a  new  line  of  ads  an 
accessories. 

OF  MEN  AND  THINGS:  Monograij 
president  Steve  Broidy  has  closed  a  dea 
for  the  company  to  take  over  the  Cincinna^ 
franchise,  heretofore  owned  jointly  by  A\1 
Ray  Johnston   and   George   West.  Miltoi 
Gurian  heads  the  branch  for  Monogram 
The  passing  of  David  Palfreyman,  forme 
head  of  the  MPAA  Theatre  dept.,  was  keen 
ly  felt  by  the  many  theatremen  who  kne\ 
the  personable  industry  executive.  Funeral 
services  were  held  in  his  home  town,  Angola! 
Ind.,  Sept.  26.  .  .  .  Nicholas  J.  Matsuokas 
national    campaign    director   for    the  Wil 
Rogers  Memorial  Hospital  for  the  past  yeaB 
assumes    the    top    ad-publicity    post  fo 
Skouras  Theatres  Corp.  .  .  .  Tom  W.  Bridgd 
former  special  sales  representative  in  Paraj 
mount's  Dallas  exchange,  has  been  promoter 
to  branch  manager  in  that  city,  replacinf 
Heywood  Simmons,  who  resigned  to  go  int(' 
exhibition.  .  .  .  Harold  Rand  is  the  nev'J 
20th-Fox  assistant  trade  paper  contact.  .  . 
Mort  Nathanson,  former  Paramount  publi 
city  manager,  is  now  Eastern  publicity  di 
rector  for  Sam  Spiegel's  Horizon  ProducJ 
tions  and  starts  right  in  on  the  campaigil 
for    "The    African    Queen",    the  BogarM 
Hepburn   starrer   to   be   released  througB 
United  Artists.  .  .  .  Irving  Rubine,  ad  veteraii 
most  recently  associated  with  Robert  Still! 
man  productions,  has  been  named  assistant! 
to  president  of  Dougfair  Productions,  head! 
ed  by  Douglas  Fairbanks,  Jr. 


COMPO,  NOT  SEADLER 

Si  Seadler's  popular  article,  "Speak  1 
Up,  Movie  Folk,   It's  Vour  Industry  I 
They're  Knocking",  is  very  much  in  ( 
demand,    particularly    these    days    of  I 
"Movietime"  campaigning.    It  seems, 
however,  that  theatremen  have  flooded 
the   M-G-M   advertising   chief's  desk 
with  requests  for  reprints  of  the  article 
instead  of  writing  to  COMPO  where 
the    reprints    are    stocked.  Seadlet 
would  like  it  known,   therefore,  that 
the  pamphlets  are  available  in  quantity,  j 
BUT  make  sure  you  address  your  re-  I 
quest    to    COMPO.    1501  Broadway, 
New  York,  and   NO  T  to  the  harried 
Mr.  Seadler,  who  i>  doing  double  duty 
these  days  as  ad  executive  for  both 
Metro  and  the  "Movietime"  campaign. 


12 


FILM  BULLETI 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
Cxdutf*       BULLETIN  Oeatun 


COLUMBIA 

SIX  KRAMER  FILMS  GIVE 
STUDIO  2-YEAR  SHOOTING  TOP 

i     Columbia  is  in  the  midst  of  the  heaviest 
production  splurge  since  the  late  winter  of 
1  194u,  with  nine  pictures  rolling  simultane- 

■  ously.  The  upsurge  is  due  principally  to 
the  Stanley  Kramer  independent  company 

■  which  operates  on  the  lot  and  releases  its 
product  there.  Kramer  has  broken  all  re- 
cords for  an  independent,  by  filming  an 
even  halt-dozen  pictures  at  the  same  time. 

■  Three  of  the  Kramer  productions  are  film- 
m  ing  on  location  in  northern  California,  how- 
fl  ever,  so  that  there  is  no  over-taxing  of 

1-  Columbia's  studio  facilities.    "The  Sniper," 

■  (Adolphe  Menjou- Arthur  Franz),  is  on  lo-j 

■  cation  in  San  Francisco,  with  Edward* 
rmytryk  directing;;  "My  Six  Convicts" 
(Job  i  Beal  -  Millard  Mitchell  -  Marshall 
Th  _  •  ipson-Gilbert  Roland)  is  filming  at  San 
Quertin,  under  Director  Hugo  Frcgonese, 
and  'High  Noon"  (Gary  Cooper),  directed 
by  Fred  Zinnemann.  is  winding  up  outdoor 
sequences  on  the  Monterey  Peninsula. 
Kramer  productions  shooting  at  the  studio 
are.  "Death  Of  A  Salesman."  under  the  di- 
rection of  Laslo  Benedek,  and  "Four 
Poster."  with  Irving  Rcis  directing.  "Sales- 
man." which  went  before  the  camera-  on 
September  10,  is  a  top-budgeter,  starring 
Frederic  March,  Mildred  Dunnock,  Howard 
Smith  and  Cameron  Mitchell — plus  addition- 
al members  of  the  original  Xew  York  cast, 
while  "Fourposter"  comprises  a  very  small 
cast  headed  by  Rex  Harrison  and  Lili 
Palmer. 

Columbia's  own  productions  are  headed  by 
"The  Marrying  Kind"  and  "The  Mother  ". 
The  former,  starring  Judy  Holliday,  rolled 
in  Xew  York  on  September  17,  but  has  just 
moved  onto  the  soundstages  here  in  Holly- 
wood, after  completion  of  the  eastern  back- 
ground shots.  It  is  budgeted  at  well  over  a 
million  dollars,  and  is  being  directed  by 
George  Cukor  for  Producer  P>ert  Granet. 
"The  Mother,"  although  it  is  being  produced 
on  a  somewhat  shorter  budget,  boasts  a 
top  cast  headed  by  Loretta  Young  and  Alex- 
ander Knox,  with  Rudy  Mate  directing  for 
Producer  Ruddy  Adler.  Completing  the  line- 
up is  "Montana  Territory."  a  modest- 
budgeted  sagebrusher  being  filmed  in  Tech- 
nicolor, with  Ray  Nazarro  megging,  and 
Colbert  Clark  producing. 

In  addition,  within  the  past  fortnight, 
Columbia  has  purchased  two  exploitation 
quickies  outright:  Summit  Productions' 
"Storm  Over  Tibet"  (Diana  Douglas)  and 
"Red  Snow"  (Guy  Madison)  produced  by 
American  Film  Corp. 


One  other  production  was  started  and 
completed  during  the  past  four  weeks — 
the  Gene  Autry  starrer,  "Night  Stage  to 
Galveston."  George  Aichcnbaud  directed  for 
Producer  Armand  Schaefer. 

Santana  Productions,  the  Humphrey 
l'ogart-Kobert  Lord  independent  unit,  sus- 
pended production  in  mid-September,  as 
forecast  here  a  few  issues  back.  It  is  ex- 
pected, however,  that  it  will  be  reactivated 
at  a  later  date,  with  some  other  producer 
lining  up  with  Bogart,  although  there  is 
nothing  definite  to  indicate  that  Columbia 
would  continue  to  release  the  unit's  product. 

Harry  Joe  Rrown,  producer  of  the  Ran- 
dolph Scott  starrers  at  Columbia  the  past 
six  years,  has  signed  a  new  three-year  pact 
with  the  studio.  The  next  Scott-Brown  pic- 
ture, "I  Ride  Alone,"  in  Technicolor,  will 
have  its  budget  Upped,  following  Scott's 
recent  survey-rating  as  one  of  the  top  box- 
office  stars. 

LIPPERT  PRODUCTIONS 

BRITISH  PRODUCT,  INDE 
DEALS  FOR  LIPPERT  RELEASE 

Although  no  definite  announcement  has 
yet  been  made  that  Lippert  will  abandon 
production  to  function  only  as  a  distribution 
company,  there  is  every  evidence  that  the 
organization  is  now  in  a  transitory  state 
with  that  end  in  view.  More  and  more  em- 
phasis is  being  placed  on  securing  strong 
Fnglish  product  for  American  release — part 
of  which  will  feature  Lippert  in  a  partner- 
ship production  arrangement — and  in  nab- 
bing onto  exploitation  types  of  features 
from  Hollywood  independents. 

Within  the  past  month,  Paul  Henreid  and 
the  Xassour  Brothers  turned  out  a  medium- 
budgeted  feature,  filmed  at  General  Service 
Studios,  for  Lippert  release.  Titled.  "For 
Men  Only,"  the  film  stars  Henreid,  with  a 
supporting  cast  headed  by  Margaret  Field 
and  Kathleen  Hughes.  Henreid  also  served 
as  producer-director  on  the  picture. 

International  Pictures,  the  new  corpora- 
tion set  up  by  Robert  L.  Lippert  and  James 
Carreras  for  filming  of  a  slate  of  pictures 
in  England,  has  set  a  program  of  six  pic- 
tures— two  of  which  are  already  completed. 
A  third,  "Stolen  Face,"  to  star  Paul  Henreid, 
will  roll  in  London  on  October  25.  The  two 
films  already  completed  are:  "Man  Bait" 
(George  Brent-Marguerite  Chapman)  and 
"Wings  of  Danger"  (Zachary  Scott). 

Lippert  has  also  made  inroads  into  the 
art  house  distribution  field  with  the  signing 
of  contracts  to  release  "Navajo,"  produced 
in  Arizona  by  Hal  Bartlett  and  Norman 
Foster,  with  an  all-Indian  cast.  This  is  one 
of  the  American  films  which  won  an  award 


HOLLYWOOD  EDITORIAL 

FOB   ADULTS  ONLY 

There  would  seem  to  be  a  definite  relation- 
ship between  the  trend  toward  more  adult 
types  of  motion  picture  fare,  and  the  current 
upsurge  at  the  boxoffice.  Movies  such  as 
"Streetcar  Named  Desire."  and  "A  Place 
In  the  Sun'  have  been  making  boxoffice  his- 
tory in  a  majority  of  the  situations  where 
they  have  played.  Yet,  to  a  great  extent,  all 
of  these  pictures  deal  with  subject  matter 
which,  for  a  good  many  year,  was  con- 
sidered too  hot  to  handle  or  boxoffice 
poison,  by  the  individual  producers. 

Still  other  brilliant  examples  of  the 
product  that  is  forthcoming  from  an  in- 
dustry which  seems  to  have  grown  up  are: 
"Detective  Story"  and  "My  Son  John" — 
both  adult  pictures,  and  both  apparently 
destined  to  become  great  boxoffice  bonanzas. 

Yet,  in  view  of  the  public's  enthusiasm 
for  a  more  sophisticated  level  of  screen 
tntertainment.  it  is  encouraging  to  note  that 
Folly  wood  is  not  going  overboard  in  that 
direction,  to  the  exclusion  of  the  family  type 
of  pictures.  As  a  matter  of  fact,  the  pro- 
duction slates  of  most  studios  in  town  show 
an  -xtremely  well-balanced  program  coming 
up. 

The  sudden  breaking  away  from  the  old 
taboos — encouraging  though  it  is — poses 
again  the  necessity  for  some  type  of  classi- 
fication of  motion  pictures  as  to  their  suit- 
ability for  the  various  types  of  audiences. 
Already  there  have  been  outbursts  of  cri- 
ticism from  parent  groups  and  the  omni- 
present blue-nose  censors,  charging  that  pic- 
tures dealing  with  strictly  adult  situations, 
constitute  a  hazard  to  the  morals  of  Ameri- 
can youth.  And,  in  all  fairness,  their  criti- 
cism is  not  entirely  without  foundation. 

So  if  motion  pictures  are  to  appease  that 
segment  of  the  public  which  has  grown  tired 
of  the  simple,  down-to-earth  type  of  fare, 
and,  at  the  same  time  hold  onto  the  less 
sophisticated  audiences,  immediate  action 
must  be  taken  both  by  producer  and  ex- 
hibitor, to  differentiate  between  them. 

JAY  ALLEN 


at  the  recent  Edinburgh  Festival,  and  is 
slated  for  November  release. 

The  only  other  new  product  set  for  dis- 
tribution in  the  last  month  is  "Superman 
and  the  Mole  Men."  an  hour-long  feature 
produced  by  Bernard  Luber  and  Robert 
Maxwell.  It  was  directed  by  Lee  Sholem 
with  George  Reeves  and  Phyllis  Coates 
heading  the  cast.  Like  "Navajo,"  it  is 
scheduled  for  a  November  release. 

METRO-COLDWYN-MAYER 

LEO  ROARS  AS  60  READY 
FOR  TOP  PRODUCTION  SLATE 

The  editors  of  Life  magazine  might  do 
well  to  spend  a  little  time  around  the  front 
offices  of  Metro-Gold\v\  n-Mayer  if  they's 
so  convinced — that  Hollywood's  studios  are 

(Continued  on  Pape  14) 


OCTOBER   8.    19  5  1 


L3 


L  STUDIO  SIZ6-UPS 

( Continued  from  Page  13) 

populated  with  a  lot  of  cringing  producers 
awaiting  sonic  inevitable  doom.  Under  Dore 
Schary's  new  guidance,  the  studio  is  work- 
ing on  the  largest  long-range  production 
program  —  both  from  the  standpoint  of 
number  and  cost  of  pictures — in  the  com- 
pany's history. 

No  less  than  60  pictures  are  in  various 
Stages  of  production  planning,  not  to 
mention  a  near  record  high  of  eight  films 
presently  before  the  cameras.  Moreover, 
tin-  production  planning  encompasses  the 
most  dazzling  array  of  top-bracket  stellar 
talent  that  can  be  garnered  from  both  Holly- 
wood and  Broadway.  In  addition  to  the 
studio's  own  impressive  array  of  actors  and 
actresses,  Schary  has  latched  onto  30  out- 
siders to  spark  the  casts  of  the  new  pro- 
gram. 

Pictures  shooting,  as  of  the  first  of  the 
month,  were:  "Scaramouche,"  budgeted  at 
well  over  $2,000,000,  (Stewart  Granger-Elea- 
nor Parker-Janet  Leigh-Mel  Ferrer),  direct- 
ed by  George  Sidney  and  produced  by  Care\ 
Wilson;  "Skirts  Ahoy,"  another  Techni- 
color musical  extravaganza  (Esther  Wil- 
liam-Joan Evans-Vivian  Rlaine-Barry  Sul- 
livan) directed  by  Sidney  Lanfield  for  Pro- 
ducer Joe  Pasternak;  "Young  Man  In  A 
Hurry,"  a  comedy  with  a  cast  assembled 
largely  from  off  the  lot  (Glenn  Ford-Ruth 
Roman-Denise  Darcel)  with  Mitchell  Leisen, 
on  loan-out  from  Paramount,  doing  the  di- 
recting for  Producers  Reinhardt  and 
Wright;  "The  Merry  Widow"  (Lana  Turner- 
Fernando  Lamas  -  Richard  Haydn  -  Una 
Merkel),  a  Technicolor  musical  produced 
by  Joe  Pasternak  and  directed  by  Curtis 
P.ernhardt;  "Relle  of  New  York"  (Fred 
Astaire-Vera  Ellen)  and  "Singin'  In  the 
Rain"  (Gene  Kelly-Donald  O'Connor)— both 
Technicolor  musicals,  and  both  in  their 
fourteenth  week  of  filming;  "The  Invitation" 
(Dorothy  McGuire-Yan  Johnson),  directed 
by  Gottfreid  Reinhardt  for  Producer  Law- 
rence Weingarten — shooting  since  Septem- 
ber 4;  "The  Hour  Of  Thirteen",  filming  in 
England  since  September  10,  (Peter  Law- 
ford  Dawn  Addams)  with  Harold  French 
megging  for  Producer  Hayes  Goetz;  and 
"Lovely  To  Look  At,"  another  Technicolor 
musical  budgeted  over  the  million  dollar 
mark,  (Kathryn  Grayson-Howard  Kell-Red 
Skelton-Marge  and  Gower  Champion-Ann 
Miller).  The  latter,  which  started  or 
October  1,  is  being  directed  by  Mervyn 
LeRoy,  and  Produced  by  Jack  Cummings. 

Pictures  scheduled  to  start  later  this 
month  include:  "Because  You're  Mine,"  a 
Technicolor  musical,  (Mario  Lanza-James 
Wliitmorc).  with  Al  Hall  directing  for  Pro- 
ducer Joe  Pasternak;  "Doctor  Emily,"  (June 
Vllyson-Artbur  Kennedy)  directed  by  John 
Sturges  and  produced  by  Armand  Deutsch, 
and  "Sometimes  I  I.ovc  You"  (Clark  Gable- 
Avc  Gardner),  Robert  X.  Leonard  directing 
for  Arthur  Hornblow,  Jr. 

The  studio  has  paid  Danny  Kaye  his  full 
salary  of  $200,000  for  "Huckleberry  Finn." 
even  though  the  picture,  which  started  in 

14 


September,  has  been  called  off  until  next 

MONOGRAM— AA 

SHOOTING  QUICKENS  WITH 
FIVE  SLATED  FOR  OCTOBER 

Production  is  due  to  take  an  upward 
swing  here  during  the  next  few  months,  in 
order  to  fulfill  the  company's  1951-52  re- 
lease slate  of  45  pictures.  Indicative  of  the 
shape  of  things  to  come  is  the  October 
production  schedule,  which  calls  for  five  pic- 
tures, at  least  two  of  them  in  the  higher 
budget  category. 

Topping  the  month's  program  is  "Hia- 
watha," due  to  roll  today  (8th),  with 
William  Castle  directing,  and  the  studio's 
production  chief,  Walter  Mirisch,  personally 
supervising  the  project.  As  of  last  week  the 
cast  had  not  been  completed — and  names  of 
those  already  signed  were  being  withheld 
until  every  role  had  been  filled. 

Mirisch  will  also  launch  the  first  of  a  new 
series  of  collegiate  pictures,  this  month. 
First  to  roll  in  the  new  campus  series  will 
be  "Mr.  Ail-American." 

<  )nly  two  new  pictures  have  rolled  since 
the  last  Size-Ups  report.  "Rodeo,"  (Jane 
Nigh-Don  Archer),  a  Cinecolor  feature,  di- 
rected by  William  Beaudine  and  produced 
by  Walter  Mirisch,  has  completed  filming 
and  gone  to  the  editing  department.  The 
new  starters  are:  "Wagons  West,"  (Rod 
Cameron)  a  Cinccolored  sagebrusher,  which 
Producer  Vincent  M.  Fennelly  and  Director 
Ford  Beebe  launched  on  September  28,  and 
"Ghost  Town"  (Johnny  Mack  Brown-Jimmy 
Ellison),  filming  since  October  2,  with  Lewis 
Collins  directing  for  Producer  Fennelly. 

(  >n  ( >ctober  23,  Producer  Jerry  Thomas 
expects  to  start  filming  "College  Crazy,"  a 
new  Bowery  Boys  feature,  and  one  week 
later,  on  October  29,  the  final  starter  for 
October,  "Stage  From  Amarillo,"  will  get 
the  go-sigrial.  Cast  and  producer-director 
assignments  have  not  been  made  on  the 
latter. 

PARAMOUNT 

B'GGEST  INVENTORY  IN 
PARAMOUNT  H3ST0RY  ■  ZUKOR 

"Paramount  is  sitting  atop  the  biggest  in- 
ventory of  films  in  the  company's  history," 
Adolph  Zukor  told  the  Hollywood  trade 
press.  He  pointed  out  that  the  30  films 
slated  for  1951-52  release,  represent  a  total 
investment  of  $50,000,000. 

Mr.  Zukor,  who  was  in  Hollywood  to 
view  the  new  product,  declared  the  quality 
of  the  pictures  was  by  all  odds  the  finest 
he  has  ever  seen  in  his  long  experience  in 
the  industry.  He  was  especially  enthusi- 
astic about  the  new  DcMille  epic.  "Greatest 
Show  On  Earth,"  and  "My  Son  John,"  the 
Helen  Hayes-Robert  Walker-Van  Hcflin 
starrer. 

Four  pictures  are  before  the  cameras  at 
I  he  presenl  time,  all  of  them  in  the  high 


budget  category.  Carrying  the  heaviest  nut 
in  the  group  is  the  Technicolor  ((Shane" 
(Alan  Ladd  -  Jean  Arthur  -  Van  Heflin) 
budgeted  at  $2,400,000  and  produced  and  di 
rected  by  George  Stevens.  The  picture  hasj 
moved  back  on  to  the  home  lot  after  sixj 
weeks  of  location  shooting  in  Wyoming,  and 
will  require  only  about  ten  days  of  shooting! 
on  the  soundstages  before  completion.' 
Others  shooting  are:  "Son  Of  Paleface," 
(Bob  Hope-Jane  Russell)  in  Technicolor 
filming  since  August  13,  Frank  Tashlin  di-j 
recting  for  Producer  Robert  Welch;  "Some-I 
body  Loves  Me"  the  Perlberg-Seaton  Tech-j 
nieolor  musical  (Betty  Hutton  -  Ralph 
Meeker),  which  Director  Irving  BrecheJ 
launched  on  August  27,  and  the  Hal  Willia 
production  of  "Sailor  Beware,"  a  newt 
Martin  and  Lewis  comedy,  being  directecl 
by  Hal  Walker.  The  latter  went  before  th<l 
cameras  on  September  5. 

Two  more  pictures  start  today  (8th)  1 
bringing  the  total  in  production  to  sixl 
Today's  entries  are:  "This  Is  Dynamite,'! 
William  Holden's  first  starring  vehicle  since! 
signing  a  new  14-year  pact  with  the  studiol 
directed  by  William  Dieterle  and  produceJ 
by  Irving  Asher,  with  Edmond  O'Brien  an<| 
Alexis  Smith  rounding  out  the  starring  castl 
and  "Los  Alamos,"  co-starring  Michael 
Moore  and  Nancy  Gates,  from  Paramount'! 
Golden  Circle  of  players.  Jerry  Hopper  di 
rects  "Los  Alamos"  for  Producer  Josep 
Sistrom. 

Coming  up  later  this  month  are:  the  Ha 
Wallis  production  of  "Little  Sheba,"  fo 
which  Bette  Davis  is  being  considered,  an 
"Famous,"  starring  Bing  Croby,  Jan 
Wyman  and  Ethel  Barrymore.  The  lattei 
to  be  filmed  in  Technicolor,  will  be  pre 
duced  by  Pat  Duggan  and  directed  b 
Elliot  Nugent. 


REPUBLIC 

YATES  DENIES  DEPARTURE 
SETS  HEAVY  FALL  SHOOTING 

Wall  Street  rumors  that  Louis  B.  May 
might  purchase  controlling  stock  in  R 
public — as  reported  here  last  month — ha> 
been  losing  ground  steadily  in  Hollywoo 
as  Herbert  Yates,  company  prexy,  flatly  aij 
consistently  denied  that  he  had  any  intentid 
of  surrendering  control  of  his  compan| 
Moreover,  Yates  has  launched  a  heav 
production  schedule  with  16  pictures  set  I 
roll  in  the  period  between  September  1  aif 
the  end  of  the  year.  From  the  initial  a 
pearance  of  the  forthcoming  produc 
seems  adequate  in  quantity,  but  questional: 
in  quality,  with  only  one  "Hoodlum  En 
pire,"  showing  sporting  star  or  producti 
values. 

The  heavy  slate  has  been  broken  down 
such  a  manner  that  four  to  five  pictures 
start  each  month.  In  September,  four  n 
pictures  got  underway  —  of  which  one 
already  completed.  That  one  is  "Captiv 
Billy  the  Kid,"  an  Alan  "Rocky"  Lai 
starrer,  produced  and  directed  by  Hatj 
Keller.  The  three  carry-overs  from  Septe 


(Continued  on  Page 
FILM  BULLET^ 


I  STUDIO  SIZ€-UPS 

rConf/nuerf  from  Page  14) 

ber  which  are  still  before  the  cameras  are: 
['Hoodlum  Empire,"  produced  and  directed 
By  Joseph  Kane,  and  starring  Brian  Don- 
Bevy,  Claire  Trevor,  Vera  Ralston,  Forrest 
[Tucker  and  Luther  Adler;  "The  Last  Muske- 
teer" (Rex  Allen-Mary  Ellen  Kay),  and 
['Girl  From  Panama"  (Estelita  -  Robert 
("lark).  "Hoodlum  Empire,"  one  of  the  com- 
pany's highest  budgeted  productions  of  the 
,year.  has  been  shooting  since  September  20 
jam!  will  continue  through  most  of  October. 
['Last  Musketeer,"  which  started  the  same 
flay,  is  being  filmed  on  a  considerably 
[shorter  schedule,  with  William  Witney  di- 
recting for  Producer  Edward  J.  White. 
['Girl  From  Panama,"  started  September  28, 
[with  Sidney  Picker  and  R.  G.  Springsteen, 
kharing  producer-director  chores,  respective- 

I  In  addition  to  the  above  group,  shooting 
Ion  the  home  lot,  Director  Phil  Ford  and 
[Producer  Herman  Millakowsky  have  been 
Imping  "Bal  Tabarin"  in  Paris  since  Sep- 
tember 18.  with  a  cast  headed  by  Muriel 
[Lawrence  and  William  Chaing. 

RKO 

ELEVEN  IN  OCTOBER  WORK 
AS  RKO  HITS  PEAK  ACTIVITY 

I  RKO  is  hitting  its  peak  production  for 
the  year,  with  five  pictures  shooting  and 
■six  more  scheduled  to  start  later  this  month. 
I  The  October  starters  are:  "Clash  By 
Wight,"  a  Wald-Krasna  production;  "Tarzan 
Ithe  Hunted,"  a  new  entry  in  the  Sol  Lesser 
series  starring  Lex  Barker;  an  American 
(Pictures  production,  "Sword  of  Venus,"  pro- 
duced by  Jack  Pollexfen  and  Audrey  Wis- 
perg;  and  three  from  RKO's  own  produc- 
tion company,  "Sudden  Fear,"  "The  Cook 
IStory"  and  a  Tim  Holt  western. 
I  "Clash,"  which  will  star  Barbara  Stan- 
Iwyck,  Paul  Douglas,  Marilyn  Monroe  and 
[Robert  Ryan,  is  set  to  roll  on  October  28. 
under  the  direction  of  Fritz  Lang,  with 
Harriet  Parsons  producing.  It  carries  the 
highest  budget  of  all  the  October  starters, 
reputedly  in  the  neighborhood  of  a  million 
llollars.  Casts  and  producer-director  chores 
lave  not  been  announced  on  the  remaining 
productions. 

I  Those  currently  before  the  cameras  are: 
■Winchester's  "The  Big  Sky"  (Kirk  Douglas- 
iDewey  Martin),  with  Howard  Hawks  doubl- 
ing on  the  producer-director  chores;  "The 
■Corean  Story,"  filming  on  location  in  Colo- 
rado (Claudette  Colbert-Robert  Mitchum), 
|Tay  Garnett  directing  for  Producer  Edmund 
|3rainger;  and  the  two-million-dollar  "An- 
il lrocles  and  the  Lion,"  (Alan  Young-Jean 
■Simmons-Victor  Mature-Robert  Newton- 
IMaurice  Evans),  produced  by  Gamriel 
Pascal  and  directed  by  Lewis  J.  Rachmil. 
I  In  addition  to  current  production,  RKO 
lias  picked  up  a  trio  of  outside  pictures  for 
release.     Fidelity    Picture's  "Chuckaluck," 

loCTOBER    8,  1951 


starring  Marlenc  Dietrich,  Arthur  Kenned) 
and  Mel  Eerrer,  was  snatched  from  20th 
Century-Fox,  reportedly  on  the  strength  of 
a  $700,000  advance  put  up  by  Howard 
Hughes;  an  exploitation  feature,  "Jungle  of 
Chang,"  starring  a  pair  of  Oriental  itarS, 
was  purchased  outright  as  an  art  house  re- 
lease, to  be  doubled  with  "Jungle  Head- 
hunters"  and  "Tinbo,"  the  African  hunt  pic- 
ture shot  in  Ansco  Color  by  archer  Howard 
Hill,  was  contracted  for  as  an  additional 
special  release  feature. 

Surprise  of  the  month,  was  the  announce- 
ment that  "It's  Only  Money))  (Jane  Russell 
-Erank  Sinatra-Groucho  Marx  which  has 
been  gathering  dust  on  the  shelves  since 
December  1948,  is  finally  going  to  be  re- 
leased in  November.  No  reason  has  ever 
been  given  for  the  long  delay  in  distributing 
the  picture. 

Samuel  Goldywn,  one  of  RKO's  biggest 
independents,  will  get  his  "Hans  Christian 
Andersen"  feature  rolling  in  November.  But, 
in  the  meantime,  he  is  holding  conferences 
on  the  advertising  budget  for  "I  Want  You" 
( Farley  Granger  -  Dana  Andrews  -  Peggy 
Dow),  completed  a  little  more  than  a  month 
ago.  Goldwyn  considers  the  picture  his  best 
since  "Best  Years  Of  Our  Lives,"  and  is 
planning  his  biggest  advertising  and  ex- 
ploitation splurge  to  ballyhoo  its  release. 

20th  CENTURY-FOX 

MANKIEWICZ  LEAVES  FOX 
AS  PACT  TALKS  FALL  THRU 

The  most  startling  news  of  the  month  at 
this  studio  was  the  announcement  that 
Joseph  Mankiewicz  and  20th-Fox  have 
parted  company,  by  mutual  agreement.  The 
writer-director,  whose  "Letter  to  Three 
Wives,"  "All  About  Eve"  and  other  big- 
grossers  were  a  bulwark  in  the  20th  pro- 
grams, had  been  negotiating  a  new  pact  with 
the  studio  calling  for  one  picture  per  year 
for  seven  years.  After  what  seemed  like  a 
sure  thing  for  the  agreement  to  go  through, 
talks  were  halted  and  Mankiewicz  bowed 
out,  telling  Darryl  Zanuck  that  he  wouldn't 
want  to  tie  himself  up  for  so  long  a  period. 
The  ace  movie-maker  has  long  wanted  to 
get  to  Broadway  for  stage  work  and  lost 
no  time  in  scurrying  off  to  the  East  as  soon 
as  he  completed  the  final  scene  for  "Five 
Fingers."  He  will  free-lance  in  movie  work 
in  the  future. 

After  coasting  along  at  low  ebb  during 
September,  after  passing  the  one-third  mark 
for  its  1952  program,  20th  Century-Fox 
begins  to  pick  up  steam  this  month,  with 
four  new  pictures  starting  among  the  16 
to  be  completed  by  year's  end.  Since  no 
new  films  went  before  the  cameras  durim: 
September,  only  two  carry-overs  from 
August  are  now  shooting. 

"Wait  Till  the  Sun  Shines.  Nellie,"  (Jean 
Peters-David  Wayne)  a  Technicolor  musical 
which  has  been  filming  since  August  16, 
with  George  Jessel  producing  and  Henry 
King  directing,  is  slated  to  wind  some  time 
next  week.  "Return  of  the  Texan"  (Dale 
Robertson-Richard    Boone),   which  started 


August  23,  will  be  completed  a  week  later, 
according  t<.  the  plans  of  Producer  Frank  P. 
Kosi-nberi:  and  Director  Delmar  Daves. 

Three  of  the  October  starters  j;ct  away 
today — two  of  them  in  Technicolor.  "Way 
of  a  Goucho,"  (Gene  Tierncy-Rory  Calhoun) 
one  of  the  tinters,  will  be  filmed  on  location 
in  South  America,  with  Jacque  Tourneur 
directing  for  Producer  Philip  Dunne.  George 
Jessel   i-   producing   "I    Don't   Care  Girl." 

(David  Wayne-Mitzi  Gaynor)   the  other 

Technicolor  feature,  with  Lloyd  Bacon  di- 
recting. "Diplomatic  Courier"  (Tyrone 
Power-Patricia  Neal),  the  third  to  net  away 
today,  will  be  directed  by  Henry  Hathaway 
for  Producer  Casey  Robinson. 

Starting  later  this  month  will  be  "The 
Girl  Next  Door,"  Technicolor  musical  star- 
ring Dan  Dailey  and  June  Haver,  with 
Richard  Sale  directing  for  Producer  Robert 
I  !a-»ler. 

Three  top-budgeted  features  were  com- 
pleted in  late  September,  including:  "Five 
Fingers"  (James  Mason-Michael  Rennie) — 
Otto  Lang  producing,  Joseph  L.  Mancki- 
cwicz  directing;  "Bells  On  Their  Toes" 
(Jeanne  Crain-Myrna  Loy)  —  Samuel  G. 
Ennel  producer,  Henry  Levin  director;  and 
"Phone  Call  From  A  Stranger  (Bette  DaVlS- 
Gary  Merrill-Shelley  Winters)  —  Nunnally 
Johnson  producer,  Jean  Negulesco  director. 

UNITED  ARTISTS 

UA  PACTS  INDE  PRODUCER 
FULLER  FOR  NEWSPAPER  FILM 

Producer  Samuel  Fuller  is  the  newest  in- 
dependent producer  to  come  into  the  United 
Artists  releasing  fold — contracts  having  been 
signed  earlier  this  month  for  UA  to  handle 
distribution  on  "Park  Row,"  a  newspaper 
story  which  will  be  Fuller's  first  inde  pro- 
duction under  his  own  banner. 

Fuller  already  has  set  Gene  Evans,  his 
discovery  for  "The  Steel  Helmet,"  as  the 
star  of  the  picture — most  of  which  will 
draw  on  Fuller's  own  experience  as  an  old 
newshawk,  and  one-time  copy  boy  for 
Arthur  Rrisbane.  He  expects  to  get  the  pic- 
ture rolling  in  November  and,  according  to 
present  plans,  UA  will  schedule  it  for  re- 
lease early  in  1952. 

The  first  re-issue  UA  has  sent  out  in  a 
good  many  months  will  be  "Red  River," 
which  already  has  piled  up  a  world  uross 
of  over  S6.000.000.  Edward  Small,  who  pro- 
duced the  popular  Montgomery  Clift  -  John 
Wayne  starrer,  says  he  has  agreed  to  a  -re- 
release  in  March  of  1952.  The  total  cost  of 
the  picture  was  $2,800,000. 

The  only  independent  picture  shooting  at 
this  time  which  is  definitely  tabbed  for 
United  Artists  release  is  "High  Noon," 
Stanley  Kramer's  final  commitment  with  the 
company.  Shooting  started  on  September  5, 
with  Fred  Zinneman  directing  a  top-notch 
cast  headed  by  Gary  Cooper,  Thomas 
Mitchell  and  Lloyd  Bridges.  The  produc- 
tion carries  a  nut  of  approximately  a 
million  dollars,  and  is  scheduled  to  be  com- 

f  Continued  on  Page  16) 

15 


STUDIO  SIZ6-UPS  i 

( Continued  from  Page  15) 

pleted  in  38  days  from  the  start  of  shooting. 

"Duct,"  (Edward  G.  Robinson-Marsha 
Hunt)  a  Sid  Kullcr  production  in  two  parts, 
directed  by  Ben  Hecht,  was  completed  in 
late  September,  on  a  budget  reputed  to  run 
around  $700,000. 

UNIVERSAL-INTERNATIONAL 

U-I  SET  36  FOR  NEW 
SEASON,  18  IN  TECHNICOLOR 

A  total  of  36  major  features,  18  of  them 
in  Technicolor,  have  been  slated  for  pro- 
duction by  U-I  in  the  fiscal  year,  starting 
this  month.  This  represents  an  increase  of 
two  productions  over  the  1950-51  season 
just  closed. 

It  was  learned  on  reliable  authority  that 
the  new  slate  will  also  be  hypoed  by  in- 
creased budgets,  both  on  the  production  and 
advertising  ends.  As  a  matter  of  fact,  the 
total  budget  will  exceed  by  several  millions 
of  dollars  the  largest  outlay  ever  previously 
invested  in  a  year's  production. 

The  studio's  own  contract  list  will  be 
supplemented  to  a  very  great  extent  by 
name  talent  from  other  studios  and  from  the 
ranks  of  the  freelancers  in  carrying  out  the 
slate.  Among  these  are  such  top  players  as 
Gregory  Peck,  Irene  Dunne,  Jimmy  Stewart, 
Errol  Flynn,  Ann  Sheridan,  Dan  Dailey, 
Frank  Sinatra,  Linda  Darnell,  Van  Heflin, 
Charles  Laughton,  William  Powell  and 
Maureen  O'Hara. 

At  the  same  time  that  the  new  slate  was 
announced,  U-I  toppers  revealed  that  the 
company  has  one  of  its  largest  and  most 
imposing  backlogs  in  studio  history  - —  19 
films  completed,  awaiting  release  or  in 
various  stages  of  editing. 

Three  pictures  are  currently  in  front  of 
the  cameras,  topped  by  "The  World  In  His 
Arms,"  which  boasts  a  budget  of  approxi- 
mately $1,500,(XX) — one  of  the  largest  from 
U-I  in  recent  years.  Topping  the  cast  of 
the  Rex  Beach  story  are  Gregory  Peck,  Ann 


"Reunion  In  Reno"  is  a  slight  but  enter- 
taining family  comedy  that  will  Ret  by 
nencrally  and  should  be  a  good  entry  on 
■eighborhood  dual  bills.  Story  has  its  cute 
moments,  and  some  lively  inventiveness  in 
the  situations  and  dialogue;  The  expert 
trooping  of  the  players  imbue  it  with  an 
air  of  credibility  it  would  not  possess  other- 
wise. Under  the  direction  of  Kurt  Neumann 
the   little    fable   is   played   briskly   and  the. 

16 


Blyth  and  Anthony  Quinn.  Raoul  Walshi 
directs  the  Technicolor  production  for  Pro- 
ducer Aaron  Rosenberg.  "Steel  Town,"  also 
Technicolor,  stars  Ann  Sheridan,  John  Lund 
and  Howard  Duff.  Director  George  Sher- 
man and  Producer  Leonard  Goldstein  teed 
off  the  production  on  a  34  day  shooting 
schedule,  on  September  26.  The  other 
feature  shooting  is  "Francis  Covers  the  Big 
Town,"  a  Donald  O'Connor-Nancy  Guild 
starrer,  directed  by  Arthur  Lubin  and  pro- 
duced by  Leonard  Goldstein. 

Starting  this  week  are:  "Oh  Money, 
Money,"  a  Technicolor  musical,  (Charles 
Colmrn-Piper  Laurie),  with  Douglas  Sirk 
directing  for  Ted  Richmond:  and  "Hear 
No  Evil,"  story  of  a  deaf  and  dumb  prize- 
fighter, (Tony  Curtis-Jan  Sterling-Mona 
Freeman).  Joseph  Pevney  directs  for  Pro- 
ducer Leonard  Goldstein. 

Final  starter  for  October  will  be  "Ma  and 
Pa  Kettle  Go  To  Paris,"  set  to  roll  on 
October  22,  witli  Marjorie  Main  and  Percy 
Kilbride  in  their  accustomed  starring  roles. 
Charles  Lamont  will  direct  and  Leonard 
Goldstein  produce. 

Completed  within  the  past  month  were: 
"Bend  of  the  River"  (James  Stewart-Arthur 
Kennedy);  "Son  of  Ali  Baba"  (Piper  Laurie- 
Tony  Curtis),  and  "Bronco  Buster"  (John 
Lund-Joyce  Holden). 

WARNER  BROTHERS 

STUDIO  SETS  PRODUCTION 
PACE  WITH  8  GOING,  14  SET 

The  Burbank  lot  is  leading  all  others  in 
Hollywood  this  month  in  the  number  of  pic- 
tures in  production — and  there  is  evidence 
that  they  will  hold  this  lead  for  most  of  the 
remainder  of  the  year.  During  the  first  week 
of  October,  the  company  had  eight  pro- 
ductions before  the  cameras,  and  fourteen 
more  in  the  final  scripting  stages. 

There  appears  to  be  a  slight  slackening 
off  in  the  trend  toward  re-makes  of  old 
pictures,  which  has  played  such  an  im- 
portant part  in  the  Warner  production  pro- 
gram in  recent  weeks — with  more  emphasis 
now  being  placed  on  original  scripts.  As  a 
result,  it  logically  follows  that  budgets  are 


STORY:  Little  Gigi  Perreau  makes  her 
way  to  Reno  and  into  the  law  offices  of 
Mark  Stevens  where  she  announces  her 
determination  to  obtain  a  divorce  from  her 
parents.  She  pays  a  fee  of  some  three 
dollars;  Stevens  agrees  to  accept  the  case. 
However,  Gigi  insists  on  secrecy  and  refuses 
to  divulge  the  name  of  her  home  town.  The 
best  efforts  of  Stevens  and  his  girl  friend, 
I'eggy  Dow,  are  of  no  avail  in  identifying 


increasing  slightly — inasmuch  as  there  is  mil 
letdown  in  the  calibre  of  cast  and  production! 
which  the  company  has  attempted  to  main! 
tain. 

The   line-up   of   pictures   now  shootingM 

"Where's  Charlie?"  (Ray  Bolger)  TechniH 
color  comedy  at  work  in  England  since  JuljB 
10,  with  David  Butler  directing;  "Thl 
Crimson  Pirate"  (Burt  Lancaster)  also  ii 
Technicolor  and  on  location  in  Europe,  dil 
rected  by  Robert  Siodmak;  "About  Face 
(Gordon  MacRae-Eddie  Bracken)  filminJ 
here  since  August  8,  and  also  in  Technii 
color — Roy  Del  Ruth  directing  and  Willianj 
Jacons  producing;  "The  Lion  and  th 
Horse,"  (Steve  Cochran)  launched  by  Pro 
ducer  Bryan  Foy  and  Director  Louis  KinJ 
on  August  20;  "Room  For  One  More,"  (Car 
Grant-Betsy  Drake),  in  work  since  Augusj 
16,  with  Norman  Taurog  directing  for  Pro( 
ducer  Henry  Blanke;  "She's  Working  He! 
Way  Through  College,"  (Virginia  Maya 
Ronald  Reagan-Genel  Nelson),  Technicolo 
musical  which  started  September  24 — Bruc 
Humberstone  directing,  William  Jacobs  pro 
ducing;  "Retreat  Hell!",  (Frank  Lovejoy 
Richard  Carlson),  war  drama  which  Di 
rector  Joseph  Lewis  and  Producer  Miltoj 
Sperling  put  before  the  camedas  on  Sep! 
tember  24,  and  "This  Woman  Is  Dangerous 
'Joan  Crawford  -  Dennis  Morgan  -  Davi 
Brian),  launched  on  October  4  by  Directo 
Felix  Peist  and  Producer  Robert  Sisk. 

Coming  up  later  this  month  are:  "Th 
Big  League,"  to  be  produced  by  Bryan  Fo\ 
with  director  starting  date  and  cast  to  b 
announced  later;  "Maru  Maru,"  new  Errc 
Flynn  starrer,  rolling  on  October  15,  Gordo 
Douglas  directing  for  Producer  David  Deis 
bait;  "Will  Rogers  Story,"  big-budgete 
Technicolor  filmbiog,  rolling  October  2( 
Michael  Curtis  directing  for  Produce 
Robert  Arthur;  "Springfield  Rifle,"  also  s< 
to  start  on  the  26th,  with  Producer  Lo 
Edelman  the  only  topper  set;  "Fov^ 
Chaplains,"  to  go  on  October  28,  Gordoj 
Douglas  directing  for  Producer  Lewis  1 
Edelman,  and  "Darby's  Rangers,"  startin 
the  last  day  of  the  month— Gordon  Dough 
again  set  to  direct,  with  Rudi  Fehr  pr< 
ducing.  Except  for  the  Errol  Flynn  pictur 
casts  had  not  been  announced  for  any  ( 
the  above-named. 


the  child.  Finally,  by  rifling  her  luggaf 
they  learn  she  comes  from  California,  is  tl 
daughter  of  Frances  Dee  and  Leif  Erickso 
The  parents  hasten  to  Reno  but  the  reunW  L 
doesn't  pack  away  the  problems.  No  oi 
knows  yet  why  Gigi  wants  the  "divorce  I 
The  adults  conspire  in  staging  a  phoni 
legal  pantomime  in  which  the  truth  com 
out— unselfish  Gigi  desires  freedom  so  tl 
family  will  have  enough  money  to  pay  f 
the  new  baby. 

Mark  Stevens  in  likeable  as  the  barrist< 
and  Peggy  How  brings  charm  to  her  p 
of  the  sweetheart.  Gigi  Perreau  again  shoy 
-he  is  a  talented  and  unaffected  moppi 
Frances  Dee  and  Leif  Erickson  are  fine 
the  parents.  Fay  Baker,  as  Stevens'  flip  St  y 
retary,  si.-als  plenty  of  scenes.  JAMES 

FILM    B  U  L  L  E  T  I  ' 


REUNION  IN  RENO'  CUTE  FAMILY  COMEDY 

Rates  i  ♦  +  as  a  dualler  . 


Universal-International 
79  minutes 

Mark  Stevens,  Peggy  Dow,  Gigi  Perreau, 
Frances  Dee,  Ray  Collins,  Leif  Erickson, 
Fay  Baker,  Myrna  Dell,  Dick  Wessel. 
Directed  by  Kurt  Neumann 


comedy  values  emphasized  to  the  exclusion 
of  any  maudlin  notes  that  might  enter.  The 
ending  is  phoney  and  contrived,  but  because 
it  gives  moppet  Gigi  Perreau  an  opportunity 
to  indulge  in  Margaret  O'Brien-style  his- 
trionics, parents  and  oldsters  will  probably 
revel  in  it. 


MOVIETIME'  STARS  FLOOD 
IATION  AS  CAMPAIGN  SURGES 

Stars  fell  on  Alabama — and  everywhere 
I  in  the  United  States  as  Act  Three  of 
It's  Movietime,  U.  S.  A."  opened  today. 
ionie  2(K)  actors  and  actresses,  loved,  hated, 
llmired  by  millions  of  moviegoers,  plus  33 
Inters,  16  directors  and  14  producers,  in 

idated  the  capitals  of  each  of  the  48  slates 
b  mark  the  next  phase  of  the  huge  box- 
i.fice  drive. 

lit  was  the  greatest  outpouring  of  Holly- 
flood  personalities  for  personal  appearances 
I  history.  For  one  full  week  the  1°4  luini- 
liries  are  due  to  be  feted  by  state  and  civic 
jaders,  interviewed  by  press  and  radio,  and 
Lied  by  millions  of  John  and  Jane  Does 
I  they  covered  assigned  areas  in  each  of 
|>e  country's  exchange  centers. 
I  Hollywood's  inclusion  of  writers,  directors 
lid  producers  was  in  line  with  the  original 
Ian  to  have  the  industry  represented  in  as 
■any  phases  as  possible, 
ft  Typical  of  the  type  of  welcome  being 
liven  the  visiting  stars  was  the  Detroit  area's 
[overnor's  luncheon  for  the  guests  of  honor 
R-  Walter  Pidgeon,  Sally  Forrest,  Gale 
I  orm,  writer  Valentine  Davies,  director 
lewis  Allen  and  producer  Sam  Zimbalist — 
the  Lansing  Country  Club,  following  a 
■cktail  party  by  the  Lansing  State  Journal, 
lit  the  evening,  a  giant  "Golden  Jubliee 
llanquct"  was  thrown  at  the  Book  Cadillac 
llotel  in  Detroit  with  every  seat  in  the  huge 
lllroom  booked  a  week  in  advance  by 
Bichigan  exhibitors,  distributors,  newspaper 
■itors  and  publishers,   state  and  city  of- 

II Allocation  of  the  stars  in  the  original  list 
Htblished  for  each  territory  brought  the 
Ijpected  gripes  and  frantic  attempts  at  fill- 
4  g  in  with  top  name  stars  in  the  complain- 
■g  areas.  Danny  Kaye  was  added  to  the 
ticago  territory  and  others  were  promised 
|  different  cities  that  beefed  about  the  grade 

■  talent  assigned  them. 

Meanwhile,  support  for  the  industry  cam- 
'  ign  was  pouring  in  from  other  quarters. 

■  he  Hearst  newspaper  chain,  never  ones 
,  stint   on   entertainment   coverage,  were 

I  >ing  all-out  in  news  and  editorial  coverage 
"Movietime."    The   New  York  Sunday 
ws  will  devote  its  entire  Coloroto  Maga- 
ve  section  to  the  season's  new  pictures 
•xt   month.     Nationwide    promotion  and 
1  blicity  tieups   with   national  Community 
Ijiests  organizations  and  TWA  airlines  have 
Wen  set  up.   Look  Magazine  devotes  seven 
ges   to  the  new  pictures   in   an  article, 
mho  Says  Hollywood  Is  Dying?",  and  so 
H  down  the  line. 

■K  special  luncheon  by  the  Organization 
'  the  Motion  Picture  Industry  of  the  City 
'i  Greater  New  York,  set  for  tomorrow 
||  h)  was  expected  to  recruit  a  thousand  or 
•|>re  extra-industry  leaders  in  labor,  civic 
Pkanizations,  government,  etc.  for  support 
'■the  drive.  The  New  York  "Movietime" 
lr  un't  will  be  on  hand  for  the  occasion. 

BCTOBER    8.  1951 


BULLETIN 


().  ioi:ii(  K.  195 


News 

unit 
Opinion 


SKOURAS  &  WOLFSON 

New  TOA  Toppers 

TOA  NAMES  TOP  COMMITTEE 
FOR  "GRASS  ROOTS"  GRIPES 

Plans  for  a  series  of  "grass  root"  advisory 
meetings  to  take  care  of  regional  complaints 
and  a  practical  system  of  exhibitor-distri- 
butor arbitration  were  immediate  outcrop- 
pings  of  the  Theatre  Owners  of  America 
convention,  as  newly-elected  president 
Mitchell  Wolfson  started  the  Herculean  task 
of  trying  to  solve  the  myriad  problems  raised 
during  the  meetings. 

Wolfson  announced,  at  the  convention's 
closing  banquet,  his  intentions  of  setting  up 
a  council  which  will  make  bi-monthly  visits 
during  the  course  of  a  year  to  six  major 
cities  for  the  purpose  of  discussing  the  in- 
dividual difficulties  of  the  smaller  indepen- 
dents in  each  territory.  The  proposed  council 
will  be  composed  of  Wolfson,  TOA  execu- 
tive director  Gael  Sullivan,  board  chairman 
Charles  Skouras,  general  counsel  Herman 
Levy  and  leading  TOA  members  from  each 
district. 

The  quest  for  a  workable  means  of  bring- 
ing about  industry  arbitration  and  thereby 
eliminating  the  needless  expense  of  litigation 
between  exhibitors  and  the  distributors  will 


Iklmii  with  an  attempt  to  secure  cooperation 
from  National  Allied  at  its  forthcoming  con- 
vention.  In  the  event  thai  the  two  organiza- 
tions fail  to  agree,  it  was  said,  TOA  will  try 
to  affect  arbitration  on  a  regional  basis, 
hoping  that  it  will  be  adopted  nationally  if 

proven  successful  in  a  single  area. 

It  was  also  announced  that,  because  of  the 
many  complaints  that  the  problems  of  the 
"little  fellows"  were  being  brushed  over 
lightly,  the  idea  of  setting  up  a  "complaint 
department"  in  New  York  was  being  con- 
sidered b)  T<  >  A  toppers. 

In  his  television  committee  report  to  the 
convention,  Wolfson  Urged  exhibitors  to 
recognize  the  value  of  the  medium,  voicing 
his  belief  that  the  movies  and  TV  can 
"survive  and  prosper  together."  He  stated 
that  instead  of  lighting  it,  exhibitors  should 
join  television  through  telecasting  or  theatre 
TV. 

Other  committee  reports  embodied:  a 
resolution  that  distributors  refrain  from  sell- 
ing films  for  use  on  television;  a  more  equit- 
able basis  for  determining  film  rentals;  an 
increase  in  the  number  of  color  prints,  and 
control  of  competitive  bidding  for  films. 

Distribution  heads  of  six  major  companies 
had  their  say  at  the  trade  practices  com- 
mittee meeting,  which  discussed  the  clear- 
ance and  prints  problem.  The  sales  heads 
lay  the  blame  for  print  shortages  at  the 
doorstep  of  the  theatre  owners,  claiming  the 
anti-trust  laws  prevented  the  distributors 
from  refusing  clearance  if  any  exhibitor  is 
w  illing  to  pay  the  rental,  thereby  expanding 
the  number  of  theatres  playing  a  picture 
day  and  date  and  increasing  the  print 
shortage.  The  distribution  chiefs  present 
were  A.  W.  Schwalberg  (Paramount), 
William  F.  Rodgers  (M-G-M),  Al  Licht- 
man  (20th-Fox),  Robert  Mochrie  (RKO), 
C.  J.  Fcldman  (L'niversal)  and  Abe  Mon- 
tague (Columbia). 

Among  the  prominent  industryites  who 
addressed  the  convention  were  RKO's  Ned 
K.  Depinet,  in  his  capacity  as  COMPO 
president,  and  Paramount  prexy  Barney 
Balaban. 

Depinet  emphasized  the  need  for  an  or- 
ganization such  as  COMPO,  assuring  his 
listeners  that  TOA  and  COMPO  are  striv- 
ing toward  the  same  goal  and  that  neither 
need  fear  for  its  existence  by  expansion  of 
the  other. 

Later,  at  the  president's  banquet,  Balaban 
said  that  the  future  of  television  and  movies 
depends  on  the  public,  agreeing  with  Wolf- 
son's  contention  that  the  movies  should  use, 
rather  than  ignore  TV. 

In  addition  to  Wolfson  and  Skouras,  the 
1952  TOA  slate  comprises  John  Rowley  and 
Walter  Reade,  Jr.,  vice  presidents;  Max  A. 
Connett,  secretary;  J.  J.  O'Leary,  treasurer; 
Gael  Sullivan  re-elected  executive  director 
and  Herman  Levy,  general  counsel.  Si  H. 
Fabian  was  named  head  of  the  executive 
committee. 

(Continued  on  Page  20) 
17 


EXPLOITATION  PICTURE 


COMEDY  OFFERS  FUN,  LOVE,  STARS 

Hot  Star  Team  Big  Exploitangle 


TIE-INS 


Saveral  tie 
distributors, 
foods,  with  : 
the  advertisii 
Other  tie-in> 


VARGAS'  WINTERS 

Not  To  Be  Overlooked! 


Murder,  mirth  and  two  of  the  hottest  young  stars  in  the  film  firmament  are  fused 
for  the  showman's  pleasure,  as  well  as  the  audience's,  in  "Behave  Yourself",  the  Jerry 
Wald-Norman  Krasna  initial  production  for  RKO  Radio  release.  Laughs  and  lethal 
action  are  a  combination  that  has  proved  successful  time  and  again.  The  "Thin  Man'" 
series,  the  Damon  Runyon  muggs  and  a  host  of  other  films  in  this  vein  have  capitalized 
the  combo  to  great  advantage.  Now,  with  "Behave  Yourself",  the  screwball  farce  that  so 
well  meets  the  requirements  of  escapist  entertainment  is  done  to  a  fare-thee-well. 

In  Granger  and  the  luscious  Shelley,  the  exploiteer  has  a  bonanza  of  material. 
Linked  romantically  in  their  private  lives,  a  fat  section  of  movie  fans  are  sold  on  the 
team  through  gossip  columnists,  magazine  and  newspaper  features  and  film  colony 
writers.    In  addition,  however,  each  has  earned  a  \\uic  following  that  should  not  be 


us  have  heen  arranged  with  national 
Among  them.  Ralston-Purina  dog 
ene  stills  from  the  movie  featuring, 
;  style  of  the  nation-wide  promotion, 
include  the  American  hat  industry, 
with  Dobbs,  Adam.  Stetson.  Young  and  Champ) 
giving  the  film  counter  and  window  displays, 
Pitman  Publishers  and  TWA  airlines. 

STUNTS 

A  good  teaser  stunt  to  work  in  with  the  tidej 
is  the  use  of  a  girl  wearing  a  bathing  suit  at 
evening  go\wi  low  in  the  hack,  with  'Behavi 
Yourself  lettered  in  the  eye-catching  space.  TlJ 
subject  can  be  used  as  a  lobby  attraction 
serve  as  an  usher. 

The  key  role  played  by  the  dog  in  the  fit 
also  is  good  for  a  competition  among  youthf 
owners  of  dogs  to  find  the  closest  resemblan 
to  the  canine  star,  or  for  the  best  trick  dog. 

NEWSPAPER  ADS 

Below,  several  of  the  display  ads.  All  have  thj 
\  argas  art  and  make  cood  use  of  clever  catcl 


neglected  in  the  promotion.  The  ads  have  < 
lines  that  combine  the  star  billings,  like 
ou  Should  See  What  Happens  to 
FARLEY  GRANGER  All  Because  of 
SHELLEY  WINTERS." 

The  stars'  fans,  too,  will  be  anxious  to 
see  I  hern  in  their  initial  comedy  roles, 
(.ranger's  stock  has  risen  steadily  in  a 
scries  of  Goldwyn  dramas.  The  Winters 
gal.  too,  has  soared  to  new  heights  since 
her  provocative  performance  in  "A  Double 
Life"  w  ith  her  portrayal  in  "A  Place  in  the 
Sum.  \ou.  with  both  evincing  a  fine  flair 
for  broad  comedy,  they  seem  destined  to 
pick  up  a  neat  batch  of  new  fans,  a  vital 
matter  to  the  theatreman  for  the  future  as 
well  as  the  benefits  he  can  reap  from  their 
current  \ chicle. 

The  famed  artist  Vargas,  one  of  the 
nation's  foremost  delineators  of  the  female 
figure,  has  turned  out  some  art  of  Shelley 
Winters  that  is  choice  whistle  bait.  Jt  is 
Used  in  the  ads  and  accessories  to  excellent 
advantage.  It  should  not  be  overlooked 
as  an  important  eye-appeal  promotion  for 
displays,  blow-ups.  cutouts,  etc.  in  theatre 
lobbies  and  on  marquees. 


fashion,  with  catch- 


BEHAVE  YOURSELF! 

The  farcial  aspects  of  murder  is  il  is  treated  on  the  screen  is  given 
broadly  comic  handling  by  the  Wald-krasna  production  team  in 
"Behave  Yourself!"  Farley  Granger  and  Shelley  Winters,  as  a  young 
married  couple  with  a  mother-in-law  problem,  find  that  they  don" I  know 
what  real  trouble  is  until  a  dog.  due  to  lead  a  band  of  smugglers  to  their 
loot,  attaches  himself  to  Granger,  and  is  mistaken  for  an  anniversary 
gift  by  Shelley.  The  complications  that  result  when  Farley  tries  to 
return  the  mutt,  and  keeps  getting  innocently  involved  in  a  murder 
with  each  attempt,  snowball  into  a  climactic  scene  which  finds  the 
couple's  living  room  strewn  with  kaput  gangsters  and  our  hero  ac- 
claimed for  routing  the  smuggling  ring.  In  addition  to  the  stars  and 
mother-in-law  Margalo  Gilmore.  the  assortment  of  cast  characters — in 
order  of  disappearance — are  as  goofy  and  uninhibited  as  anything  even 
a  caricature  master  like  Damon  Runyon  ever  offered. 


JXvnvs  and  Opinion 


(Continued  from  Page  17) 

WALL  ST.  FIRM  REPORTS 
FILM  STOCKS  ON  UPGRADE 

Wall  Street  was  optimistic  about  the 
future  ef  motion  pictures.  Higher  profits  for 
film  shareholders  was  forecast  by  Paine, 
Webber,  Jackson  &  Curtis,  as  they  issued 
a  progress  report  on  motion  picture  stocks. 
Reasons  for  this  outlook  were  cited  as 
follows : 

(1)  Despite  the  fact  that  there  are  more 
than  six  million  more  television  sets  in  use 
now  than  a  year  ago,  the  trend  of  movie 
attendance  turned  upward  in  the  summer 
months,  and  has  continued  through  Sep- 
tember despite  the  return  of  top  TV  shows 
to  the  air. 

(2)  While  TV  is  here  to  stay,  "the  gre- 
garious urge  manifests  itself  —  and  more 
often  than  not  this  means  'going  to  the 
movies,'  " 

(3)  Even  with  the  increase  in  TV  sets 
and  number  of  TV  stations  and  the  pros- 
pect of  color  television,  it  is  still  quality 
which  will  determine  the  audience.  With 
the  FCC  freeze  on  additional  TV  stations, 
it  will  be  late  1953  or  1954  before  the  new 
stations  are  operating,  and  it  is  these  which 
"represent  the  real  competitive  threat  of 
coming  years." 

(4)  Production  costs  have  been  cut  "to 
fit  a  new  pattern" — where  a  profit  could  be 
obtained  at  current  attendance  levels  — 
which  means  an  "even  better  budget  per- 
formance in  1952,"  with  profit  margin 
benefits  accruing. 

(5)  Easing  of  foreign  restrictions  and 
"supremacy"  of  American  movies  through- 
out the  world  means  that  1951  dollar  re- 
mittances will  be  among  the  highest  on 
record. 

Result:  "The  period  of  greatest  concern 
over  continuance  has  ended  .  .  .  the  pros- 
pect of  sharply  improved  second  half  earn- 
ings reports  now  is  almost  a  certainty 
whereas  three  months  ago  it  was  only  a 
hope.  In  short,  the  industry  has  passed  the 
peak  of  its  troubles  ..." 


ADMISSIONS  TAX  TAKE  UP 
$2,500,000  OVER  LAST  YEAR 

Indicative  of  the  general  uptrend  in  busi- 
ness was  the  increase  in  admission  tax 
collections  for  August,  1951  over  the  same 
month  last  year,  as  reported  by  the  Rureau 
of  Internal  Revenue  in  Washington. 

The  August,  1951,  receipts  were  $34,142,- 
531,  more  than  $2,500,000  over  last  August's 
$31,606,355  total,  and  over  $5,500,000  in  ex- 
cess of  the  July,  1951  take  of  $28,620,413. 

Total  Federal  admission  tax  collections 
which  include  the  above-mentioned  general 
admission  tax  receipts,  were  up  almost 
$3,000,000.  amounting  to  $38,634,669  for 
August,  1951,  as  against  $35,659,284  in 
August,  1950. 

20 


20TH-FOX,S  SKOURAS 

Eidophor  A  "New  Era" 


EIDOPHOR  SYSTEM  IN  150 
HOUSES  BY  SPRING  SKOURAS 

American  exhibitors  will  see  a  demon- 
stration of  the  20th  Century-Fox  Swiss 
Eidophor-CBS  large-screen  color  television 
projector  by  the  end  of  this  year.  20th-Fox 
president  Spyros  Skouras,  following  a 
demonstration  of  the  Eidophor  system  in 
color  at  the  Swiss  Federal  Institute  of 
Technology  in  Zurich,  promised  that  Fox 
will  begin  large-scale  manufacture  of  the 
equipment  for  theatres  immediately  after  the 
demonstration  in  this  country. 

Skouras,  who  has  pioneered  in  large 
screen  television  since  its  inception,  pro- 
phesied that  150  Eidophor  units,  combined 
with  CHS  color,  would  be  available  by  the 
spring  of  1952. 

The  20th-Fox  head  predicted  that  about 
2000  theatres  would  eventually  be  equipped 
with  the  new  color  system,  leading  to  "a 
whole  new  era  of  prosperity  for  the  motion 
picture  industry." 

'QUO  VADIS'  TO  BOW  IN 
BROADWAY  TWIN  PREMIERE 

Claimed  by  the  makers  of  the  erstwhile 
champ,  "Gone  With  The  Wind,"  to  be  "the 
most  important  as  well  as  the  most  ela- 
borate picture  ever  made  by  the  company," 
M-G-M's  "Quo  Vadis"  will  make  its  long- 
awaited  debut  in  a  twin  world  premiere  in 
New  York  on  the  evening  of  November  8. 

The  Technicolor  production,  which  re- 
quired 12  years  of  research  and  planning  and 
two  years  of  actual  preparation  for  pro- 
duction, will  continue  to  be  shown  at  the 
two  Broadway  theatres — Capitol  and  the 
Astor.  The  Capitol  will  follow*  a  policy  of 
continuous  performances,  while  the  Astor 
will  present  the  film  on  a  two-a-day,  re- 
served-seat basis. 


THEATRES,  TV  HOUSES  HIT 
BY  LOUIS  FIGHT  ON  HOME  TV 

Theatres  equipped  with  large  screen  tele- 
vision were  sorely  disappointed  when  the 
Joe  Louis  -  Rocky  Marciano  fight  was 
snatched  away  from  the  exclusive  theatre 
TV  cable  by  a  commercial  sponsor  for  home 
television.  Many  of  the  17  theatres  which 
carried  the  Pep-Saddler  "wrestling  match" 
to  comparatively  sparse  houses  had  hopes 
of  recouping  their  losses  on  the  Louis- 
Marciano  go,  considered  a  much  bigger 
draw  than  its  predecessor. 

With  the  rights  set  for  home  TV,  RKO, 
which  had  gambled  and  won  on  the  film 
rights  to  the  Robinson-Turpin  and  Pep- 
Saddler  fights,  abandoned  attempts  to  obtain 
the  rights  for  the  Louis-Marciano  event. 

Theatres  throughout  the  country,  of 
course,  will  also  feel  the  loss  as  millions  of 
potential  moviegoers  stay  at  home  to  view 
the  fight  on  Oct.  26th. 

Theatres  which  again  had  capacity  crowds 
lor  the  Pep-Saddler  fight  were  principally 
those  which  rode  on  the  high  crest  of  the 
sensational  Robinson-Turpin  bout  and  put 
tickets  on  sale  immediately  following  that 
event.  With  the  hot  baseball  race  and  the 
new  football  season  hogging  the  sports 
headlines,  and  the  fact  that  it  was  the  con- 
testants fourth  meeting,  interest  in  the  Pep- 
Saddler  melee  was  at  a  minimum,  and  fight 
night  found  many  empty  seats,  both  in  the 
Polo  Grounds  where  the  flesh  act  went  on, 
and  in  the  14  theatres  carrying  the  program 
via  'TV  cable. 

Football  as  a  theatre  TV  draw  was  dif- 
ficult to  judge,  on  the  basis  of  the  spotty 
returns  in  the  10  houses  which  carried  the 
Notre  Dame-Indiana  game  Sept.  29.  Again, 
the  pennant  race  was  seen  as  a  factor  in 
holding  down  attendance,  as  well  as  the 
early  stage  of  the  football  season.  The 
following  game  to  be  carried  on  theatre  TV, 
Princeton-Navy,  last  Saturday  (6th),  was  ex- 
pected to  suffer  from  even  more  virulent 
competition,  the  World  Series. 


UNIVERSAL  PROFITS  UP 
DESPITE  TAX  PROVISIONS 

A  boost  of  almost  $150,000  in  profits  was 
shown  by  Universal  in  the  company's  re- 
port for  the  39  weeks  ended  July  28,  1951. 
The  report  showed  a  net  of  $1,127,182  for 
the  period  in  1951  as  compared  to  $979,171 
for  the  corresponding  39  weeks  in  1950. 

'The  increase  was  realized  despite  p« 
visions  of  $1,675,000  for  federal  taxes  aU« 
$400,000  for  contingencies  made  in  the  1951 
report,  while  no  such  provisions  were  ^ 
quired  last  year  because  of  the  availabihl 
for  tax  purposes  of  special  non-recurrii 
expenses  charged  to  a  reserve  previous 
provided  therefor. 

F  I  L  M  BULLETl 


PRODUCTIOn 
&  R€L€fiS€ 


R6CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Data. 
"No."  is  the  release  Number-  "Rev."  is  the  issue  in  which  tr.« 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


1950-51  Features 
Serials 
Westerns 


Completed  (48) 
Completed  (  3 ) 
Completed  (15) 


Production  (4) 
Production  (0) 
Production   (  I  ) 


RELEASE  CHART 

—  1*50-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Death  Of  A  Salesman 
Fourposter 
Golden  Hawk 
Marryinq  Kind.  The 
Niqht  Stage  to  Galveston 

COMPLETED 

Big  Gusher.   The  148) 
Boots  Malone 

Brave  Bulls.  The  1107)    .- 

Brave  Warrior   

Brigand.  The  IT)  

Captain  Blood  Returns 
Corky  of  Gasoline  Alley 
China  Corsair  1781 

Congo  Bill   

Chain  of  Circumstance  148)   

Criminal  Lawyer  173) 

Cripple  Creek  

Dark  Page     

European  Edition    

Firefighters,  The     

Five  193)  ...   

Fury  of  the  Conge  _  _   

Harlem  Globetrotters,  The   

Hawk  ot   Wild   River.  The   

Her  First  Romance  (73)   

Her  Wonderful  Lie 


Cast 
March-Dunnock 
Harrison-Palmer 
Fleming-Hayden 
Holliday-Harrison 
Autry-8uttram 


Hurricane  Island  1C)   

Hills  of  Utah  14?)  ... 
Jungle  Jim  in  the  Forbidden  Land 

Jungle  Safari        

Lady  and  the  Bandit,  The  178)   

Lorna  Doone  IT)   Hale-Greene 

M  1*0)   _  Wayne-DaSilva 

Magic  Carpet    Ball-Agar 


 S.  Beckett-J.  Lydon 

 Hall-Farraday 

 McGuire-Meere   

 M.  Feld-R.  Grayson 

O'Brien-Wyatt 

 Montgo  very- Booth 

_  ..Crawford-Derek   

 Glen  Ford 

 Williams-Reynolds  

_  S.  Douqlas-W.  Phipps 

 Weismuller-Talbot  

 Gomez-Dandridge   

Starrett-Burnett 

 O'Brien-Martin   

 Kiepura-Eqgerth 

 Hall-Windsor   

Autry-Buttram 

.  Weissmuller-Ryan  

Weissmuller-Greeno  _ 
Hayward-Medina 


354  ?-24 


?-SI 
4-51 
3—5 1 


Man  In  the  Saddle  (T) 
Mask  of  the  Avenger  IT)  183) 
Mob  The 
The  Mother 

Never  Trust  A  Gambler  I7t)  _. 
Old  West,  The 

Pickup  180)   

Purple  Heart  Diary   

Riders  of  the  Whistling  Pints  ... 

Sante  Fe  IT)   187)  ....    

Saturday's  Hero  HID 

Secret,  The     

Silver  Canyon    (70)  ...  

Sirocco  198)    

Smokv  Canyon 

Small  Wonder    


■Sunny  Side  of  the  Street 

|Ten  Tall  Men  (T)   

Texas  Rangers  (C)   _  

Thief  r>f  Damascus.  The 

Valentino   (T)  103)   

jValley  of  Fire  

War  Cry  (C) 


Scott-Leslie  

Derek-Ouinn 
B.  Crawford-Buehler 
..Loretta  Young 
.Clark-O'Donnell 
Autry-Davis 
Haas-Michaels 
F.  Lanqford-T.  Romano 

.Autry-White   

Scott-Carter    

Derek-Reed 

Dorek-Cobb  _     _  ... 

Autry-Davis  

Bogart-Loran 
Starrert-BurneHe 

Cummings-Hale  

Hayward-Knox   

Mickey  Rooney 
Lane-Daniels    


 ...Lancaster- Lawrence 

 Geo.  Montgomery  _ 

Henreid-Sutton 

 Parker-Dexter 

  Aotry-Burnette   

 Montgomery-Long   

When  the  Redskins  Rode  (C)   178)  Hall-Castl? 

Whirlwind   Autry-Burnette  ... 

iWhistle  at  Eaton  Falls,  The  (90)   Bridges-Gish 


1950-51 


L  I  P  P  ERT 


Completed   (30)       In  Production  (0) 


COMPLETED 

*s  You  Were 
jUndit  Queen 


RELEASE  CHART 

—  1950-51  — 


METRO-COLDWYN-MA  YER 


1950-51    Features        Completed    (69)       In  Production  (9) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev 

Belle  of  New  York  IT)  Astaire-Ellen 

Hour  of  Thirteen.  The  Lawford-Addams 

Invitation  The  McGuire-Johnson 

Ivanhoe   IT)  R.  Taylor-E.  laylor 

Merry  Widow,  The   IT)  Turner-Lamas 

Scarmouche  S.  Granger-E.  Parker 

Sinqin'  In  The  Rain  IT)  _  Kelly-O'Connor 

Skirts  Ahoy  Williams-Blaine 

Young  Man  in  a  Hurry  Roman-Nype 

COMPLETED 

Across  the  Wide  Missouri  (T)  17?)     Gable-Hodiak  Oct       208  9-24 

American  in  Paris  IT)    I  I  151  Gable-Caron  Nov  9-24 

Angels  in  the  Outueld  1 1021  Douglas-Leigh  Sep       202  8-27 

Because  Your  Mine  Lanza-Whitmore 

Belle  of  New  York   IT)  Astaire-Vera-EJIen   

Bannerline    188)  Forrest-Braselle  Oct        204  9-24 

Callaway  Went  Thataway   MacMurray-McGuire  

Calling  Bulldog  Drummond  175)  Pidgeon-Leighton 

County  Line  _     Pidgeon-Hodiak  

Excuse  My  Dust  IT)    182)       .  _  .    Skeiton-Forrest  June        133  4-4 

Father's  Little  Dividend  (82)  ..   Tracy-Taylor  .  Apr        124  2-24 

Go  For  Broke    (?2)  Johnson-Anderson  May        12?  4-? 

Great  Caruso.  The  IT)  110?)  Lanza-Blyth    Apr   .127  4-23 

Home  Town  Story  141)     Crisp-Reynolds  May        128  5-7 

Inside  Straight    (?0)         _        .     Brian-Dahl  Mar  123 

It's  A  Big  Country     All  Star   

Just  This  Once  Leigh-Lawford   

Kind  Lady  1781  Barrymore-Evans    July        134  7-2 

Law  and  the  Lady,  The  (104)    Garson-Wilding  July  136  7-14 

Light  Touch,  The     Grainger-Angeli  _   

Lone  Star  .     .  Gable-Gardner  

Love  Is  Better  Than  Ever    Taylor-Parks 

Man  With  A  Cloak  188)  Cotten-Stanwyck  Oct  207 

Niqht  Into  Morninq  1841        .  ..       Milland-Hodiak       _   June        130  4-4 

Mr.  Imperium  IT)  187)   Turner-Pinza  Sep       203  4-4 

No  Questions  Asked  181)     Sullivan-Dahl  June        132  4-18 

Painted  Hills,  The  IT)  148)    Williams-Keel  May        125  l-l 

Pandora  and  the  Flying  Dutchmen 

(X)    |I23)  .    Mason-Gardner      _  Nov 

People  Against  O'Hara  1102)  Tracy-O'Brien  Sep       201  8-27 

Quo  Vadis   IT)   _   Taylor-Kerr  

I  Was  a  Stranger  Whitmore-Davis  .....  

Red  Badqe  of  Couraqe  14?)  Murphy-Mauldin  Sep       204  8-27 

Rich,  Younq  and  Pretty  IT)   (95)  .     Powell-Damone  Aug  138  7-14 

Royal  Wedding  (T)   (?2)     Astaire-Powell     Mar        121  2-24 

Show  Boat  IT)  (.108)      _  ..  ...     Gardner-Keel    ...July  135  7-2 

Singin'  In  The  Rain  (T)   Kelly-O  Connor    _    _  

Soldier's  Three   192)     ...   Granger-Pilgeon  ...  _        Apr.  124 

Stranger  In  The  House,  The  Murphy-Davis 

Strictly  Dishonorable  (95)      _    _    Pinza-Legih  .    _  July 

Strip,    The    185)     Rooney-Forrest  Aug  140 

Tall  Target,    The   178)   Powell-Raymond  Aug        139  8-13 

Teresa    (1051    Angeli-Erickson   July        137  3-12 

Texas  Carnival    IT)    (77)  Williams-Skelton  Oct        205  9-24 

Three  Guys  Named  Mike  (90)   Wyman-Johnson  Mar       119  2-12 

Too  Younn  To  Kiss    191)  ...  Ailyson-Johnson  Nov  

Two  Weeks  with  Love  IT)  («2)   Powell-Montaiban  Nov  10-23 

Unknown  Man.  The  Pidgeon-Harding  July 

Vengenance  Valley  (T)    (83)    Lancaster-Walker   _  _       Feb    .    117  2-12 

Westward  the  Women   Tavlor-Darcel  Nov   

When  In  Rome  Johnson-Douglas   

Wild  North  Country,   The    (A)  Granqer-Corey   


MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (34) 
Completed  (12) 


In  Production  (  I  ) 
In  Production  (0) 


Tracy-Sawyer   

Britton-Parker   

Brent-Chapman 

Beaumont-Travis   

Romero-Totter   

P.  Henreid 
Porter-Neal 
Price-Hawkins 
Clark-Lockwood 

Colonaa-Porter  

S.  Melton-M.  Lynn 
Ireland-Bridges   


Honde   Blackmail  _. 

»anger  Zone   

!:ll  Girl     

For  Men  Only   

I.  Jane  (42)   

jreat  Adventure,  The   

Highly  Danqerous 

Kentucky  Jubilee   

-e*ve  It  To  the  Marines   

-Ittle  Big  Horn   

.©st  Continent    Romero  -Brooke" 

•task  of  the  Dragon   Travis-Ryan 

Uavari  Documentary 

!  ier  23     Beaumont-Savage 

(■avage  Drums   r 70 1  Sabu-Baron 

'   S.  Melton-M.  Lyn 

  Edwards-Brodie 

 Melton-Adrian  

superman  and  The  Mole  Men  Reeves-Coates 
ales  of  Robin  Hood  _  Clarke-Hatcher 

Inknown  World   Kellogg-Nash 

ane_t,es  On  Parade     .     Rose-Carroll  ..... 


Sir.  Mr.  Bones  154) 


.4-18. 
8-27 

3-  17. 

Zs-iil 

4-  22 

10-  19 
_  2-2  . 

3-31. 
.11-14 

11-  30 
10-24 

.7-20 
7-13 


5023  RELEASE  CHART 

5610  —  19  50-51  — 

50|7  IN  PRODUCTION 

5002     '  10  19  TITLE — Running  Time 

 —   Wagons  West  IC) 

5021       9-24  COMPLETED 

5029  According  to  Mrs.  Hoyle  (40) 

-5087  .    Aladdin   and   His  Lamp  IC) 

5005  Blazing  Bullets   

.5003    Bronc  Rider 

5004         9-10  Casa   Manana  (73 

5013   Cavalry  Scout  (CI   (78        .  _ 

    Counterfeit      _  .  

-SOIB  Elephant  Stampede  

5001         7-30       Father  Takes  The  Air  

.  5024    Flight  to  Mars  (CI  

.5064   1-29       Fort  Osage  (C)   

501  Ghost  Chasers  149) 

.  5030  Gypsy    Fury  143)  

5008  .   Joe   Palook*  in  Triple  Cross 

.  5101    Longhorn,  The  

.  5020  -    Lion  Hunters.  The  1471   

5019         9-24       Mexican  Silver   


Cast 

Cameron 


Byington-Chandler 

Medina-Sands  

Brown-Hall  

Wilson-Knight 
Forbes-Herlihy 

Cameron-Long   ... 

DeFoe-KIng 
Sheffield 
Walburn-Gray 
Chapman-Mitchell 
Cameron-Nigh 
Gorcey-Hall 
Viveca-Lindfors  _ 
Kirkwood-Downs 
tlliott-Coates 
Sheffield-Whitfield 
Wilson-Clyde    


10-  15  ....  51  10 
4-17  5124 
9-30  5103 

11-  ll  5102. 
4-2?  .5112. 
3-18  5 192 
9-16  5118. 


3-25  510? 


TOBER    8.  1951 


21 


Navy  Bound 
Nevada  Badman 
Oklahoma  Justice  .. 
Rodeo  ICI 
Stagecoach  Driver 
Teras  Lawmen 
Trail  Dust 

Vengeance  Trail  ... 
Vicious  Years.  The 
Wanted:  Dead  or  J 
Whistling  Hills 
Wild  Horse  Prairie 
Crazy  Over  Horses 
Witness.  The 
Yellow  Fin 
Yukon  Manhunt 


Neal-Toomey   

vVilson-Knight 
Brown-Ellison 
Jane  Niqh 
Wilson-Knight 

Brown-Ellison   

Albright-Winters  .... 

  Elliott-Stewart   

 Cook-Moore   

Wllson-Clvde 
Brown-Ellison 
Wilson-Knight 

 Gorcey-Hall 

Kirkwood-Gleason 

Morris-O'Flynn 

Grant-Davis 

ALLIED  ARTISTS 


8-19 
1-52 
7-15 


5120 
5152 
5144 
5104 
5153 


12-31  5107 


Babe  Ruth  Story.  The  -  

Disc  Jockev  

Highwayman,  The  IC)  1831 
Let's  Go  Navy  i£9) 
I  Was  An  America  i  Spy  (85) 
It  Happened  On  Fifth  Avenue 


Bendix-Trevor   

May 

Simms-O'Shea 

8-23 

21 

4-18 

Hendrix-Coburn 

9-8 

 20  

8-27 

H.  Hall-G.  Gorcey 

7-29 

5113 

8-27 

Dvorak-Evans  

  4-15 

 19...... 

....  5-2 1 

DeFore-Storm 

...  May 

PARAMOUNT 


1950-51  Feautres       Completed    (51)      In  Production  (3) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 

Sailor  Beware   

Shane  IT) 

Somebody  Loves  Me 
Son  of  Paleface  ITI 

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT) 

Anything  Can  Happen   _.  

Appointment  With  Danger  (8?)   

At  War  with  the  Army  (931  

Big  Carnival,  The  1112)  

Rev.  under  title:  Ace  in  the  Hole 
Big  Timber  IT) 

Branded  IT)    (103)   ... 

Carrie  .     

Crosswinds  (T)  (93) 

Darling,  How  Could  You  (95)   

Dear  Brat  (82) 
Detective   Story  (103) 

Flaming  Feather  (T)      ... .   

Great  Mistouri  Raid,  The  (T)  (85) 

Greatest  Show  On  Earth  (T)  

Green    Gold  of  Nevada  (T)  

Here  Comes  the  Groom  (114)   

Hong  Kong  ITI 
Last  Outpost,  The  IT)  (89) 

Lemon  Drop  Kid,  The  (91)   

Mating   Season.    The    (101)  . 

Molly  (831   

Rev.  under  title:  The  Goldberg: 
My  Favorite   Spy  193) 

My  Son  John   

Passage  Wett  (T)    180)  " 
Peking  Express  (85) 
Place  in  The  Sun,  A  (122) 

Quebec  (T)   (85)  _   

Rage  of  the  Vulture,  The  . 
Redhead  and  the  Cowboy  (82) 

Red  Mountain  (T)   

Rhubarb  1951 

Samson  and  Delilah  (T)  (128) 
September  Affair  (104) 

Silver  City   (Tl  (90) 
Something  To  Live  For 
Stooge.  The  "  7. 

Submarine  Command  189) 
That's  My  Boy  (98) 
The  Denver   &  Rio  Grande  (T) 
Trio  (91)    .  . 
Warbonnet  (T) 
Warpath  195)  (T) 
When  Worlds  Collide  (82)  (T) 


Cast 

Rel. 

No. 

R.V. 

Martin-Lewis 

Ladd-Arthur 

Hutton-Meeker  ...... 

Hope-Russell  _  

Shore-Younq  

Ferrer-Hunter   ... 

Ladd-Calvert 
Martin-Lewis  

5-51 
 1—51 ... 

5019 
.5014 

4-23 
12-18 

Douglas-Sterling   

Die 

 7-51 .... 

5023 

 7-2 

Payne-Moorhead 

Ladd-Freeman    .... 

Olivier-Jones  

Payne-Fleming   

Fontaine-Lund 

Z  Ii-sil 

„...._.„... 

5009 

12-18 

11-51 

I 51 04  Z 
5108 

Z.8-T3 

Freeman-Arnold 
Douglas-Porker   

4-5 1 
...  11-51 

5021  .... 
5111 

S.  Hayden-G.  Russell 

Corey-Carey  

Stewart-Hutton 

2-51 

5013 

"r.."i-T 

Payne-Morrow 

Crosby-Wyman  

9-51 

5101 

Reagan-Fleming   

Reagan-Fleming 

Hope-Maxwell  

Tierney-Lund   

Berg-Loeb 

Hope-Lamarr  

5-51 
......  4-51 

5020  

5018  . 

.3-25 

 3-51... 

.4-51 

12-51 

5014 

.50 1 1  

5  f  10 

 l-2» 

 12-4 

Hayes-Heflin   _  

Payne-O'Keefe   

7-51 

5022  . 

Z.'.4-4 

Cotten-Calvet  

Clift-Winters   

Barrvmore  Jr.-Calv*t 

8-51 

 9-51 

d_t  i 

 5024  

5102 

CO  1  7 

 7-2 

7-30 

Ladd-Kerr  

Ford-Fleming   .  

Ladd-Kennedy  

Milland-Sterling 

3-51 

5015  . 

9-51 

5103  ' 

8-13 

Lamarr-Mature  

Fontaine-Cotten 
DeCarlo-O'Brien 

Fontaine-Milland  

Martin-Lewis  

3-51 

5010 

11-21 

2-51 
12-51 

5012 
5112  

1-15 

.  10-51 

Holden-Olson 
Martin-Lewis    

10-51 
_   8-51 

5107 
5074 

9-24 

7-7 

O'Brien-Hayden   _  _ 

Simmons-Rennie 
Heston-Hanson 
O'Brien-Jagger  ...  . 
Derr-Rush 

4-51 

8-51 
11-51  

5030 

5025 
5104 

1  1-4 

4-18 
9-24 

REPUBLIC 


1951-52  Features       Completed  (13) 
Serials  Completed   (  0) 
 Westerns      Completed   (  4) 


In  Production  (3) 
In  Production  (  I  J 
In  Production  (0! 


RELEASE  CHART 

IN  production  ~  195°-5'-52  ~ 

TITLE — Running  Time 
Hoodlum  Empire 


Bal  Tab..,,. 
Last  Musketeer.  The 
Girl  From  Panama 

COMPLETED 

Adventures  of  Captain  F, 
Arizona   Manhunt  (40) 
Belle  La  Grand  190) 
Buckaroo    Sheriff   of  Tei 
Bullfighter  and  the  Lady 
Captive  of  Billy  the  Kid 
Colorado  Sundown 
Cub,in   Fireball  178) 
Dakota  Kid.  The  1401 


Cast 
Donlevy-Trevor 


Lawrence-Chinq 
Allen-Kay 
Estrelita-Clarke 


E.  Flynn-M.  Pre 

Chapin-Janssen 

Ralston-Carroll 

Chapin-Janssen 

Stack-Page 

Lane-Edwards 

Rex  Allen 

Estelita-Vincent 

Chapin-Janssen 


5101 
5048 
5004 
5044 
5009 


Desert  of  Lost  Men   Lane   

Don   Daredevil   Rides  Again  Curtis-Towne 
Fightinq  Coast  Guard   1841  Donlevy-Tucker 
flight  from  Fury  Edwards-Clark 
Fort  Dodge  Stampede    (40)  Lane-Kay 

Fugitive    Lady    (78)  Paige-Barnes 

Havana  Rose   177)  Rogers-Rodrigues 
Heart  of  the  Rockies  147)  Rogers-Edwards 
Honeychile     ITr)  Canova-Foy 
In  Old  Amarillo    (47)  Rogers-Edwards 
Insurance  Investigator  140)  Denning-Lonq 
Lady    Possessed  Mason-Havoc 
Lost  Planet  Airmen   (Reedited  from 

"King  of  the  Rocket  Men"  Coffin-Clarke 
Million   Dollar  Pursuit  (40)  Edwards-Flagg 

Oh  Susanna   ITr)    190)   Cameron-Tucker 

Oklahoma  Annie  IC)    Canova-Russell 

Pals  of  the  Golden  West  Rogers-Evans 

Quiet  Man,  The  IT)    Wayne-O  Hara  . 

Robinson-Vs.  Turpin    153)  Fight  Pictures 

Rodeo  Kind  &  The  Senorita   (47)  Allen-Kay 

Sea  Hornet.  The   ...  Cameron-Booth 

Secrets   of  Monte  Carlo  Douglas-Hall 

Silver  City   Bonanza   Allen-Ebsen 

South  of  Caliente   Rogers-Evans 

This  Is  Korea   150)  -   Documentary 

Thunder  In  God's  Country    (47)  Allen  

Utah  Waqon    Trail  Allen-Edwards 

Wells  Fargo  Gunmaster         .  Lane-Chapin 

Wild  Blue  Yonder  Corey-Ralston 

Woman  In  The  Dark  Edwards-Elliott 
Wyoming  Saddle  Pals      ...  _  Chapin-Janssen 


5042 
501 1 
5124 
5042 


7-25  5031   

5-30      5028    4-1! 

3-10      5008       3  2i 


4-20 
3-1 
10-15 
8-10 


5030 

5051 
5151 
5127 

5052 
5054 

5041 


RKO  RADIO 


8-51 
3—5 1 

1-51. 


12-51 
.  4-51. 
8-51 


4-  51 

5-  51 
I  1-51 
7-51 
1 1-51 


2-51 
10  51 


5-51 
1 1-51 

3-51 


1950-51   Features       Completed  (59)       In  Production  (3) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

Androcles  and  The  Lion   Simmons-Younq   

Big  Sky.  The  Douglas-Martin   

Korean    Story,    The    Mitchum-Tallman 

COMPLETED 

Alice  In  Wonderland  (T)   (75)   ...Disney  Cartoon 

Behave  Yourself   (81)   Winters-Granger   

Best  of  the  Badmen  IT)   (84)   Ryan-Trevor  

Blue  Veil,  The  (1141  Wyman-Carlson   

Company  She  Keeps  (83)    ..Greer-O'Keefe   

Crack  Down    Williams-Armstrong 

Cry  Danger   (79)     Powell-Fleming  

Day  Without   End  ._   Lupino-Ryan  

Flying  Leathernecks  (T)    (102)  Wayne-Ryan  

Footlight  Varieties  1411    Pear-Buttons   

Gambling  House  (80)  Bendix-Mature   

Girl  in  Every  Port,  A   ...„  Marx-Wilson  

Gun  Notches   Holt-Martin   

Gun  Thunder  _  _   HolV-Martin  

Happy  Go  Lovely  187)   D.   Niven-Vera  Ellen 

Half-Breed,  The      Young-Carter  

Hard.  Fast  and  Beautiful  (78)  Trevor-Forrest   

His  Kind  of  Woman  1120)  Russell-Mitchum   

I   Want   You  Andrews-McGuire  ... 

It's  Only  Money  (80)   Sinatra-Russell    

Jet  Pilot  IT)   (118)    Wayne-Leigh  

Jungle  of  Chang  Travel  

Jungle   Headhunters    (T)    145)  .....  Travel  

Kon-Tiki  (73)     Travel   

Las  Vegas  Story,  The  _   Russell-Mature    

Lilli  Marlene  172)   McDermott-Daniely 

Macao  ...  Russell-Mitchum  

On  Dangerous  Ground  Ryan-Lupino  

Whip  Hand,  The    182)   Reid-Tuttle 

My  Forbidden  Past  (70)    . .  Gardner-Mitchum 

On  The  Loose  1741  Evans-Earl  

Overland  Telegraph  140)   Holt-Martin  

Payment  on  Demand  (90)   .Davis-Sullivan   

Pistol  Harvest  (40)  ..Xolt-Martin 

Racket,  The  Mitchum-Scott   

Road  Agent  Holt-Martin 

Roadblock    173)  McGraw-Dixon   

Hustler's  Range    Holt-Martin  

Saddle  Leqion   140)  Holt-Martin  

Sealed  Cargo   190)  Andrews-Rains   

Sons  of  the  Musketeers  IT)  Wilda-O'Hara 

Target   McGraw-White  

Tarzan's  Peril  (79)    Barker-Huston 

Texas  Triqgerman   Holt-Martin    .... 

Thing,  The  (87)     .  Tobey-Sheridan 

Tokyo  File  212   (84)  Marly-Peyton 

Two  Tickets  to  Broadway  (T)     Leigh-Martin    


20th  CENTURY-FOX 


1951  Features 


Completed   (46)       In  Production 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 
Return  of  the  Texan 


Till  The  Sun  Shines  Nellie  (T) 

COMPLETED 

Anne  of  the  Indies  (Tl 


Cast 
Robertson-Boone 
Peters-Wayne 


As  Young  As  You  Feel  (77)  ._  .  Woolley-Rltter 
Bells  On  Their  Toes  Crain-Loy 

Bird  of  Paradise  (Tl  (1001    Jordan-Paget 

Bridge  The  Haas-Michaels 
David  and  Bethsheba  (T)  (123)  Peck-Hayward 
Day  The  Earth  Stood  Still.  The  192)  Rennie-Neal 

Decision  Before  Dawn   _   Merrill-Basehart 

Desert  Fox.  The     Mason-Young 


9-  51 

10-  51 


I-  1  I.  M    IJ  r  I.  I.  !•  T  1  N 


,   Fined  Bayonets 


Follow  the  Sun  1901  

Fourteen  Hours  191)  

Friendly  Island  IT)    

Frogmen  196)     

Golden  Girl  IT)    

6uy  Who  Came  Back.  The  If  I)  

Half  *n«„  (Tl  1801 
I  Can  Get  It  For  vou  Wholesale  191) 
I'd  Climb  the   Highest  Mountain 
"  188) 


Journey  Into  Light  1871 

Kangaroo  (Tl       

Kefauver  Crime  Investigation  ..  .. 
Model  and  The  Marriaqe  Broker 
Let  s  Make  It  Legal 
Love  Nest 

Lydia  Bailey  (T)  

Man  of  Two  Worlds 

Meet  Me  After  The  Show  IT)  186) 

Millionaire  for  Christy    9  1 

Mr.  Belvedere  Rings  The  Bell  (88) 

No  Highway  In  The  Skv 

On  the  Riviera   ITI  1901    

People  Will  Talk  (110) 
Phone  Call  From  A  Stranger 
Pride  of  St.  Louis 
Rawhide  186) 


Red  Skies  of  Montana  (T)  

Secret  of  Convict  Lake 

Take  Care  of  My  Little  Girl  IT)  (93) 

Viva  Zapata 

With  A  Song  In   My  Heart   

You're  in  the  Navy  Now  (93)   

Rev.  under  title:  U.S.S.  Teakettle 


Webb-Francis 
Mason-Rennie 

1 2-5 1 

Basehart-O  Shea 
Ford-Baxter              _  . 
Douglas-Basehart 

Lunoigan-Greer   

Widmark-Andrews   _ 

12-SI 
S-51 
4-51 

112 
1  14 

4-9 

3  26 

7-51 

122 

_Day-Gaynor 

1  1-51 

Douglas-Darnell  _   

.  .7-51 

118 

Young-Cotten      ...  ... 

6-51 

1  16 

Dailey-Hayward 

...  4-Sl 

1  1 1 

Haver-Lundlgan 

1  1-51 

131 

9-  10 

Hayden-Lindfors 
O'Hara-Lawford 

10  51 
11-51 

132 

News  Feature 

4-51 

J.  Crain-T.  Ritter 

Colbert-Carey 
Haver-Lundigan 

Robertson-Francis  

Power-Smith 

1  1-51 
10  51 

133 
131 

_____ 

Grable-Carey 
MacMurray-Parker 

8-  51 

9-  51 

125 
127 

8-13 
8-13 

Webb-Dru 

8-51 

124 

8  13 

Stewart-Dietrich 
Kaye-Tierney 

10-51 
5-51 

121 
115 

4-23 

Grant-Crain 
Merrill-Winters 

9  51 

126 

9-10 

Dailey-Dru 

Power-Hayward 
Widmark-Smith  ... 

5-51 

113 

4-23 

Ford-Tierney 

8-51 

123 

Crain-Peters 

_  7-51 

1  19 

M.  Brando-J.  Peters 

Hayward-Calhoun 
Cooper-Albert 

4-51 

no 

3-12 

UNITED  ARTISTS 


1950-51   Features        Completed   (49)       In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


COMPLETED 


African  Queen  ITI 

Bogart-Hepburn  

H-R. 

Another  Man's  Poison  —  _ 

.   ...  Davis-Merrill     

Badman's  Gold  156)    

 Carpenter-Lockwood 

4-3 

Big  Night,  The    

  J.  Barrymore-P.  Foster 

Chicago  Calling     

  Duryea-Anderson  _  _. 

Milland-Roc 
 Preston-Sellars 

3-22 
8-3 

Circle  of  Danger  186)    

Cloudburst  .....   

Cyrano  De  Bergerac  (112)  

Duet  ._  _ 

 Ferrer-Powers   

 Robinson-Hunt 

Michele  Morgan    

7-20 

Kr. 

1  1-20 

Fabiola  (96)  

6-1 

Lev 

First  Legion   (86)  .— 

Fort  Defiance    

Boyer-Bettger  _ 

 D.  Clark-B.  Johnson  _ 

  Lindfors-Meeker 

O'Brien-Ryan 

Garfield-Winters 

Tierney-Roberts 

DeCarlo-Ustinov 

 5-11... 

8-  24 

9-  14 
7-13 
7-27 

10-15 

Sirk 

Four  In  A  Jeep  197)   

Gold  Raiders  (56)  - 

He  Ran  All  the  Way  (77)   _.. 

Hoodlum,  The  (63)  

Hotel  Sahara  187) 

Reb 
Jar 

7-16 
„..  6-18 

Lady  Says  No.  The 
Learn  To  Love 

Long  Dark  Hall,  The  (86)   

Man  From  Planet  X  (70)   

Man  With  My  Face  (75) 
Mister  Drake's  Duck   181 ) 

Mr.  Peek-A-Boo  (74)  

My  Outlaw  Brother  182)   

Naughty  Arlette  186)  ._  

New   Mexico   (A)  (76)   

Obsessed  (77) 

Odette  1 105)   . 

Oliver  Twist  11051   

Pardon  My  French  (81)  

Prowler,  The  (92)    

Queen  For  A  Day  ( 107)   

Scarf,  The  186) 

River,  The  ITI  (99)   

Saturday   Island  (T) 
Skipalong  Rosenbloom  (72) 

So  Long  at  the  Fair  185)   

St.  Benny,  the  Dip  (80)   

Thev  Were  Not  Divided 
Three  Steps  North  185) 

Try  and  Get  Me  (90)   

Formerly:  Sound  of  Fury 

Two  Gals  and  a  Guy  (70)   

Underworld  Story   _   

Volcano  1110) 
Well,  The  1851 

When  I  Gi„w  Up  (90)   


Caulfield-Niven 
OKeefe-Keyes 
.  Harrison-Palmer  ...  . 
Clark-Field      _  _ 
Nelson-Matthews  _ 
Fairbanks-Donlan 
Greenwood-Bourvil 
Rooney-Hendrix 
Tettering-Williams 
Ayres-Marshall 
Harrar-Fitzqerald 
Neagle-Howard 
Newton-Guinness  . 
Oberon-Henreid 

Heflin-Keyes  

Avery-McGavin 

Ireland-McCambridge 

American-Indian 

Linda  Darnell  

Baer-Coogan    

Simmons-Bogarde 

Roch-Haymes  

Underdown-Clanton 
Bridges-Padavoni 
Loveioy-Ryan   

Paige-Alda 
Duryea-Storm 
Magnani-Brazzi 
D.  Fairbanks 
.  Preston-Scott  


6  8 

9-21 
3-5  1 
3-15 


Dan 

Wil 
Stm 

C-E 
Pop 


UNIVERSAL-INTERNATIONAL 


1950-51   Features       Completed  (51 


In  Production  (3) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Francis  Goes  to  the  Big  Town  Donald  O'Connor 

Steel  Town  IT)   Sheridan-Lund 

World  In  His  Arms.  The   (T)  Peck-Blyth 

COMPLETED 


Apache  Drums  (T)    (75)  _ 

Battle  of  Apache  Pass  (T)  „  _ 

Bend  of  the  River  IT) 

Bright  Victory  (97)  

Bronco  Buster  (T) 

Cattle   Drive   (T)    (77)  ... 

Cave  of  the  Outlaws,  The  IT) 

Cimarron  Kid,  The  IT) 

Comin'  Round  the  Mountain  (77) 

OCTOBER   8,  195 


Grey-McNally 
Chandler-Lund 
Stewart-Kennedy 
Dow-Kennedy 

Lund-Brady   ... 

McCrea-Stockwell 
Smith-Carey 
A.  Murphy-Y 
Abbott  &  Costelh 


Door.  The 
Fat  Man    The  1771 
Finders  Keepers 
Flame  of  Araby  (Tl 
Francis  Goes  to  the  Races  1881 
Golden  n  v  ae    The  IT) 


Here   Come  The  Nelsons 
Hollywood   Story  176) 
Iron   Man  182) 
Katie  Did  It  1811 
Lady  from  Texas  IT) 
Lady  Pays  Off  The 
Lavender  Hill    Mob  The 
Little  Egypt  ITI  182) 
Ma  and  Pa  Kettle  at  the  Fair 
Ma  and  Pa  Kettle  Back  on  the  Farm 
Mark  of  the  Renegade  IT)  1811 
Meet  Danny  Wilson 
Pool  of  London 

Prince  Who  Was  A  Thief.    ITI  1851 

Raging  Tide,  The 

Reunion  In  Reno 

Smuggler's  Island   IT)  175) 

Son  of  Ali  Baba  IT) 

Thunder  On  the  Hill  185) 

Treasure  of  Lost  Canyon,  The  (T) 

Up  Front  19?)  

Weekend  With  Father 
You  Never  Can  Tell 


Laughton-Karloff 

Smart-London 

Ewell-Adems 

Chandier-U  Hara 

O'Connor-Laurie 

Blythe-Farrer 

Ozzle  and  Harriet 

Conte-Aaams 

Keyes-Chandler 

Biythe-Stevens 

Hull-Duff 

Carnell-McNally 

Guinness-Holloway 

Fleming-Stevens 

Maln-Kilbrlde 

Main-Kilbride 

Montalban-Charlsse 

Sinatra-Winters 

Colieano-Shaw 

Curtis-Laurie 

WintersConte 

Stevens-Dow 

Keyes-Chandler 

Curtis-Laurie 

Colbert-Blyth 

W.  Powell-J.  Adams 

Wayne-Ew.ll 

Nea!-Heflin   

Powell-Uow 


June 
Auq 
May 

Oct. 


Sept 
Apr 


121  5-2 
133         8  13 


3-12 
9  10 


WARNER  BROTHERS 


1950-51   Features       Completed    (30)      In  Production  (8) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No  Rev. 

About  Face  ITI  MacRae-Bracken 
B.  Lancaster 
Cochran-Teal 
Loveioy-Carlson 


Crimson  Pirate.  The  IT) 
Lion  and  the  Horse.  The 
Retreat.  Hell 
Room  For  One  More 
She's  Working  Her  Way 


Grant-Drake 


COMPLETED 

Along  the  Great  Divide  188) 
Big  Trees,   The  IT) 
Bugles  in  the  Afternoon  IT) 
Carson  City 

Close  To  My  Heart  190) 
Come  Fill  the  Cup  (113) 

Captain  Horatio  Hornblower  IT)  M7Peck-Mayo 

Distant  Drums  IT)  Cooper-Alden 

Force  of  Arms  I  1001  Holden-Olson 

Fort  Worth  (T)   180)  .    ...  Scott-Brian 

Goodbye,  My  Fancy  1107)   Crawford-Young 

I  Was  A  Communist  (83)  _  Loveioy-Hart 

I'll  See  You  In  My  Dreams  Day-Thomas 
Inside  Walls  of  Folsom  Prison   187)  Brian-Cochran 


Douglas-Mayo 
Cochran-Aldon 
R.  Milland-H.  Carter 
Scott-Massey 
Milland-Tierney 

Cagney-P.  Thaxter 


107 

106  9-24 
030  7-2 


102 
028 

024  4-23 

023  5-7 


Jack  and  The  Beanstalk 
Jim  Thorpe.   All-American   I  1051 
Lullaby  of  Broadway  IT)  1921 
North  of  the  Rio  Grande 
On  Moonlight  Bay  ITI  1951 
ily  The  Valiant  1 105) 


Abbott-Costello 
Lancaster-Bickford 
Day-Nelson 
McCrea-Mayo 
MacRae-Day 
Peck-Payton 


Painting  Clouds  with  S'hine  ITI   (871  Mayo-Morgan 


Raton  Pass  (84) 
Starlift 

Strangers  On  A  Train  (101) 
Streetcar  Named  Desire.  A  1122) 

Tanks  Are  Coming,  The   

Tomorrow  Is  Another  Day  (90) 


Morgan-Neal 
Cagney-Mayo 
Walker-Roman 
Brando-Leigh 
S.  Cochran-E.  Miller 
Roman-Cochran 


7-28 
7-28 
4-21 
10-6 
4-7 


0 

B20 
029 
029 
022 

105 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 
We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National   Film  Carriers 


23 


Open  Letter  To  The  Studio  Heads 
And  Filmdom's  Top-Priced  Stars 

Page  Three 


CP 


YOUR  MONEY  BACK 

IF  YOU  DON'T  ENJOY  M-G-M's 

ANGELS 

IN  THE 

OUTFIELD" 

Yes,  we  feel  so  keenly  that  you  and  your  family  will  enjoy  it, 
that  we  make  the  above  guarantee! 

A  picture  like  "Angels  In  The  Outfield"  is  so  far  off  the  beaten 
track  that  you  must  take  our  word  that  everybody  will  love  it. 
Such  laughter,  such  emotional  reaction  (yes,  tears  too!)  haven't 
been  experienced  in  theatres  since  "Going  My  Way",  "Bells  of 
St.  Mary's"  and  "The  Stratton  Story"! 


This  tough  guy 
'talked  to  angels". 
(Paul  Douglas) 


This  orphan  child 
actually  "saw  angels' 
(Donna  Corcoran) 


This  pretty  news-gal  put 
them  both  in  the  headlines. 
(Janet  Leigh) 


We  predict  audiences  will  eat  it  up  and  we  urge  you  to  see  it! 
Frequently  our  patrons  hear  about  unusual  pictures  after  they've 
gone  and  ask  why  we  didn't  insist  that  they  see  them.  Make  your 
plans  now !  Be  sure  to  see  it !  WE  GUARANTEE  THAT  YOU'LL 
ENJOY  IT! 

M-G-M  presents 

"ANGELS  IN  THE  OUTFIELD" 
starring  PAUL  DOUGLAS  •  JANET  LEIGH 

with  KEENAN  WYNN  •  LEWIS  STONE  •  SPRING  BYINGTON  •  BRUCE  BENNETT 
and  Introducing  DONNA  CORCORAN  •  Screen  Play  by  DOROTHY  KINGSLEY 
and  GEORGE  WELLS  •  Based  on  a  Story  by  Richard  Conlin 
Produced  and  Directed  by  CLARENCE  BROWN 

THEATRE  NAME 


{Above  is  reproduction  oj  the  ad  that  ran  4  cols,  x  235  lines. 
It  is  also  effective  in  reduced  size.) 


This  ad  is 
getting  big 
business! 

Make  it  the  basis  of  your 
whole  campaign:  in 
newspapers,  in  your 
lobby,  and  on  the  screen. 
Available  shortly  will  be 
extra  trailer  footage  with 
this  message  to  add  to 
the  regular  trailer. 


"Hats  off  to 
LOOK  MAGAZINE 
for  its  Oct.  23rd  issue 
out  Oct.  9th.  They've 
done  a  great  job  for 
our  industry  in  a  big 
8-page  section.  Publi- 
cize it  to  your  patrons. 


P.  S.  M-G-M  pictures  are  promi- 
nent  in  the  LOOK  forecast: 
Beautiful  full  color  scenes  from  "An 
American  In  Paris"  (%  page  dis- 
play), "Quo  Vadis"  and  "Show 
Boat."  Also  scenes  from  "Angels 
In  The  Outfield"  and  "Ivanhoe." 


BULLETIN 


19.  No.  22 


October  22,  1951 


Pace  Three 


ft 


DISAPPOINTMENT 

Newspapers  always  excite  curiosity. 
No  one  ever  lays  one  down  without  a 
feeling  of  disappointment." 

—CHARLES  LAMB 


REVIEWS  in  This  Issue 


andora  and  the  flying  dotchmj 

he  Racing  Tide   

)F  the  Indies. 


1y  Favorite  Spy   

  *  7 

Close  To  My  Heart  7 

wo  Tickets  to  Broadway 

  8 

Lcross  the  Wide  Missouri    8 

[he  Unknown  Man   _   8 

Ian  With  a  Cloak 

 10 

Jove  Nest  

 10 

he  Racket  

  10 

Ion  of  Dr.  Jekyli  

 11 

he  Sea  Hornet   

 ......11 

Ilalchter  Trail  

 11 

lot  Lead  

 11 

FILM  BULLETIN  —  An  Independ- 
ent Motion  Picture  Trade  Paper  pub- 
lished every  other  Monday  by  Film 
Bulletin  Company.  Mo  Wax.  Editor 
and  Publisher.  BUSINESS  OF- 
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19;  Circle  6-9159.  David  A.  Bader, 
Business  Manager:  T-eonard  Coulter, 
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RIttenhouse  6-7424:  Barney  Stein, 
Managing  Editor:  Jack  Tavlor.  Pub- 
lication Manaeer:  Robert  Heath.  Cir- 
culation Manager.  HOLLYWOOO 
OFFICE:  659  Haverford  Ave..  Paci- 
fic Palisades,  Calif.,  Hillside  8183; 
Jay  Allen,  Hollywood  Editor.  Sub- 
scription Rate:  ONE  YEAR,  $3.00 
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Europe,  $9.00. 


LISTEN  HERE,  HOLLYWOOD! 

OPEN  LETTER  TO  STUDIO  HEADS 
AND  TOP-SALARIED  FILM  STARS 

First.  Hollywood,  let's  read  the  following  despatch  from  Thomas  M.  Pryor,  Holly- 
wood correspondf.it  for  the  New  ^  ork  Times,  which  appeared  in  the  Sunday  Times 
of  October  I  I. 

"Early  returns  in  this  area  seem  to  indicate  that  the  film  industry's  big 
selling  campaign,  'Movietime,  U.S. A.'  got  under  way  last  Monday  with' some- 
thing less  than  an  explosive  start,  thereby  raisin"  doubts  about  the  ultimate 
effectiveness  of  the  drive  to  supercharge  the  public  with  enthusiasm  and  set 
aff  a  nation-wide  stampede  to  theatre  box  offices.  The  local  press,  usually  most 
cooperative  in  publicizing  the  industry's  activities,  found  little  to  get  excited 
about  in  the  weekend  exodus  of  players,  directors,  writers  and  producer-  \ia 
plane  and  train  for  various  parts  of  the  country. 

"The  reason  for  the  apathy  was  quite  obvious  because,  with  a  few  excep- 
tions, the  big  personalities  of  the  movie  world  were  not  participating  in  this 
voluntary  ambassadorial  mission  to  woo  new  friends  and  to  lure  older  acquain- 
tances back  into  the  movie-going  habit.  The  big  names  were  absent  for  various 
reasons.  Many  of  them,  such  as  Gregory  Peck.  Lana  Turner.  Gary  Grant.  Joan 
Crawford.  Alan  Ladd.  Betty  Hutton.  Gene  Kelly  and  Gary  Cooper  were  busy- 
making  pictures.  So.  of  course,  they  could  not  go  louring  without  disrupting 
shooting  schedules  at  great  expense. 

"BUT  THERE  WERE  MAM  OTHERS  OF  COMPARABLE  STANDING 
IN  THE  PUBLIC  MIND  WHO  WERE  NOT  BEFORE  THE  I  Wll  RAS  WD 
DIDN'T  GO  BARNSTORMING  FOR  THE  WELFARE  OF  THE  PRODI  CING 
I  OMPANIES  AND  THE  THEATRE  OPERATORS  PEOPLE  SI  GH  \S  RING 
CROSBY.  BETTY  GRABLE.  BETTE  DAVIS.  CLARK  GABLE,  SPENCER 
TRACY.  MARIO  LANZA  AND  MANY  MORE. 

"Perhaps  all  of  these  had  good  reasons  for  not  volunteering  their  services. 
(Transportation  expenses  were  paid  by  the  industry.  I  HOWEVER.  THE 
QUESTION  IS  BEING  ASKED  \\  HY  A  PROMOTION  JOB  OF  SUCH  MAGNI- 
TUDE SHOULD  BE  UNDERTAKEN  BY  A\  INDUSTRY  SO  SENSITIVE  TO 
PUBLIC  REACTION  WITHOUT  BRINGING  ALL  ITS  BIG  GUNS  INTO 
PLAY." 

Mr.  Pryor's  comments  echo  not  only  the  attitude  of  the  Hollywood  press,  but. 
as  well,  the  views  of  many  of  the  theatremen  who  have  labored  so  hard  in  the  field  to 
make  "Movietime.  U.  S.  A."  successful.  This  was  to  be  the  biggest  cooperative  public- 
relations  project  our  industry  ever  undertook,  and  all  of  us  outside  of  the  movie 
capital  had  the  impression  that  its  importance  had  permeated  every  fibre  of  every 
branch  of  movie  business.  So  it  s  mighty  disappointing  to  find  that  so  many  of  you 
members  of  the  Hollywood  colony  felt  that  "Mov  ietime.  U.  S.  A."  merited  only  the 
interest  and  participation  of  your  second-and-third-stringers. 

Tell  us.  Hollywood,  has  word  reached  you  as  yet  that  our  industry  is  having 
a  rough  time  of  it  these  days?  Has  the  news  seeped  through  to  you  that  the  people 
in  exhibition,  in  distribution  and  in  the  advertising  departments  are  working  barder 
than  ever  to  earn  the  revenue  that  makes  production  of  first-class  pictures  possible? 
We  presume  you  are  acquainted  with  these  facts.  Then  why  this  aloof  attitude 
toward  something  as  vital  to  us  all  as  "Movietime.  U.  S.  A."? 

Listen  here.  Hollywood,  the  theatremen  of  America  have  been  hardest  hit  by 
the  dip  in  boxoffice  receipts — so  far.  You  folks  haven't  felt  the  pinch  as  badly,  but 
if  the  drop  isn't  arrested  and  turned  upward,  every  star  and  every  producer  will  be 
feeling  it  before  long.  As  business  goes  down,  so  goes  the  dollar  value  of  your  person- 
ality, your  talent,  your  name. 

We  know  your  primary  job  is  the  making  of  good  pictures,  but  in  these  tough, 
competitive  days  you  must  assume  additional  duties.  Everybody  else  in  the  business 
has  rolled  up  his  sleeves  and  is  putting  in  extra  hours  on  the  job  of  bringing  people 
back  to  the  mov  ie  theatres  of  the  nation.  They  have  a  right  to  expect  you — {'.specially 
those  of  .you  who  have  profited  so  handsomely  in  the  past  from  the  success  of  the 
motion  picture — to  do  your  share  in  the  task  of  boosting  this  business. 

Yours  for  a  greater  movie  industry. 

Sincerely. 

EILM  BULLETIN 


ie  crowds  aije  back  thanks  to  "David  and 
Bathsheba"JK  The  crowds  are  back  thanks 
to  "People  Will  TalkT^^^^The  crowds  are 
back  thanks  to  "The  Day  The  Earth  Stood 
Still"  ^fj^  The  crowds  are  ba^c^anks  to 
"A  Millionaire  For  Christy"  ^^zA^he  crowds 
are  back  thanks  to  "Meet  Me  After  The 
Show"  "T^    The  crowds  are  back  thanks  to 
"Mr  •  Belvedere  Rings  The  Bell"  Wm  The 
crowds  are  back  thanks  to  "The  Secret  Of 
Convict  Lake"  ^^^^ The  crowds  are  back 
thanks  to  "The  Frogmen"  t^j^The  crowds 
are  back  thj^^^to^Take  Care  Of  My  Little 


There fs  No  Business  Like  20th  Century-Fox  Busine 


ZxclitM*  tpL  BULLETIN  fatwe 


By  Rick  Starker 

iVc  wonder  what  those  wiseacres  arc  say- 
now;  you  know,  the  ones  who  like  to 
■er  and  talk  about  movie  standards  being 
the  11-year-old  mentality.    Of  course, 
professional  carpers  may  never  be  con- 
ccd;  it  might  denude  them  of  their  one 
incut  of  importance — the  critical  robes, 
t   millions    of    regular    moviegoers — and 
n  perhaps  a   few  million  not-so-regular 
ffl  —  are  becoming   convinced   thai  the 
vies  arc  coming  of  age. 

'erhaps   the   minute   hand    was  creeping 
'ards  twelve  for  our  industry.  Plagued 
bedeviled  by  television  and  a  multitude 
other  factors,  box  office  grosses  dropped 
hd  plenty — in  the  last  two  year.   A  keen 
friendly  m<>\ie  critic  like  the  New  York 
les'   Bosley  Crowther  told  the  industry 
1  'ts  hope  lay  in  going  out  after  the  "lost 
fence,"   Others,  both  within  and  outside 
industry  offered  their  solutions  to  halt 
boxoffice  toboggan.   Out  of  the  bulging 
gestion  box,  one  panacea  predominated 
ve  all  others  not  because  of  its  novelty 
ts  revolutionary  nature,  but  simply  be- 
ie  it  was  the  fundamental  tenet  for  the 
inuance  of  any  successful  enterprise— 
ity.  "Make  good  pictures  and  the  public 
cine  back."  was  a  simple  and  unalter- 
fact.    And  Hollywood  scenic  to  have 
ed  to  that  task  in  earnest. 

(Continual  on  Page  12) 


Cory  Grant  and  Jeanne  Cram  discuss  a  marital  problem  in  "People  W  ill  Talk" 


Kim  Hunter.  Vivian  Leigh.  Marlon  Brranda  in  "A  Streetear  \amed  Desire" 


PANDORA  AND  THE  FLYING  DUTCHMAN'  BEAUTIFUL  B.  0.  PROBLEM 

Rates  •  •  •  — (—  in  class  and  art  houses;  less  elsewhere 


Metro-Goldwyn-Mayer 
122  minutes 

James  Mason,  Ava  Gardner,  Nigel  Patrick, 
Sheila  Sim,  Harold  Warrender,  Mario  Cabre, 
Marius  Goring,  John  Laurie,  Pamela  Kel- 
lino,  Patricia  Raine,  Margarita  D'Alvarez, 
La  Pillina. 

Directed  by  Albert  Lewin 

A  breathtakingly  beautiful,  literate  and  en- 
grossing production  lias  been  fashioned  by 
Albert  Lewin  from  the  legend  of  the  Flying 
Dutchman.  Magnificent  Technicolor  photo- 
graphy, superlative  performances  and  a 
tragic  story  poetic  in  quality,  almost  Shake- 
spearian in  dialogue,  make  "Pandora  and 
the  Flying  Dutchman"  a  work  of  art  that 
could  be  presented  only  by  the  motion  pic- 
ture screen.  But — and  it  is  a  big  but — what 
the  boxoffice  fate  of  "Pandora"  will  be  re- 
mains a  question  mark  for  most  theatres. 
Undoubtedly,  it  will  fare  excellently  in  art 
houses  and  class  theatres  catering  to  the 
highbrow  trade.  Conversely  it  can  hope  for 
little  patronage  in  the  action  spots,  where 
the  mystic  story,  profound  dialogue  in  long 
stretches,  and  the  more-than-two-hour  run- 
ning time  will  elicit  too  many  squirms.  Be- 
tween these  two  extremes,  however,  re- 
action will  he  varied.  Despite  the  inevitable 
conclusion,  a  good  deal  of  suspense  is  gen- 
erated and  maintained  throughout  and  there 
arc  several  highlight  thrill  sequences  that 
will  have  any  audience  on  the  edge  of  their 
seats.  The  stars,  too,  have  a  potent  marquee 
meaning  and  are  at  their  best  in  this  film. 
Ava  Gardner,  as  a  gorgeous  heartbreaker, 
is  gaspingly  beautiful,  wThile  James  Mason, 
as  the  tortured  wraith  destined  to  sail  his 
ghostly  ship  until  he  finds  a  woman  who 
loves  him  enough  to  die  for  him,  gives  a 
sterling  portrayal  in  a  difficult  role.  Photo- 


graphed on  location  on  the  Spanish  seacoast, 
the  settings  and  sets  are  a  feast  for  the 
eye  and  are  used  to  excellent  advantage  in 
the  story.  Principal  faults  are  the  length 
and  talkiness.  Apparently  producer-director 
Lewin  was  too  reluctant  to  delete  some  of 
writer  Lewin's  script.  It  might  be  well  for 
Metro  to  consider  chopping  some  20  or  .10 
minutes  from  the  film.  With  some  sound 
cutting,  "Pandora"  could  he  tightened  into 
a  mass  audience  attraction  that  could  roll 
up  surprising  grosses. 

Performances  are  on  a  high  level,  although 
Miss  Gardner  finds  her  complex  role  beyond 
her  ken.  However,  she  more  than  fulfills 
the  visual  requirements,  and  as  caught  by 
Jack  Cardiff's  enlightened  camera,  it  is 
doubtful  if  the  screen  has  ever  captured 
such  feminine  beauty.  Mason  is  an  ideal 
choice  for  the  belabored  sea  captain,  shading 
the  character  in  varied  tones  of  black  and 


giving  it  full  depth.  The  support  contJ 
buted  by  British  and  Spanish  players  I 
excellent.  Among  them  is  Mario  Cabre,  1 
Spanish  bullfighter  whose  dealings  with  Ma 
Gardner  during  the  filming  had  the  mo' 
fans  agog. 

STORY:  When  two  bodies  are  foul 
washed  ashore  on  a  Spanish  beach,  il 
story  that  led  to  the  event  is  told.  A\ 
Gardner,  an  American  beauty,  captiva 
every  man  she  meets.  One,  Marius  GoriJ 
kills  himself  when  she  will  not  marry  hil 
another,  Nigel  Patrick,  pushes  his  belovl 
racing  car  over  a  cliff  to  prove  his  love  al 
she  agrees  to  an  engagement.  Fascinated  I 
a  ship  in  the  harbor,  Gardner  impulsiv.J 
discards  her  clothes  and  swims  out  to  j 
She  finds  James  Mason,  a  Dutchman,  alcj 
on  the  ship  painting  a  picture  with  her  11 1 J 
ness  and  invites  him  to  her  villa.  Asked  I 
a  collector  to  translate  a  centuries-old  mail] 
script,  purported  to  have  been  written  \ 
the  Flying  Dutchman,  Mason  reveals  to  hJ 
that  he  is  actually  the  tortured  soul  of  t| 
legend,  in  which  the  Dutchman,  after  mi| 
dering  his  innocent  wife  and  blasphemil 
God,  is  condemned  to  sail  the  seas  until  1 
finds  a  woman  who  loves  him  enough  to  <| 
for  him,  and  is  permitted  to  set  foot  (I 
shore  only  once  in  seven  years  to  searj 
for  her.  Mason  and  Gardner  fall  in  lo' 
though  she  remains  engaged  to  PatriJ 
When  another  suitor,  a  Spanish  bullfigh  [j 
thinks  he  has  killed  Mason  by  stabbij 
him  to  death,  the  deathless  man's  apped 
ance  at  the  bull  ring  causes  the  matador  a 
be  gored  to  death.  Gardner  reveals  she  loJ 
Mason  enough  to  die  for  him,  but  rati 
than  have  her  dead,  Mason  renounces  hi 
On  the  eve  of  her  marriage  and  his  sailir 
she  learns  the  truth  and  swims  again  to  l] 
ship.  As  they  declare  their  love  for  ea 
other,  a  hurricane  destroys  the  ship  H\l 


THE  RAGING  TIDE'  SHALLOW  BUT  INTERESTING  MELODRAMA 

Rates  •  •  -f-  generally,  more  in  action  spots 


Universal-International 
92  minutes 

Shelley  Winters,  Richard  Conte,  Stephen 
McNally,  Charles  Bickford,  Alex  Nicol,  John 
Mclntire,  Pepito  Perez,  Tito  Vuolo,  John 
"Skins"  Miller,  Robert  O'Neill. 
Directed  by  George  Sherman 

"  The  Raging  Tide"  is  an  interesting  if 
somewhat  slow  melodrama,  a  romantic  tri- 
angle involving  a  racketeer,  an  honest  girl, 
and  a  young  fisherman  who  has  his  eye  on 
easy  money.  Adapted  from  F.rnest  Gann's 
novel,  "Fiddler's  Green,"  the  Aaron  Rosen- 
berg production  for  U-l  only  partially 
fulfills  the  possibilities  of  the  imaginative 
story  idea.  The  script  seems  to  skim  the 
surface;  the  characters  never  seem  full- 
blooded,  ;ind  the  story's  aimless  wanderings 
mitigate  against  its  completely  successful 
enjoyment.  However,  the  performances, 
notably  that  by  CharU  s  Bickford  as.  an  im- 


migrant San  Francisco  fisherman,  are  ex- 
cellent. Life  along  the  Bay  City  waterfront 
is  striklingly  captured  and  the  dialogue  is 
frequently  effective.  George  Sherman's  di- 
rection fails  to  fill  the  drama  with  expected 
excitement,  but  in  mood  of  story  and  in 
atmosphere  it  is  usually  good.  The  Shelley 
Winters-Richard  Conte  starring  team  will 
help  boost  returns  above  average,  with  best 
grosses  accruing  in  action  spots. 

STORY:  Richard  Conte,  after  killing  a 
rival  slot  machine  operator,  hides  out  oil  the 
fishing  boat  operated  by  Charles  Bickford 
and  his  son,  Alex  Nicol.  The  youth  has 
just  been  in  trouble  because  of  a  stolen  car 
and  is  in  the  custody  of  his  parent.  Conte 
has  no  trouble  in  prevailing  on  him  to  run 


his  racket  while  he  continues  to  lay  1( 
The  scheme  backfires  when  Nicol  falls 
Conte's  girl,  Shelley  Winters,  who,  for 
her  toughness,  is  loyal  and  honest.  W 
Conte  serving  as  an  object  lesson  of 
futility  of  crime  and  Shelley's  gaining 
portance  is  his  romantic  life,  Nicol  expe 
ences  a  change  of  heart.    The  triangle 
dramatically   resolved   during   a  storm 
sea  when,  in  attempting  to  rescue  Nic 
Conte  is  drowned. 

The  role  of  the  girl,  smaller  and  less  sho 
than  those  usually  played  by  Miss  Wi& 
is,  nevertheless,  suited  to  her  range.  ! 
plays  it  strikingly.  Richard  Conte  is  fine 
the  trigger-man,  and  Stephen  McNally 
acts  a  persistent  cop  with  quiet  efficicn 
Charles  Bickford  plays  the  father  with 
viction  and  deep  sincerity.  Alex  Nicol 
good  as  the  errant  son,  and  John  Mcln 
makes  much  of  his  humorous  part  of 
old  salt  come  upon  the  evil  ways  of  dri 
JAM 


F  I  L  M    15  U  L  L  E  T 


ANNE  OF  THE  INDIES'  NOVEL,  EXCITING  SWASHBUCKLER 

Rates  •  •  •  generally,  with  exploitation 


20th  Century-Fox 
82  minutes 

Cast:  Jean  Peters,  Louis  Jourdan,  Debra 
Paget,  Herbert  Marshall,  Thomas  Gomez, 
James  Robertson  Justice,  Francis  Pierlot. 
Directed  by  Jacques  Tourneur 

f  Like  quite  a  few  recent  film  entries,  "Anne 
of  the  Indies*'  suffers  from  title  trouble.  The 
linild  handle  hardly  conveys  the  kind  of  bold 
[action  romance  it  is — a  swashbuckling  nar- 
[rative  about  a  lady  pirate  as  tough  as  Long 
Mohn  Silver  and  as  agile  with  the  sword  as 
[Monte  Cristo.  The  title  role  i-  stunningly 
played  by  Jean  Peters  who  is  set  to  work 
[against  a  handsome  Technicolor  background 
[that  speaks  well  for  the  production  super- 
vision of  George  Jessel.  The  story  is  more 
[literate  than  the  ordinary  pirate  saga  and 
liolds  interest  throughout  even  if  it  con- 
centrates more  on  the  romantic  triangle  than 
pn  feats  of  piracy.  This  is  not  say,  however, 
■that  "Anne  Of  the  Indies"  is  short  of  action. 
[There's  plenty  of  it,  and  with  Miss  Peters 
(at  the  end  of  the  sword  in  most  encounters 
Jthc  total  effect  is  novel,  exciting  entertain- 
ment. The  piece  shapes  up  as  top  flight 
screen  fare  that,  with  selling  to  overcome 


the  title  and 
make  a  highl- 


ight marquee  value,  should 
creditable  boxoflfice  showing. 


STORY:  Louis  Jourdan.  a  cashiered  of- 
ficer of  the  French  Navy,  has  lost  his  ship 
to  the  British.    In  order  to  get  it  back  he 


undertakes  to  learn  the  whereabout-  oi  Jean 
Peters,  a  pirate  who  has  been  terrorizing 
the  seas.  He  joins  her  men,  even  makes  love 
to  the  lady  in  order  to  gain  her  confidence. 
When  Mis-  Peters  harn-  -he  has  been  taken 
for  a  ride  and  that  Jourdan  is  married  to 
pretty  Debra  Paget,  she  kidnap-  Debra 
plans  to  sell  her  into  slavery  but  fails 
Jourdan  follows  her  trail  and  in  a  sea  battle 
i-  hopeless  out-maneuevered  by  the  wily 
Peters.  She  puts  the  couple  ashore  on  a 
desert  island  to  die  of  thirst  and  starvation 
However,  she  can't  go  through  with  th< 
cruel  revenge,  turns  back  and  gives  then: 
facilities  for  escape.  To  protect  their  flight 
-he  battles  rival  pirate  Thomas  Gomez  and 
loses  her  own  life. 

Louis  Jourdan,  if  not  quite  the  dashing 
adventurer  called  for  by  the  part,  acquits 
himself  well  as  the  undercover  man.  Thomas 
Gomez  is  broadly  amasfalg  as  I'dackbcard, 
Mis-  Peters'  mentor  in  matters  of  piracy. 
Debra  Paget  is  lovely  as  the  young  wife, 
and  Herbert  Marshall  plays  the  part  of  a 
drunken  doctor  with  his  usual  excellence. 
Jacques  Tourncur's  direction  paces  the 
action  and  sex  values  for  all  they're  worth. 

H  \  X  \  A  (Hollywood 


MY  FAVORITE  SPY'  ANOTHER 

Rates  •••-(-  generally 

Paramount 
93  minutes 

Bob  Hope,  Hedy  Lamarr,  Francis  L.  Sul- 
livan, Arnold  Moss,  John  Archer,  Luis  Van 
Rooten,  Stephan  Chase,  Morris  Ankrum, 
Angela  Clarke,  Iris  Adrian,  Frank  Faylen, 
Mike  Mazurki,  Marc  Lawrence,  Tonio  Sel- 
*art,  Ralph  Smiley,  Joseph  Vitale,  Nestor 
IPaiva. 

Directed  by  Norman  Z.  McLeod 

I  "My  Favorite  Spy"  is  a  P>ob  Hope  comedy 
llhat  rides  in  high  from  start  to  finish  and 
Is  destined  to  do  the  same  for  the  boxoffice. 
■The  script  is  a  bit  of  zany  writing  neatly 
lailored  to  Hope's  specifications,  packed 
Ivith  solid  laugh  lines  and  situations  that 
Jifford  the  funny  man  opportunity  to  in- 
llulgc  himself  in  everything  from  satire  to 


HOPE  SOCK  COMEDY 

slapstick.  With  Hedy  Lamarr  as  hi-  sultry 
vis-a-vis,  the  romantics  are  wildly  insane, 
and  both  stars  deliver  them  in  the  grand 
manner.  Hope  is  surrounded  by  a  tip-top 
supporting  cast  in  this  saga  of  espionage 
in  which  the  comedian  in  a  dual  role  is 
called  upon  to  impersonate  an  international 
crook  and  a  burlesque  comedian.  Norman 
Z.  McLeod's  direction  puts  the  star-  through 
their  paces  with  no  stops.  The  laughs  are 
long  and  plentiful.  'The  show  i-  a  natural 
and  boxoffice  returns  can  be  extravagantly 
measured  on  the  basis  of  previous  Hope, 
top-notch  b.  o.  films — with  Lamarr  adding  a 
heaping  helping  of  marquee  draw. 

STORY:  Hope,  a  burlesque  comic,  i- 
picked  up  by  government  agents  who  believe 


important   spy.    When  the; 


learn  his  true  indentity.  they  enlist  his  aid 
in  performing  a  dangerous  mission.  Hope 
agrees,  sets  off  for  the  near  East  after  a 
rigorous  briefing  in  his  role  of  a  daring 
adventurer  and  demon  with  the  women.  He 
i-  supposed  to  exchange  a  million  dollars 
in  cash  for  a  role  of  microfilm  containing 
details  of  a  valuable  military  secret.  In 
Tangier,  he  meets  Hedy  Lamarr,  a  beauty 
in  the  employ  of  Francis  L.  Sullivan.  Hope 
contrive-  to  win  her  over  to  his  side  and 
together  they  foil  attempts  to  «ain  posses- 
sion of  the  important  film. 

Hope  sails  through  the  part  with  hi- 
usual  resourcefulness,  and  Miss  Lamarr's 
"mystery  woman"  is  always  alluring.  Francis 
L.  Sullivan  is  a  bulky  and  effective  heavy. 
Arnold  Moss  scores  as  Hope's  contact  in 
Tangier.  ANGEL 


CLOSE  TO  MY  HEART'  MEDIOCRE  SOAP  OPERA 

^ates  •  •  -f-  on  names  in  family  houses 


Warner  Brothers 
'2  minutes 

?ay  Milland,  Gene  Tierney,  Fay  Bainter, 
ioward  St.  John,  Mary  Beth  Hughes,  Ann 
Morrison,  James  Seay,  Baby  John  Winslow, 
iddie  Marr. 

)irected  by  William  Keighley 


Close  To  My  Heart"  is  a  woman's  pic- 
urc  pure  and  simple.  Adapted  from  a 
Mgazine  story  published  in  Cosmopolitan. 

plays  exactly  as  such  yarns  read.  The 
lot  is  almost  childishly  simple,  devoid  of 
haracterizations  or  complications  that 
light  bring  it  to  life.  Under  the  direction 
f  William  Keighley  the  action  drags  un- 
mercifully and  there's  a  monotony  about  the 

DCTOBER    2  2.    19  5  1 


affair  that  palls  very  soon  after  the  drama 
has  started.  Hardly  enough  to  balance  on 
the  credit  side  of  the  ledger,  are  some  amus- 
ing dialogue  passages  and  the  likeable  per- 
formers. "Close  To  My  Heart"  is  too 
limited  in  its  entertainment  values  to  prove 
entertaining  to  any  except  the  feminine 
element  with  the  time  and  patience  to  endure 
it.  Names  can  mean  the  difference,  however, 
and  will  help  bolster  the  weaknesses  that 
would  damn  this  to  mediocrity. 

STORY:  When  Gene  Tierney  discovers 
-he  is  incapable  of  bearing  a  child,  Ray 
Milland,  her  husband,  suggests  they  adopt 
one.  Gene  soon  discovers  the  vicissitudes 
of  adoption,  the  long  waiting  list,  etc.  She 
hears  of  a  foundling  left  at  a  police  station, 
makes  up  her  mind  that  this  will  be  her 


child.  'The  court  and  adoption  agency  place 
it  in  her  home  for  the  usual  trial  period. 
Milland.  however,  becomes  obsessed  wit! 
the  idea  of  learning  the  infant's  background. 
Utilizing  his  sources  as  a  newspaperman  he 
traces  the  story  of  a  school  teacher  betrayed 
by  a  hardened  criminal,  a  quick  marriage, 
the  girl's  death  by  suicide,  the  father's 
sentencing  to  the  electric  chair.  P.ut  he 
learns  too  that  heredity  does  not  pre- 
determine wickedness,  and  pleads  success- 
fully to  have  the  child  remain  with  him. 

Kay  Milland  performs  the  husband  role 
with  his  usual  polish.  Gene  Tierney  is  lovely 
and  sympathetu  as  the  mother.  Quite  the 
best  performance  in  the  picture  is  that  of 
Fay  Painter  playing,  of  course,  the  -ecretary 
of  the  adoption  agency.  JAMES 


TWO  TICKETS  TO  BROADWAY 

Rates  •  •  •  +  except  in  action  houses 

RKO-Radio 
106  minutes 

Cast:  Tony  Martin,  Janet  Leigh,  Gloria  De- 
Haven,  Eddie  Bracken,  Ann  Miller,  Bob 
Crosby,  Barbara  Lawrence,  Joe  Smith, 
Charles  Dale,  Taylor  Holmes,  Buddy  Baer. 
Directed  by  James  V.  Kern 

••  Two  Tickets  To  Broadway"  is  a  musical 
—frankly  and  unashamedly  that  without  pre- 
tensions of  dramatics  or  complicated  story. 
As  presented  by  Howard  Hughes,  the  flashy 
Technicolor  extravaganza  might  have 
popped  right  out  of  the  'thirties  as  one  in 
the  "Golddiggers"  or  "Broadway  Melody" 
series.  And  the  formula,  for  all  its  years, 
works  like  a  charm.  The  story's  so  slight 
you  could  knock  it  over  with  a  feather,  but 
James  Kern's  direction  keeps  it  a  lively 
and  interesting  thread  on  which  to  hang 
the  musical  numbers  and  the  hand-picked 
cast  of  players  fill  it  with  gay,  bright  charm. 
Busby  Berkeley,  plainly,  hasn't  lost  his  rare 
ability    to    concoct     imaginative  specialty 


TOPFLIGHT  MUSICAL  REVUE 

routines.  Whether  they're  intimate  little 
sing  sessions  on  a  N.  Y.  rooftop  or  big 
revue  sequences,  the  Berkeley  sequences 
have  polish,  lilt,  and  freshness.  The  picture 
is  nearly  all  music — songs,  dances,  acroba- 
tic displays,  opera — the  works.  It's  too  long 
in  its  present  editing,  but  if  and  when  cut 
down  to  size  it  ought  to  shape  up  as  top- 
flight revue  entertainment,  a  solid  attraction 
in  all  but  the  action  houses.. 

STORY:  Janet  Leigh  leaves  her  New 
England  home  town  filled  with  high  hopes 
and  ambitions  for  a  stage  career.  In  New 
York  she  meets  a  trio  of  girls  and  Tony 
Martin.  Their  agent  Eddie  Bracken  cooks 
up  a  TV  show  and  to  keep  the  group  intact 
he  hires  an  actor  to  impersonate  Bob 
Crosby's  producer  and  make  frequent 
promises  of  a  forthcoming  shot  on  the 
Crosby  show.  Ultimately  Martin  and  the 
girls  make  the  grade  but  not  until  love  has 
had  its  minor  ups  and  downs  and  a  suc- 
cession of  zany  doings  have  run  a  merry 
musical  course. 


For  Tony  Martin,  "Two  Tickets  Tq 
Broadway"  marks  the  resumption  of  a. 
screen  career  that  has  never  fulfilled  its 
early  promise.  Martin's  great  both  as  v* 
calist  and  actor.  Janet  Leigh  is  fresh  an« 
pretty  as  the  naive  tyro.  Gloria  DeHaveti 
Ann  Miller  and  Barbara  Lawrence  amusi 
as  the  three  girls.  Eddie  Bracken's  agent 
draws  howls,  and  Bob  Crosby  plays  himsel 
with  likeable  charm.  Vet  vaude  comics 
Smith  and  Dale  garble  the  King's  Englisl 
in  frantic  fashion,  scoring  solidly. 

Of  the  musical  numbers,  Martin's  render 
ing  of  "Manhattan"  and  "Pagliacci"  are  th< 
best — with  an  Indian  number  coming  up  ir 
the  finale  for  honors.  Bob  Crosby  lamoon 
his  position  as  an  "unknown"  brother  it 
amusing  style,  and  the  Charlevels  scon 
resoundingly  with  their  breathtaking  aero 
batics.  Ann  Miller's  rhythmic  perfection  i 
always  a  joy.  Gloria  DeHaven  and  Barbar 
Lawrence  have  their  specialty  innings  too 
and  come  across  with  showmanly  verve. 

HANNA  (Hollywood] 


ACROSS  THE  WIDE  MISSOURI'  DISAPPOINTING  GABLE  WESTERN 

Rates  •  •  •  —  on  name  draw 


M-G-M 
78  minutes 

Clark  Gable,  Ricardo  Montalban,  John 
Hodiak,  Adolphe  Menjou,  Maria  Elena 
Marques,  J.  Carrol  Naish,  Jack  Holt,  Alan 
Napier,  George  Chandler,  Richard  Ander- 
son, Henri  Le'.ondal,  Douglas  Fowley,  Louis 
Nicoletti,  Ben  Watson,  Russell  Simpson, 
Frankie  Darro,  James  Whitmore. 
Directed  by  William  A.  Wellman 

The  widely-heralded  Clark  Gable  starrer, 
"Across  The  Wide  Missouri,"  which  was 
reasonably  expected  to  have  been  an  out- 
door epic  in  the  M-G-M  grand  manner, 
emerges  instead  a  modest  Indian-vs-white 
adventure  film.  In  many  ways  similar  to 
"Broken  Arrow,"  which  so  memorably 
Pioneered  the  portrayal  of  redmen  as  pretty 
decent  folks,  this  Robert  Sir'  production 
won't  nearly  approach  the  critical  acclaim 
and  boxoffice  success  afforded  that  film.  As 
directed  by  William  Wellman,  the  picture 
unwinds  at  a  leisurely  pace  that  makes  its 


surprising  78-minute  running  time  seem 
long.  The  towering  backgrounds  dominate 
the  film,  rather  than  the  action  and  romance, 
a  weakness  which  could  be  blamed  on  an 
overactive  and  indiscriminate  scissors. 
Grosses  should  be  well  above  average  be- 
cause of  the  strong  marquee  names  and 
Technicolor.  However,  tepid  word-of-mouth 
will  hamper  the  chances  for  a  sock  run,  and 
the  short  footage  may  force  theatremen  to 
relegate  it  as  a  dualler. 

There  is  nothing  outstanding  in  any  of 
the  performances,  although  lovely  newcomer 
Maria  Elena  Marques,  as  the  Indian  lass 
whom  rough  and  ready  fur  trapper  Gable 
chooses  for  his  mate,  lends  added  eye  ap- 
peal to  the  magnificent  Western  scenery. 
Satisfactory  in  supporting  roles  are  Ricardo 
Montalban  as  a  treacherous  Indian,  John 
Hodiak,  Adolphe  Menjou  and  James  Whit- 
more as  Gable's  trapper  companions,  and 
J.  Carrol  Naish  and  Jack  Holt  as  Indian 
chiefs.  The  film  is  one  of  the  lesser  di- 
rectorial achievements  bv  Wellman. 


STORY:  Fur  trapper  Clark  Gable,  id 
order  to  gain  entry  to  forbidden  Blackfoo 
territory,  makes  a  deal  with  Indian  chie 
J.  Carrol  Naish  to  marry  Maria  Elen 
Marques,  an  Indian  princess  whose  grand 
father,  Jack  Holt,  is  chief  of  the  Blackfoo 
trible.  She  leads  her  husband's  trappnj 
party  over  the  Rockies  into  a  land  rich  i 
beaver  and,  after  a  skirmish  with  som 
hostile  Indians  led  by  Ricardo  Montalban 
the  white  men  succeed  in  establishing  friend 
ly  relations  through  Holt.  However,  oil 
of  the  trappers  whose  brother  was  killed  b 
Montalban,  murders  Holt  for  revenge,  there 
by  making  Montalban  the  new  chief  an 
starting  a  war  between  the  Indians  and  th 
white  men.  When  the  trappers  attempt 
return  to  friendly  territory,  Montalban  lead 
an  attack  against  ,  them,  killiirg  Mis 
Marques  and  attempting  to  kidnap  her  infan 
son.  .The  attack  is  repelled,  Gable  kil 
Montalban,  giving  up  his  trapping  activitir 
and  taking  the  child  to  be  raised  with  hi 
mother's  people.  JACKSON 


'THE  UNKNOWN  MAN'  NOVEL  MELODRAMA  SHORT  ON  ACTION 

Rates  •  •  4-  as  dualler 


Metro-Gold  wyn-Mayer 
88  minutes 

Walter  Pidgeon,  Ann  Harding,  Barry  Sul- 
livan, Keefe  Brasselle,  Lewis  Stone,  Eduard 
Franz,  Richard  Anderson,  Dawn  Addams, 
Philip  Ober,  Konstantin  Shayne,  Mari 
Blanchard,  Don  Beddoe,  John  Maxwell, 
Robert  Williams. 
Directed  by  Richard  Thorpe 

"The  Unknown  Man,"  another  in  the 
group  of  medium  bracket  pictures  from 
MGM,  possesses  an  interesting  enough  basic 
story  idea — a  plot  about  a  lawyer  in  the 
unique  position  of  defending  a  young  man 
for  a  murder  the  barrister  actually  com- 
mitted himself.  The  screenplay  fails  to  make 


the  most  of  the  premise,  'missing  completely 
in  action  details  and,  instead,  setting  most 
of  the  narrative  against  the  background  of 
a  courtroom.  An  hour  and  a  half  is  too 
long  tor  such  a  trick  story,  and  added  edit- 
ing might  yet  bring  the  piece  into  line  as 
provocative  fare.  The  performances  are 
really  good,  and  director  Richard  Thorpe 
imbues  his  casl  with  vitality  and  enthusiasm 
— so  much  so  that  their  works  often  over- 
comes the  story's  shortcomings. 

Walter  Pidgeon  plays  the  middle-aged  at- 
torney with  deep  sincerity.  And  Barry  Sul- 
livan slugs  through  the  part  of  a  militant 
d.  a.  with  plenty  of  verve.  Ann  Harding  is 
her  usual  lovely  self  as  Pidgeon's  wife. 
Keefe   Brasselle   is   splendid   as   the  tough 


criminal. 

STORY:  Walter  Pidgeon  is  a  corporatiot 
lawyer  who  is  talked  into  accepting  th 
case  of  Keefe  Brasselle,  a  young  man  ac 
cused  of  murder.  Pidgeon's  gets  the  bti 
off  but  later  comes  to  believe .  him  guilty 
In  the  course  of  his  investigation  he  see 
first  hand  that  corruption  is  ruining  th 
city — that  a  mastermind  is  at  the  top.  Th 
trail  leads  to  Eduard  Franz  who  masks  hi 
underworld  activities  by  working  as  tli 
head  of  the  crime  commission.  In  a  fit  h 
rage  Pidgeon  kills  Franz.  Brasselle  is  take 
in  for  the  murder  and  convicted.  PidgeO 
cannot  satisfy  his  conscience,  so  expose 
himself  to  Brasselle  and  is  himself  knife 
in  the  back.   T AMI'S. 


FILM  BULL 


THE  BOOKING  OF  THE  WEEK 


/MAGfCFACS 


MINGS  YOUll 


Sll 


EOF  STORY: 


LOVE  NEST  SLAYING 
OF  ADOLPH  HITLER 

-AFTER  SHAMELESS  CHAMPAGNE  PARTY! 


MAN  WITH  A  CLOAK'  MORBID  PERIOD  MELODRAMA 

Rates  •  •  on  names 


Mctro-Goldwyn-Mayer 
81  minutes 

Joseph  Cotten,  Barbara  Stanwyck,  Louis 
Calhern,  Leslie  Caron,  Joe  de  Santis,  Jim 
Backus,  Margaret  Wycherly,  Richard  Hale, 
Nicholas  Joy,  Roy  Roberts,  Mitchell  Lewis. 
Directed  by  Fletcher  Markle 

"The  Man  With  A  Cloak"  is  a  dreary 
costume  mystery  melodrama,  set  in  New 
York  in  the  early  part  of  the  19th  Century, 
which  must  depend  on  its  names  tor  box- 
office  vehicle  for  the  co-starring  talents  of 
Joseph  Cotten  and  Barbara  Stanwyck  it  is 
far  below  their  usual  standard.  The  script 
is  a  lifeless,  labored  affair,  totally  without 
action  and  romantic  values.  A  surprise  end- 
ing in  which  the  character  played  by  Cotten 
is  revealed  as  Edgar  Allen  Poe  serves  no 


sound  dramatic  purpose.  Performances  are 
the  only  string  point  the  picture  can  boast, 
although  Miss  Stanwyck"s  role  of  a  sinister 
courtesan  affords  the  actress  no  opportuni- 
ties to  tote  out  her  fiery  brand  of  histrionics; 
she  just  ambles  along  mouthing  the  long 
dull  dialogue  passages  as  competently  as 
possible.  Fletcher  Markle's  direction  is  as 
listless  as  the  screenplay.  The  stars  may 
give  this  an  initial  boast,  but  returns  should 
diminish  down  the  line. 

STORY:  After  Cotten,  a  wandering  barfly, 
befriends  Leslie  Caron,  freshly  arrived  in 
New  York  from  FYance,  he  is  plunged  into 
a  situation  involving  Louis  Calhern,  a  dying 
millionaire,  and  Barbara  Stanwyck,  one-time 
actress  now  his  mistress.  Miss  Caron  has 
come  from  Europe  to  plead  for  funds  that 
will  help  Calhern's  nephew  fight  for  political 


freedom.  Stanwyck  is  named  in  his  will,  and 
by  depriving  Calhern  of  medicine,  she  ex- 
pects to  hasten  the  day  of  his  death. 
Prodded  by  Cotten,  Calhern  makes  out  a 
new  will,  but  it  is  carried  off  by  a  raven| 
directly  after  it  is  signed.  Calhern  suc- 
cumbs to  a  stroke.  Cotten  discovers  thel 
will  in  time  to  foil  the  schemes  of  Stanwyck' 
and  the  household  servants  who  are  hen 
conspirators. 

Joseph  Cotten,  with  his  cloak  waving 
the  breeze,  wanders  in  and  out  of  the  action 
looking  for  all  the  world  like  an  alumnus  | 
of  "The  Drunkard".  Louis  Calhern  is  his 
usual  grand  self  as  the  old  man,  but  the | 
part  is  unworthy  of  him.  Leslie  Caron  is 
pert  and  pretty  as  the  French  girl.  Support- 
ing players  do  some  surprisingly  good  work,! 
considering  the  material  they  are  forced  tojj 
swallow.  HANXA  (Hollywood) 


LOVE  NEST'  PLEASANT  LITTLE  COMEDY 

Rates  •  •  -f  in  family  houses 


20th  Century-Fox 
84  minutes 

June  Haver,  William  Lundigan,  Frank  Fay, 
Marilyn  Monroe,  Jack  Paar,  Leatrice  Joy. 
Henry  Kulky,  Marie  Blake,  Patricia  Miller, 
Maude  Wallace,  Joe  Ploski,  Martha  Went- 
worth,  Faire  Bonney,  Caryl  Lincoln,  Robert 
Jellison,  John  Costello,  Charles  Calvert,  Leo 
Clary,  Jack  Daly,  Ray  Montgomery,  Flor- 
ence Auer,  Edna  Holland,  Liz  Slifer,  Alvin 
Hammer. 

Directed  by  Joseph  Newman 

"Love  Nest"  is  pleasant  family  entertain- 
ment, a  show  with  moments  of  charm,  quite 
a  bit  of  bright,  saucy  dialogue,  and  ingrati- 
ating performances,  although  it  does  require 
a  long  time  to  get  started,  and  the  story  is 
paper-thin.   Production  by  Jules  Buck  is  an 


excellent  example  of  the  "middle-type"  pic- 
ture— not  too  many  sets  but  the  thing  never 
gives  the  feeling  of  being  hemmed  in  by 
budget.  Joseph  Newman's  light  direction 
keeps  the  pace  moving  along  swiftly  enough 
and  does  much  toward  making  the  charac- 
ters come  off  as  likeable,  amusing  people. 
It  also  marks  the  return  of  Frank  Fay  to 
the  screen  after  his  huge  success  with  the 
Broadway  hit,  "Harvey".  "Love  Nest" 
should  be  well  received  in  family  houses,  but 
action  spots  won't  find  it  suitable,  even  for 
a  supporting  spot. 

STORY:  W  illiam  Lundigan,  returned  war 
veteran  discovers  his  wife  has  bought  an 
apartment  house  during  his  absence  over- 
seas. The  pretty  young  matron,  June  Haver, 
expects   the   menage   to   produce  sufficient 


income  for  Lundigan  to  concentrate  on  his] 
writing.    Of  course  it  doesn't  and  the  hus- 
band spends  most  of  his  time  attending  to] 
repair  work  and  quieting  the  complaints  off 
the  tenents.    An  added  complication  is  thel 
mystery  surrounding  Frank  Fay,  an  amiable! 
guy  with  a  penchant  for  courting  middle-] 
aged    women.     He's    revealed    to  be 
Lochinvar    who    has    taken    quite    a  few] 
dowagers  down  the  line  but  explains  it  all] 
as  being  a  service  to  the  world.    Fay  ia 
hauled  into  the  click,  achieves  enough  public 
city  for  Lundigan  to  get  off  the  financial! 
hook  by  writing  and  selling  his  life  story] 
Tune  Haver  is  pert  and  pretty  as  the  wife 
Lundigan  is  good  as  the  husband,  and  Faj 
scores  in  the  Casanova  role  with  his  casu 
style.    Supporting  players,  especially  Jac 
Paar  and  Marilyn  Monroe,  are  fine.  TAME.1 


THE  RACKET'  EXPLOITABLE  CRIME  MELLER 

Rates  •  •  -L  in  action  houses,  more  with  exploitation 


RKO-Radio 
88  minutes 

Robert   Mitchum,   Lizabeth   Scott,  Robert 
Ryan,  Robert  Hutton,  William  Conrad. 
Directed  by  John  Cromwell 

"  The  Racket"  i^  a  routine,  though  ex- 
ploitable, crime  melodrama  that  was  ap- 
parently rushed  through  production  and 
into  release  in  hopes  of  cashing  in  on  the 
recent  Retainer  investigation.  A  fairly 
•MroiiK  name  cast  in  this  Howard  Hughes 
presentation,  combined  with  a  theme  that 
i-  dominating  the  nation's  front  pages, 
should  make  it  a  better-than-average  at- 
traction for  action  houses,  particularly  where 
ballyhooed.  However,  the  contrived,  old- 
hat  script  and  some  uneven  performances 
Spoil  the  (banco  of  this  RKO  release  for 
anything  better  than  fair  returns  elsewhere. 

10 


A  climax  which  leaves  a  welter  of  loose 
ends  dangling  from  the  involved  >tory  will 
leave  audiences  more  confused  than  amused, 
which  won't  help  excite  favorable  word-of- 
mouth. 

Robert  Mitchum.  as  the  crusading  police 
captain;  Robert  Ryan,  as  the  Costello-type 
racketeer;  Lizabeth  Scott,  as  the  singer  who 
become*  mixed  up  with  Ryan's  gang — all 
are  familiar  and  dull  as  stock  characters 
found  in  Mich  films  usually  are,  and  the 
blame  rests  squarely  upon  the  familiar  and 
inadequate  screenplay  by  William  W. 
Haines  and  W.  R.  Burnett.  John  Cromwell, 
directing  for  producer  Edmund  Grainger, 
manages  to  instill  some  tension  with  camera 
and  sound  but,  like  the  cast,  fails  to  save 
"  The  Racket"  from  mediocrity. 

STORY:  Police  captain  Robert  Mitchum 
orders  gangster  Robert   Ryan   to  stay  out 


<>f  his  precinct,  then  sets  out  to  get  Ryar 
when     the     latter     has     Mitchum's  homi] 
bombed.   In  order  to  lure  Ryan  into  a  trap 
Mitchum  arrests  the  crook's  brother.  ToJ 
political   machinery   of   the   big   shot  whJ 
runs  the  town  goes  into  motion  and  Lizabetlj 
Scott,  the  brother's  girl  friend,  is  chosen  t| 
take  the  rap.   When  a  pair  of  Ryan's  hoc 
are  killed  trying  to  eliminate  a  cop  w 
could  prove  that  Lizabeth  was  framed,  Ryz\ 
in  desperation  goes  to  Mitchum's  precinc 
station,  hoping  to  silence  the  girl  himself 
He  kills  a  policeman,  is  captured  and  bo 
ed  for  murder,  then  deliberately  shot  dot 
by  a  crooked  special  investigator,  Willi: 
Conrad,  as  he  tries  to  escape.  Conrad 
another  underling  of  the  anonymous  "Mi 
boss"  are  taken  into  custody  by  agents  of  j 
Crime    Commission,    leaving    a    vague  ill 
pression  that  the  backbone  of  the  syndicat) 
will  be  broken.  JACKSON 

F  I  1.  M     B  ILL  E  T  I 


ON  OF  DR.  JEKYLL'  MINOR  BUT  EXPLOITABLE  SEQUEL 


ates  •  • 


action  houses,  satisfactory  dualler 

Mice  gives  the  picture  acting  deftness,  that 
at  times  nearly  overcomes  the  shortcomings 

of  a  humdrum  screenplay.  In  addition,  tin- 
expected  transformation  materializes  only 
once — and  that  briefly — a  fact  that  won't 
please  the  horror  fans  who  will  be  drawn 
by  the  title.  Stymour  Friedman's  direction 
is  competent;  the  physical  trappings,  most 
presentable. 


■pmbia 
minutes 

mis  Hayward,  Jody  Lawrence,  Alexander 
iox,  Lester  Matthews,  Gavin  Muir,  Paul 
vanaugh,  Rhys  Williams,  Doris  Lloyd, 
aire  Carleton,  Patrick  O'Moore,  James 
igan,  Leslie  Denison,  Robin  Camp, 
rected  by  Seymour  Friedman 


ic  Son  of  Dr.  Jekyll"  is  an  exploitable 
for  this  attempt  at  a  sequel  to  the 
1  horror  film  of  yesteryear.  Columbia, 
ront  office,  uncredited  production,  pre- 
a  good  enough  show  behind  the  handle, 
ardly  one  to  come  into  the  same  class 
e  original,  despite  the  casting  of  such 
th  mummers  as  Louis  Hayward  and 
under  Knox  in  key  roles.   Their  pres- 


STORY:  Louis 
of  the  legendary 
Jekyll,    is  reared 
Alexander  Knox,  a 


Hayward,  orphaned  son 
.ondon  psychologist,  Dr. 

by  his  father's  friend, 
doctor  who  also  manages 


the  considerable  Jekyll  estate.  Hayward,  a 
medical  student,  falls  in  love  with  Jody 
Lawrence  but  feels  he  should  not  marry 
until  he  proves  his  father  was  not  a  monster 


but  a  scientist.  Hayward  rebuilds  his 
father's  laboratory  and  attempts  to  duplicate 
Jckyll's  experiment.  It  is  unsuccessful. 
Hayward  ultimately  discovers  Knox  has 
the  formula,  eliminating  one  vital  ingredient. 
When  properly  administered  it  does  not 
make  him  a  monster.  There  is  a  showdown 
between  that  two  that  results  in  the  destruc- 
tion of  Knox  in  a  burning  building,  the 
clearing  of  the  Jekyll  name  with  the  revela- 
tion that  Knox  has  been  usinn  the  legend 
for  his  own  evil  purpose. 

Hayward  ami  Knox  carry  the  bulk  of  the 
picture  with  expert  portrayals.  Jody  Law- 
rence pleases  in  the  feminine  lead.  Support- 
ing players,  representing  the  English  charac- 
ter actor  contingent,  perform  their  usual 
workmanlike  jobs.  ANGKI. 


HE  SEA  HORNET'  ROUTINE  SEA  MELODRAMA 


ttes  •  • 


action  houses 


J  public 
f  minutes 

]  d  Cameron,  Adele  Mara,  Adrian  Booth, 
%  ill  Wills,  Jim  Davis,  Richard  Jaeckel, 
I  en  Corby,  James  Brown,  Grant  Withers, 
|illiam  Ching,  William  Haade,  Hal  Tali- 
t  rro,  Emil  Sitka,  Byron  Fougler,  Monte 
lie,  Jack  Pennick. 
1  rected  by  Joseph  Kane 

■'The  Sea  Hornet"  possesses  a  title  and 
■  r  of  value  on  the  marquee  of  the  action 
Bises,  but  its  entertainment  ingredients  are 
Burficient  for  more  ambitious  purpose-, 
le  overlong  Republic  production  is  strictly 
f  inula,  the  account  of  a  pair  of  deep  sea 
■ers  who  become  involved  in  an  unsavory 
■>iect  into  which  thev  have  been  lured  by 


a  sultry  beauty.  The  romantics  consume 
more  running  time  than  is  necessary,  and 
the  inclusion  of  several  song  specialties  by 
chanteuse  who  is  in  cahoots  with  the  heavies 
serves  only  to  slow  up  the  show.  Joseph 
Kane,  doubling  as  producer  and  director, 
performs  a  strictly  routine  job  in  both 
categories. 

STORY:  Rod  Cameron  rejects  the  invita- 
tion of  Adele  Mara  to  blow  up  a  sunken 
ship  because  she  refuses  to  divulge  more 
details.  His  partner,  however,  smitten  with 
Adele's  obvious  charms,  accepts  the  deal. 
A  few  days  later  Cameron  hears  that  he  is 
dead,  supposedly  because  of  an  underwater 
accident.  Cameron  hasten  to  the  scene, 
begins  an  investigation  on  his  own,  soon 


discovers  Jim  Davis  is  behind  all  of  the 
skullduggery.  Eventually  Adele  Mara  is 
shown  as  a  good  girl  whose  interest  in  the 
whole  business  is  her  anxiety  to  shield  the 
name  of  her  father,  a  skipper  supposedly 
responsible  for  the  wrecking  of  the  craft. 
Cameron  proves  to  his  own  satisfaction  that 
his  buddy  was  really  murdered;  that  Adele's 
pappa  had  no  part  in  the  disaster.  Davis 
has  been  covering  up  his  own  evil-doing — 
the  fact  that  the  ship  had  been  smuggling 
gold. 

Adele  Mara  is  quite  the  best  of  the  cast 
although  Rod  Cameron  makes  his  heroics 
believeable.  Adrian  Booth  is  the  warbler, 
and  Chill  Wills  is  on  deck  for  as  much 
humor  as  the  part  of  Cameron's  side-kick 
allows.  AXGEI. 


SLAUGHTER  TRAIL'  BALLAD-TYPE  WESTERN  FALLS  FLAT 

I  tes  •  4-  for  rural  and  western  houses 


i:0-Radio 

■  minutes 

C>t:  Brian  Dcnlevy,  Gig  Young,  Virginia 
Cl:y,  Andy  Devine,  Robert  Hutton,  Terry 
■kyson,  Lew  Bedell,  Myron  Healey,  Ken 
■utnik,  Eddie  Parks,  Ralph  Peters,  Rick 
fiman,  Lois  Hall,  Robin  Fletcher,  Ralph 
jlkie,  Fenton  Jones. 

I  ected  by  Irving  Allen 

Bsiaughter  Trail"  sets  the  durable  Wes- 
Hi  back  some  twenty  years.  The  I  ine- 
cir  production  by  Irving  Allen  picked  up 

II  RKO-Radio  release  is  an  incredibly  poor 
■Ige-podge  of  story,  action,  and  music.  It 

*0T  LEAD'  STANDARD  TIM 

Ftes  •  •  in  western  houses 

F  O-Radio 

■  minutes 

li  Holt,  Joan  Dixon,  Ross  Elliott,  John 
liner,  Paul  Marion,  Lee  MacGregor, 
Slnley  Andrews,  Paul  E.  Burns,  Kenneth 

■  Donald,  Richard  Martin. 
I1  ected  by  Stuart  Gilmore 

■  Hot  Lead"  is  lively  enough  for  the  Tim 
m\t  fans,  a  brisk,   business-like  Western 

n| tlx-  put  together  by  producer  Herman 


roung- 
.  The 


is  the  kind  of  picture  on  which  even 
sters  will  feel  inclined  to  walk  ou 
choppy  story  suffers  countless  interruptions 
during  which  toothy  baritone  Terry  Gilky- 
sqn  chants  a  succession  of  folk  songs.  As 
if  this  were  not  grim  enough,  Gilkyson  and 
a  choral  group  are  used  in  the  background 
to  sing  a  ballad  which  tells  about  the  action. 
The  camera  work  is  good,  but  this  is  the 
only  favorable  point  that  can  be  found  in 
"Slaughter  Trail."  Allen's  direction  and  the 
acting  are  just  as  dull  as  the  script.  Some 
rural  areas  may  find  palatable  the  ballad 
western  formula  as  it  is  used  here,  but  else- 
where this  can  be  expected  to  satisfy  no  one. 


HOLT  WESTERN 


Schlom  and  directed  with  a  good  eye  for 
action  values  by  Stuart  Gilmore.  Charac- 
terisations follow  the  usual  pattern  of  the 
series  with  Holt  tending  to  the  heroics,  and 
sidekick  Richard  Martin  supplying  the 
comedy  antics. 

Holt  is  effective  as  the  sagebrush  tough 
guy.  and  Richard  Martin's  comedy  amuses. 
In  support  Ross  Elliott  and  John  Dehner 
stand  out.    Joan   Dixon  handles  the  slight 


TOBER    22.    19  5  1 


STORY:  Yirginia  Grey  works  with  Gig 
Young,  a  highwayman.  After  a  job  involv- 
ing the  theft  of  valuable  gems  she  takes 
refuge  in  an  army  post  commanded  by 
lirian  Donlevy.  She  attempts  to  proceed 
on  her  way  but  is  prevented  by  an  Indian 
uprising.  A  pitched  battle  between  the 
whites  and  reds  i*  precipitated  because 
Young  and  his  cohorts  have  ruthlessly 
killed  a  couple  of  Indians.  Donlevy  refuses 
to  turn  them  over  to  the  savages,  insists  they 
stand  trial.  A  battle  ensues  and  with  the 
killing  of  the  bandits,  peace  is  restored.  Mi*- 
Grey  experiences  a  regeneration  and  is  per- 
mitted to  go  free.  ANGEL 


feminine  lead  expertly. 

STORY:  Ross  Elliott,  a  telegrapher,  is 
sent  to  jail  and  paroled  because  of  the  in- 
fluence of  John  Dehner  who  gets  him  a  job 
at  a  railway  station,  thus  expecting  to  have 
an  information  pipeline  about  the  move- 
ments of  gold  shipments.  Tim  Holt  learns 
about  the  scheme,  convinces  Elliott  that  he 
should  work  for  the  other  side  and  betray 
the  gang.  After  the  usual  fussin'  and  firin' 
it's  all  accomplished.  AXGEL 

11 


Movies  Are  Coming  of  Age 


(Continued  from  Page  .5) 

\\  hat  constitutes  a  "good"  picture  is,  of 
course,  a  moot  question  with  as  many 
answers  as  there  are  individual  likes  and 
dislikes.  Hut  if  we  are  to  judge  by  the 
current  upsurge  in  the  boxoffice  and  take  a 
look  at  the  films  currently  racking  up  the 
greatest  returns,  a  common  denominator 
stands  out — they  are  all  adult  pictures. 

Let's  take  four  of  the  top  grossers — '"A 
Streetcar  Named  Desire,"  "A  Place  in  the 
Sim."  An  American  in  Paris"  and  "People 
Will  Talk.'*  Varied  in  theme  and  in  presen- 
tation, each  is  a  hand-fashioned  product 
that  spurns  the  formula,  factory-made  tech- 
niques ami  delves  into  themes  that  were 
formerly  taboo  because  of  censor  problems, 
or  were  considered  boxoffice  poison.  Each 


lapping  it  up  like  starved  cats — and  telling 
their  friends  not  to  miss  it. 

"A  Place  in  the  Sun,"  George  Stevens' 
masterful  treatment  of  Theodore  Dreiser's 
classic  novel.  "An  American  Tragedy."  is 
starkly  realistic,  unleavened  by  sticky  senti- 
ment, comedy  or  pap  elements.  It,  like 
"Streetcar",  has  another  apparent  kiss  of 
death — a  tragic  ending.  Vet  it  arouses  such 
emotion,  such  sympathy  for  the  principals, 
makes  such  an  impact  on  the  audience  that 
the  "don't  miss"  urgings  fly  rampant  after 
the  theatregoer  emerges  from  the  film. 

At  the  other  end  of  the  pole.  "An  Ameri- 
can in  Paris."  sparked  by  the  inimitable 
Gene  Kelly,  is  the  grown-up  musical.  One 
of  the  principal  ingredients  in  its  entertain- 
ment formula  is  ballet.   "Ballet!",  you  say, 


has  aroused  discussion.  They  have  made 
people  "talk  movies" — and  that  is  a  good 
thing  for  the  entire  industry. 

"Streetcar"  is  a  subtle  probing  of  morality 
concentrating  it>  drama  in  the  conflict  be- 
tween a  faded  Southern  belle  and  a  young 
brute.  By  all  previous  standards,  the  story 
should  never  have  been  touched  by  a  movie 
studio.  The  writings  of  Tennessee  W  illiams, 
author  of  the  play,  are  unorthodox,  filled 
vviih  long  stretches  of  brilliant,  but  often 
obscure  and  profound  dialogue  that  taxes 
credulity.  The  theme  of  "Streetcar"  encom- 
passes elements  that  wouldn't  have  stood  a 
Chinaman's  chance  for  mass  audience  ac- 
ceptance at  one  time.  Yet  under  the  fine 
hand  of  Klia  Kazan,  the  film  dodges  the 
censor-  to  emerge  as  one  the  greatest 
dramas  of  our  time  and  the  "masses"  are 
12 


horrified  at  this  once-toxic  b.  o.  Rut  "The 
Red  Mioes"  had  already  given  an  inkling 
'•i  the  American  public's  acceptance  of  this 
art.  and  in  this  superlative  M-G-M  musical 
the  ballet  sequences  will  be' among  the  most 
talked-about  "go  see"  factors.  It  also  has 
wit.  charm,  sophistication  and  sheer  beauty, 
elements  not  limited,  of  course,  to  the  adult 
mind,  but  certainly  integrants  essential  to 
mature  enjoyment  of  this  type  of  picture. 

Joseph  Mankievvicz,  whose  "All  About 
Eve"  and  "A  Letter  to  Three  W  ives"  were 
earlier  straws  in  the  wind  to  indicate  that 
the  public  would  embrace  adult  films,  takes 
another  hush-hush  subject  for  "People  Will 
I  alk  It's  the  -torv  of  an  unmarried  girl 
who.  finding  herself  pregnant,  goes  to  a 
doctor  for  advice.  First  he  saves  her  from 
suicide  by  lying,  telling  her  that  she  is  not 


pregnant,  then  he  marries  her.  prepared  to 
lake  the  coming  child  as  his  own.  and 
happiness  is  in  store  for  them.  A>ide  from 
the  unusual  character  of  the  story,  the  fact 
that  the  erring  girl  is  allowed  to  go  un- 
punished is  a  refreshing  change  from  the 
iron-clad  edict  in  the  industry  code  that  has 
taken  its  pound  of  flesh  from  so  many  pic- 
tures and  ha-  emasculated  their  realism. 

W  hat  made  the  industry  turn,  at  such  a 
decisive  phase  in  its  history,  to  this  kind  of 
film?  What  made  Hollywood  disprove 
beyond  doubt  the  fallacy  of  the  lament, 
"  They  don't  make  good  pictures  the  way 
they  used  to."  And.  although  there  are  more 
adult  pictures  currently  playing  than  there 
ever  were,  is  this  merely  a  coincidence,  or 
is  it  a  definite  indication  that  the  movies 
are  growing  up?  These  are  questions  worth 
considering  because  the  answers  are  sure 
to  have  a  bearing  on  the  industry's  future. 

Perhaps  it  was  merely  the  old  adage. 
"Necessity  is  the  mother  of  invention,"  that 
caused  the  current  outcropping  of  quality 
pictures.  Television  had  lured  away  a  whop- 
ping percentage  ol  regular  moviegoers  with 
its  inferior — but  free — entertainment.  People 
were  talking  about  the  TV  shows  and  movies 
became  a  lost  topic  of  conversation.  How 
to  woo  these  strays  and  get  them  back  into 
theatres?  The  answer  was  absurdly  simple 
— make  movies  that  will  be  talked  about  and 
people  will  go  out  to  see.  The  execution 
was  another  matter,  however.  The  Holly- 
wood grist-mill  had  been  turning  out  a  huge 
mass  of  factory-made  product:  it  had  evolved 
a  formula  that  had  proved  its  success— at 
least  up  to  a  little  while  ago:  "class"  or 
"prestige"  films  had  copped  awards,  but 
usually  lost  money.  And  after  all.  the  pro- 
ducers were  in  this  business  to  make  a 
profit.  It  was  going  to  be  difficult  to  make 
t'  em  change  that  formula.  Resides.  COULD 
they  turn  out  enough  really  good  pictures 
to  make  a  difference? 

Possibly  one  of  the  turning  points  in  the 
studio's  thinking  came  as  a  result  of  the 
phenomenal  grosses  registered  by  "All 
About  Eve."  a  "class"  film  tor  adults,  full 
of  witty,  sophisticated  talk  that  by  all  odds 
should  have  been  a  critical  champion  but 
a  boxoffice  dud.  The  returns,  however,  even 
in  so-called  "hick"  and  action  houses,  were 
eye-openers  that  must  have  made  even  the 
most  conservative  of  movie-makers  sit  up 
and  take  notice. 

Another  factor  mav  have  been  the  box- 
ofiice  success  of  certain  foreign  pictures, 
such  as  "Red  Shoes."  "Shoe  Shine."  "Bitter 
Rice"  and  "Bicycle  Thief."  Adult  films,  they 
grossed  much  more  in  the  general  run  of 
theatres  than  was  expected.  Only  one.  "Red 
Shoes",  was  an  expensive  production;  three 
of  the  others  were  in  a  foreign  language. 
N  et  all  supplied  the  wants  of  the  American 

(Continued  <>n  I'uge  20) 
FILM  BULLETIN 


.tV  Uk  Wty^  Gmes  with 


She  didn't  have 
the  money... 
but  she  had  the 
cutest  collateral 
in  town! 


..Virginia  FIELD 

Star)  and  SOMA  N  FRANK  GILL  JR.  *  ALBERT  J.  COHEN  ■  M  n  DOUGLAS  SIRK .  ^ >  ALBERT  J.  COHEN 


EXPLOITATION  PICTURE 


U-l  LATCHES  ON  TO  A  TARTAR 

Spectacle  Sells  'Golden  Horde' 


Su  ashbuckling  spectacle 
is  the  principal  ingredient 
of  "The  (Golden  Horde  of 
( Genghis  Khan".  I  niver- 
sal- Intel  national  s  version 
of  the  notorious  Tartar 
emperor  and  his  legions. 
The  13th  Century  Hitler, 
would-be  dictator  of  the 
world,  is  discoursed  in 
Technicolor  as  the  film 
takes  an  incident  in  his 
violent  regime  in  which 
he  (  lashes  with  a  band  of 
Fnglish  crusaders  in  his 
attempt  to  take  Persia, 
and  the  special  glamorous 
prize.  Princess  Shalimar. 
The  story  may  not  be  ex- 
actly new.  but  when  there 
is  "the  scream  of  a 
million  arrows,  the  thunder  of  ten  thousand 
hooves!"  — and  the  exotic  princess — there 
is  plenty  to  sell. 

The  characters  are  an  exploitable  bunch 
and  should  be  used  to  pique  the  interest  in 
the  film.  There  is  Genghis  Khan,  the 
Scourage  of  Asia  and  one  of  the  most 
feared  men  in  history;  his  son  Juchi.  a 
vicious,  though  smaller  edition  of  the 
Khan;  Tugluk.  hatchet-man  for  the  em- 
peror who  leads  the  plunder-mad  raids  for 
gold  and  women;  Raven,  the  Khan's  wily 
advisor.    For  their  adversaries,  the  band 


Wmr.f* 

BLYTH  &  FARRAR 

Beauty  and  Brawn 


of  Crusaders,  led  by  the 
brawny  David  Farrar. 
And.  of  course,  the  lovely 
Princess  Shalimar.  as  por- 
trayed by  Ann  Blyth.  in 
a  variety  of  filmy  cos- 
tumes that  makes  even 
the  Technicolor  blush. 
These  people  can  be  used 
in  individual  blowups,  or 
in  a  composite  cut-out 
I  see  right ) .  properly  cap- 
tioned  to  arouse  the  want- 
to-see  feeling  in  your  cus- 
tomers well  in  advance  of 
playdate. 

U-I's  boxoffices,  under 
director  David  Lipton. 
have  concocted  a  press 
book  that  features  a 
group  of  excellent  ads. 
calculated  to  punch  over  the  spectacle  and 
exotic  features,  and  some  suggestions  for 
exploitation  that  should  be  highly  effective. 
The  company  is  offering,  for  the  asking, 
a  one-minute  teaser  trailer  in  Technicolor 
that  will  give  a  special  importance  to  the 
playdate,  used  a  week  in  advance  of  the 
regular  trailer.  Also  available  without 
charge  is  a  radio  transcription  with  ten 
spots  on  the  single  platter. 

The  title  and  theme  lend  themselves 
to  a  host  of  promotion  ideas.  Properly 
used  they  should  pay  off. 


DISPLAYS 

The  colorful  players  featured  in  the  film  will 
make  an  ideal  set  piece  for  advance  lobhy  display. 
Above  is  a  suggested  arrangement,  a  life-sized 
blow-up  and  cut-out  from  various  stills.  It  would 
be  well  to  use  full  color  for  the  Crusader  and 
the  lady,  with  the  other  figures  tinted  in  red, 
while  the  title  panel  can  be  covered  with  gold 
Hitter,  with  cut-out  letters  of  title  on  top. 

Those  using  the  24-sheet  will  get  a  tremendous 
effect  by  covering  the  title  with  glue  and  applying 
gold  flitter.  This  can  either  be  spotlighted  at 
night,  or  let  the  automobile  headlights  do  the 
trick. 

Another  suggested  display  is  a  huge  scimitar 
cut-out  hung  in  lobby  with  title  lettered  across 

PROMOTIONS 

All  gold  merchandise  fits  into  a  promotion 
scheme  with  stores,  possibly  even  a  "golden 
window"  or  "gold  sale",  if  this  can  be  arranged 
with  the  merchandise  manager. 

The  popular  Shalimar  perfume  can  also  be 
utilized  for  a  promotion,  tying  in  with  the 
princess"  name  in  the  film. 


EXH0ITATI01T 
PICTURE 

of  ttai?m 


my  Am 


Hungr) 
barbarit 


for  lot 
ban  (I 


ind  u 
d  tin 


mini.  Howard  Pi 
palace  of  Prinn 


THE  GOLDEN  HORDE 


The  barbaric  legions  of  Genghis  Khan, 
sweeping  over  Asia  during  the  I3tb  century, 
were  on  their  way  to  invade  Europe.  Sniarkand. 
gateway  to  Persia,  had  to  be  overcome  before 
the  European  invasion  could  begin.  It  is  at  this 
point  that  I  niversal-International's  "The  Golden 
Horde"  picks  up  the  story  to  tell  how  Smarkand's 
beautiful  Princess  Shalimar  outwits  the  mighty 
Khan  by  pitting  his  own  leaders  against  each 
other,  and  eventually  frustrating  the  invasion  at- 
tempt. Before  she  is  through,  however,  the  clever 
little  hoyden  requires  the  help  of  a  hand  of 
English  crusaders  to  send  the  Mongol  horde 
packing.  And.  incidentally,  takes  the  not  unwill- 
ing leader  of  the  crusaders  as  her  husband. 

While  director  George  Sherman  and  scripter 
Gerald  Drayson  Adams  may  have  taken  some 
liberties  with  historical  fact,  it  should  he  forgiven 
by  the  majority  of  moviegoers  when  thev  see 
the  lovely  Ann  Blytb  in  the  role  of  Princess 
Shalimar.  the  handsome  David  Earrar  as  the 
crusaders'  leader  and  the  sumptuous  trappings 
of  the  Persian  palace.  On  the  Tartars'  side. 
Man  in  Miller  is  Genghis  Khan;  George  Mac- 
Ready,  his  sinister  advisor:  Henry  Brandon,  the 
son  of  the  Khan,  and  Howard  Petrie.  the  plug- 
ugly  who  does  the  emperor  s  dirlv  work. 


PRINTS,  CLEARANCES  TO  BE 
AIRED  AT  ALLIED  CONVENTION 

Indefinite  availability  and  postponement 
of  clearance  due  to  print  shortages  will  be 
the  most  prominent  bones  of  contention  at 
the  18th  annual  National  Allied  convention 
opening  in  New  York,  October  30,  accord- 
ing to  Wilbur  Snaper,  president  of  Allied 
Theatre  Owners  of  New  Jersey  and  con- 
vention chairman. 

It  was  also  announced  that  board  chair- 
man and  general  counsel  Abram  F.  Myers 
will  make  the  keynote  speech  at  the  con- 
vention's opening  session.  Other  speakers 
include  Metro  studio  chief  Dore  Schary  and 
William  McCraw,  international  executive  di- 
rector of  Variety  Clubs  International. 
Francis  Cardinal  Spellman  will  deliver  the 
invocation  at  the  opening  luncheon  and 
Ronald  Reagan,  president  of  the  Screen 
Actors  Guild,  has  consented  to  speak  at  the 
luncheon  if  he  can  attend  the  conclave.  Also 
attending  will  be  all  company  presidents 
and  Adolph  Zukor. 

Charging  distributors  with  creating  their 
own  clearances  in  many  instances  by  failing 
to  make  prints  available,  Snaper  said  the 
convention  will  refuse  to  accept  the  dis- 
tributors reasons  for  print  shortages  and 
will,  in  fact,  demand  action  to  counteract 
the  effect  of  lengthening  clearances.  He 
pointed  out  that  the  increasing  number  of 
complaints  received  from  exhibitors  against 
certain  exchanges  for  availability  failures 
will  give  the  problem  top  priority  at  the 
film  clinics  which  are  scheduled  to  be  con- 
ducted during  the  convention. 

Six  clinics  will  be  held,  three  each  day 
of  the  convention  proper.  The  clinics  and 
their  chairmen  arc: 

Problems  relating  to  theatres  in  towns 
under  3,500  population— H.  A.  Cole;  towns 
under  25,000  population— Ray  Branch;  large 
cities — Xathan  Yamins;  key  neighborhoods 
—Snaper;  outdoor  theatres— O.  F.  Sullivan; 
circuit  buyers  and  bidding — Jack  Kirsh. 

Preceding  the  convention's  opening  lunch- 
eon, the  convention  committee  will  meet 
October  27  and  the  board  of  directors  will 
hold  sessions  October  28-29. 

A  panel  type  of  forum  has  been  planned, 
with  exhibitors  and  distributors  invited  to 
participate,  and  a  full  social  program  has 
been  set  up  from  the  first  day  luncheon  to 
the  closing  banquet  "ii  the  final  day. 


STAR  TOURS  HAILED  'GREAT 
SUCCESS';  SOME  COMPLAINTS 

Those  areas  fortunate  enough  to  be  in- 
cluded in  the  itinerary  of  the  touring  movie 
stars  are  hailing  that  phase  of  the  "Movie- 
time  U.  S.  A."  campaign  as  a  howling 
success. 

"The  greatest  public  relations  achieve- 
ment in  the  history  of  our  industry,"  nation- 


16 


BULLETIN     MYERS  ASKS  cooperation 


Vol.  19,  No.  22 


October  22,  1951 


News 

and 

Opinion 


MOVIETIME  IN  WASHINGTON 

The  President.  Too 


al  director  Robert  J.  O'Donnell  called  the 
star  tours.  "Nothing  the  motion  picture  in- 
dustry has  ever  done  has  won  such  goodwill 
for  our  industry  as  these  personalities  ac- 
complished in  one  week  by  their  appearance 
among  the  public." 

The  New  England  tour  was  termed  "a 
colossal  success,  to  put  it  mildly"  by  Martin 
J.  Mullin,  co-chairman  for  that  area. 

COMPO  headquarters  in  New  York  were 
being  deluged  with  press  clippings  which 
showed  an  overwhelmingly  favorable  re- 
action to  the  "Movietime"  drive. 

The  only  complaints  being  heard  were 
from  exhibitors  in  those  territories  that 
were  neglected  and  where  scheduled  tours 
were  fouled  up.  It  was  also  argued  in  some 
quarters  (see  FILM  BULLETIN  editorial) 
that  Hollywood  failed  to  capitalize  the 
"Movietime"  campaign  fully  by  not  sending 
out  its  top  personalities.  The  overall  in- 
dustry attitude  toward  this  first  big  public 
relations  push  appears  to  be  that  "Movie- 
time/' is  a  wonderful  idea— lacking  only 
Hollywood's  maximum  cooperation  to  have 
made  it  a  complete  success. 


AT  JOINT  ALLIED-TOA  CONFAB 

Branding  the  systematic  raising  of  film 
prices  as  "the  greatest  obstacle  to  the 
success  of  MOVIETIME"  and  "the  fore- 
most threat  to  future  industry  cooperation," 
Abram  F.  Myers,  general  counsel  of  Nation- 
al Allied,  called  for  industrywide  continu- 
ation of  the  good  faith  and  cooperation  dis- 
played at  the  joint  convention  of  Allied  of 
the  Mid-South  and  Tri-States  TOA. 

Myers  addressed  the  precedent-setting 
meeting  in  Memphis  last  week,  at  which 
Allied  president  Trueman  Rembusch  and 
TOA  president  Mitchell  Wolfson  were  also 
principal  speakers. 

The  areas  of  conflict  and  agreement  in 
the  motion  picture  business  were  defined  by 
Myers,  who  criticized  the  "selfishness  and 
obstinacy"  which  have  "impeded  the  form- 
ation and  development  of  COMPO  and  are 
handicapping  the  present  MOVIETIME 
campaign."  He  called  on  the  industry  to 
find  a  way  to  point  its  "collective  finger  of 
scorn  at  the  satraps  and  the  lone  wolves" 
who  are  hampering  the  movement  toward 
real  industry  cooperation. 

The  areas  in  which  all  members  of  the 
industry  can  agree,  said  Myers,  include  co- 
operative action  in  the  broad  field  of  public 
relations,  joint  efforts  to  stimulate  theatre 
attendance  and  unified  action  in  legislative 
matters. 

"These  matters,  all  of  them,"  he  empha- 
sized, "are  of  vital  importance  to  the  welfare 
of  the  whole  industry.  Every  member  of  the 
industry  should  give  to  them  the  same  in- 
terest and  attention  that  he  does  to  the 
details  of  his  own  business — in  some  cases, 
a  little  more." 

Myers  delivered  a  message  to  "our  friends, 
the  distributors,"  warning  them  not  to 
"jeopardize  this  great  experiment  in  all- 
industry  cooperation  which  holds  so  much 
hope  for  benefit  to  all  of  us,  by  demanding 
higher  rentals  now."  He  reminded  them  how 
they,  in  the  past,  "have  been  fond  of  remind- 
ing the  exhibitors  that  'we  are  all  in  the 
same  boat,  don't  rock  it'.  I  now  tell  you 
the  exhibitors  are  still  in  the  same  boat  with 
you  and  you  must  share  with  them  the  last 
biscuit  and  the  last  cup  of  water  if  you  hope 
to  reach  dry  land  together." 

Should  the  distributors  continue  their 
demands  for  higher  rentals  when  boxoffice 
receipts  are  at  a  low  ebb,  said  Myers,  the 
forthcoming  Allied  convention  slogan  "un- 
doubtedly will  be,  'Cooperate  when  we  can, 
fight  if  we  must.'  " 

In  reference  to  talk  about  a  possible 
merger  of  Allied  and  TOA,  Myers  said  he 
felt  that  if  such  a  merger  took  place  and 
didn't  satisfy  the  needs  of  independent  ex- 
hibitors, "a  new  exhibitor  organization 
would  be  formed  overnight — and  it  would 
be  a  dandy." 

In  his  talk  to  the  convention  delegates, 

(Continued  on  Page  17) 

FILM    BULL  E  T  I  I 


V#'f#*.v  ami  Opin  ion 


(Continued  ham  Page  \<>) 

Allied  president  Rembusch  charged  Para- 
mount with  competitive  bidding  inequities, 
stressed  the  importance  of  tlieatre  television 
to  the  thousands  of  small  theatre-  in  areas 
where  home  TV  is  in  doubt,  and  quoted 
MPAA  sales  managers  committee  chairman 
Ben  Kalmenson  as  saying  the  committee 
"will  not  tolerate  the  illegal  practice  of  forc- 
ing pictures  by  any  salesman  or  branch 
manager." 

Outlining  the  new  TOA  platform  in  his 
speech  before  the  joint  meeting,  TOA  head 
Wolfson  revealed  plans  for  setting  up  a 
system  of  arbitration  to  eliminate  costly 
lawsuit-  and  straighten  out  differences  be- 
tween exhibitors  and  distributors.  He  also 
spoke  of  the  importance  of  theatre  TV,  ex- 
pressing the  hope  that  the  cost  of  production 
will  be  lowered  to  allow  more  theatres  to 
install  such  equipment. 

RCA  TINTED  TV  PASSES 
TESTS  WITH  FLYING  COLORS 

The  dream  of  theatre  television  in  full 
color  took  another  important  step  toward 
realization  as  the  Radio  Corporation  of 
America  demonstrated  successfully  its 
"compatible,  all-electronic  system'*  in  New 
York's  Colonial  Theatre  last  week. 

Although  the  experimenal  picture,  which 
was  transmitted  by  microwave  from  NBC's 
New  York  studio  and  the  Palisades  Park 
across  the  Hudson  to  a  9  x  12  foot  screen 
in  the  Colonial,  did  not  approach  the  point 
of  perfection  reached  by  most  film  color 
systems,  its  vivid  hues  and  unusual  clarity 
indicates  a  favorable  future  for  the  RCA 
3-tube  projector.  Some  distortion  around 
the  edges  was  noted,  particularly  in  long 
shots. 

It  was  announced  that  the  experimental 
model  used  in  the  Colonial  Theatre  is  the 
only  one  available  and  that  neither  price 
nor  production  schedule  have  been  set  as 
yet.  The  RCA  spokesman  said  the  equip- 
ment can  be  located  anywhere  in  the  theatre 
and  may  be  adapted  for  use  on  a  screen  up 
to  18  by  24  feet.  Theatres  with  large  screen 
TV  installations  will  be  able  to  receive 
NBC  color  telecasts  without  making  any 
change. 


U-I'S  FELDMAN 

To  Alleviate  the  Emergency* 


Ul  PLEDGES  MORE  PRINTS 
AS  SHORTAGE  GRIPES  GROW 

Exhibitor  complaints  about  the  shortage 
of  feature  prints  received  a  concrete  answer 
from  Universal.  A  coordinated  plan  to 
make  more  prints  available  was  announced 
by  the  company's  domestic  sale>  manager 
Charles  J.  Feldman,  during  the  series  of 
four  regional  bookers'  meetings  which  were 
concluded  in   Los  Angeles  last  weekend. 

Feldman  said  the  plan  was  the  result  of 
a  study  made  of  bookers'  analysis  of  all 
Universal  accounts  during  the  past  two 
years. 

"Our  company  is  not  only  making  avail- 
able more  prints,"  said  Feldman,  "but  by 
this  coordinated  planning  is  making  it  pos- 
sible for  all  offices  to  interchange  prints  to 
help  alleviate  the  emergency." 

Feldman  declared  that  Universal  want- 
to  give  every  exhibitor  a  chance  to  play 
pictures  "in  relation  to  his  particular  situ- 
ation and  it  is  our  hope  that  as  a  result 
of  this  planning  that  our  company  will  be 
able  to  make  a  substantial  contribution  to 
the  solution  of  this  problem.'' 

MONO-AA  REPORTS  PROFIT; 
"TURN  FOR  BETTER"— BROIDY 

The  $1,061,648  net  profit  shown  by  Mono- 
gram Pictures  for  the  year  ended  June  30, 
1951  was  a  bright  turnabout  from  the 
$663,342  net  loss  reported  for  the  same 
period  in  the  preceding  year. 

In  the  .company'-  annual  report.  Mono- 
gram-Allied  Artists  president  Steve  Broidy 
prophesied  "a  turn  for  the  better"  concern- 


ing general  industry  conditions,  stating 
specifically  that  "the  outlook  for  Monogram 
over  the  immediate  future  is  favorable." 

Broidy  promised  a  program  of  pictures 

that  will  feature  more  boxoffice  names  and 
an  increased  use  of  color.  "For  the  first 
time  in  the  history  < if  Monogram  and  Allied 
Artists,"  he  -aid,  "we  \sill  be  able  to  deliver 
to  exhibitor-  one  color  picture  every  month 
for  the  next  12  months." 

The  report  also  revealed  that  Monogram 
is  now  organizing  a  unit  to  produce  motion 
pictures  expressly  for  television. 

THEATRE  TV  IMPROVEMENTS 
HIGHLIGHT  SMPTE  CONVENTION 

A  new  method  to  enable  producers  to 
-elect  film  and  lenses  that  will  improve 
theatre  television  projection  was  a  feature 
■  •I  the  70th  semi-annual  convention  of  the 
Society  of  Motion  Picture  and  Television 
Engineers.  The  new  development  was  pre- 
sented by  RCA's  Otto  H.  Schade.  recipient 
i  A  the  fir-t  David  Sarnoff  Gold  Medal 
Award  for  outstanding  technical  achieve- 
ments in  motion  pictures  and  TV.  Peter 
Mole,  SMPTE  president,  made  the  presen- 
tation. 

Also  honored  at  the  convention  was  20th 
Century-Fox  technical  director  Farl  I.  Spon- 
able.  who  became  the  first  to  receive  two 
SMPTE  award-  simultaneously^  Sponable 
was  the  recipient  of  the  Samuel  L.  Warner 
Memorial  Award,  and  the  SMPTE  Progress 
Medal,  for  outstanding  contributions  to 
the  technical  advancement  of  movies  and 
video. 

Also  in  Hollywood,  the  Theatre  Equip- 
ment and  Supply  Manufacturers  Association 
heard  Nate  Golden,  N'PA  motion  picture 
head,  warn  that  shortages  of  copper  and 
aluminum  had  reached  a  critical  stage,  with 
the  next  six  to  nine  months  boding  stricter 
measures  for  conservation  than  ever  before. 

J.  R.  Hoff,  sales  manager  of  the  Ballan- 
tyne  Co.  of  Omaha,  was  named  president 
of  TESMA  for  the  next  two  years,  succeed- 
ing Oscar  F.  Xeu. 

FCC  OKAYS  90-DAY  TEST 
OF  PARAMOUNT'S  TELEMETER 

A  90-day  test  of  Paramount's  telemeter 
subscription  TV  system  was  authorized  by 
the  Federal  Communications  Commission. 

The  tests,  which  will  be  made  without 
public  participation  over  only  six  receivers, 
will  be  conducted  between  midnight  and 
9  a.  m..  over  KT LA-TV,  Los  Angeles.  The 
FCC  announced  that  the  conditions  corre- 
spond with  those  imposed  in  the  special 
grants  for  Zenith's  Phonevision  and  to 
(  "■eiieral  Teleradio,  Inc. 


ROSENFELD  EXITS  FOX 

Jonas  Rosenfiekl,  Jr.,  advertising 
manager  at  20th  Century-Fox  since 
1948,  announced  his  resignation,  ef- 
fective November  2,  terminating  a 
ten-year  association  with  that  com- 
pany. As  ad  chief,  Rosenfield  worked 
on  many  notable  campaigns  and  made 
speaking  tours  covering  exhibitor, 
sales  and  showmanship  meetings.  He 
also  assisted  in  the  creation  of  the 
"Movietime,  U.  S.  A."  campaign. 


C  T  OBER    22.    1  9  5  1 


17 


Short  Subjects 


BY  BARN 


EARL  [.  SPONABLE,  recipient  of  two 
memorable  awards  at  the  Society  of  Motion 
Picture  and  Television  Engineers  conven- 
tion in  Hollywood  last  week,  is  one  of  the 
main  cogs  in  2()tli  Century-Fox's  towering- 
technical  machine  that  has  been  responsible 
For  some  momentous  advances  in  sound, 
color  and  large-screen  television.  Sponable, 
who  has  been  with  Fox  for  the  last  quarter 
of  a  century,  personally  designed  most  of 
the  electrical  and  mechanical  units  required 
for  a  complete  system  of  sound-on-film  re- 
cording and  reproduction,  constituting  the 
basis  for  the  sound  motion  picture  industry 
of  today.  In  his  first  year  with  Fox  Film 
Corp.,  predecessor  of  20th-Fox,  he  designed 
and  built  the  first  sound  motion  picture 
studio — sound-proofed,  acoustically  treated, 
and  air-conditioned.  He  participated  in  the 
creation  and  development  of  the  sound 
newsreel.  He  has  been  a  pioneer  in  equip- 
ment and  techniques  for  television  as  far 
back  as  the  early  '2()s,  transferring  his 
talents  to  large-screen  theatre  TV  after  the 
close  of  World  War  II.  Earl  Sponable  well 
deserves  the  SMPTE's  Award  for  "out- 
standing contributions  to  the  technical  ad- 
vancement of  the  motion  picture  art,  parti- 
cularly in  the  fields  of  sound-on-film,  color 
film,   and    large-screen  television." 

A  COUPLE  OF  BROWNS  will  be  re- 
membered with  gratefulness  by  Indiana  and 
Georgia  industryites  for  a  long  time  to  come 
for  their  valiant  pinch-hitting  during  the 
Hollywood  personalities  tours.  Joe  E. 
Brown,  who  confesses  that  the  only  thing  he 
loves  more  than  his  family  is  baseball,  left 
his  seat  at  the  World  Series  and  flew 
through  a  heavy  rain  storm  to  appear  at 
the  Governor's  luncheon  in  Indianapolis 
when  stars  failed  to  show  up.  Vanessa 
Brown,  no  relation — except  at  heart,  on  an 
hour's  notice  of  trouble  in  Georgia  cancelled 
three  TV  dates  and  flew  all  night  from  New 
York  to  Atlanta  to  pinch  hit  for  missing 
stars.  When  she  arrived  at  3  a.  m.,  Vanessa 
was  told  that  the  contingent  had  been  filled 
in  by  a  late  replacement.  So  she  hopped 
the  plane  again  and  flew  back  to  New  York, 
arrivinu  in  time  to  fill  her  TV  commitments, 
but  without  food  and  sleep.  When  she  got 
to  her  apartment,  she  found  it  filled  with 
bouquets  from  Oeorgia  exhibitors  and 
COMPO  for  her  unselfish  efforts. 

TOA  IS  GOING  all-out  to  dig  into  the 
"grass  roots"  areas  following  the  "revolt" 
at  the  recent  convention.  The  theatre  or- 
ganization has  hired  Dick  Pitts,  formerly 
editorial  director  of  COMPO,  as  "executive 
assistant  in  charge  of  public  relations  and 
programming."  Executive  director  Gael 
Sullivan  frankly  declares  the  appointment 
lo  1m  in  line  with  the  "declared  national 
policy  of  TOA  to  strengthen  its  contact 
with  the  grass  roots."  I'itls,  for  16  years 
movie  editor  and  columnish  of  the  Charlotte 
(X.  C.)  Observer,  gained  industry-wide 
recognition  in  ln48  with  his  series  of  12 
columns   on   "What's    Righ|    With  Holly- 


TOA'S  GAEL  SULLIVAN 

An  Eye  lo  Grass  Roots 


wood,"  and  joined  COMPO  shortly  after  its 
organization.  His  first  job  in  the  TOA 
post,  according  to  Sullivan,  will  be  to  "co- 
ordinate the  basic  planning  of  (the  six  TOA 
regional  committees)  so  that  their  programs 
will  be  of  maximum  benefit  to  big  and  little 
exhibitors  alike." 

SOME  R<>.\Y  female  patron  is  going  to 
be  given  the  surprise  of  her  life.  According 
lo  the  theatre's  figures,  the  100  millionth 
ticket  to  the  huge  house  will  be  purchased 
sometime  during  the  current  engagement  of 
"A  Millionaire  for  Christy."  To  celebrate 
the  occasion,  the  theatre  is  planning  a 
special  day-long  carousal  for  the  purchaser 
of  this  ticket,  with  Richard  Cowell,  wealthy 
young  man  about  town,  squiring  the  lucky 
gal  in  his  chauffeur-driven  Cadillac  limou- 
sine to  dinner,  a  show  and  dancing  in  several 
plush  Broadway  nite  spots.  The  one  hitch 
is,  if  it's  a  male,  the  deal's  off,  at  least  so 
far  as  Cowell  is  concerned. 

THAT  LOOK  ARTICLE,  journalism's 
answer  to  the  belabored  Life  story,  is  one 
of  the  biggest  plugs  the  industry  has  ever 
received.  Metro's  Henderson  Richey,  never 
one  to  overlook  a  good  turn,  has  written  to 
every  listed  editor  of  Look,  expressing  his 
gratification  with  the  article  and  feels  that 
everyone  w  ho  makes  a  living  from  the  movie 
industry  should  and  will  do  the  same.  Mr. 
Ridley's  note  is  worth  repeating:  "As  one 
who  not  only  makes  his  living  in  the  motion 
picture  business  but  one  who,  as  most 
common  folks  do,  loves  the  movies,  permit 
me  to  say  my  thanks  to  you  for  your  con- 
structive, interesting,  factual  and  exciting 
story  in  this  week's  'Look'  entitled  'Who 
Say's  Hollywood  Is  Dying'  written  by  Jack- 
Savers.  It  jx  apparent  that  you  gentlemen 
believe  in  Americana,  believe  in  giving  the 
public  news,  fresh  pictures  and  don't  believe 
that  an  arrogant  'I'll  tell  you'  attitude  is 
good  publishing  and  from  the  ABC  reports. 


it  is  paying  off — more  people  are  buying  andl 
enjoying  'Look'  than  ever  before,  contrasted 
to  the  drastic  decline  in  the  circulation  of 
your  competitor.  You  are  so  right,  Goodi 
Movies  are  good  news  to  everyone.  Andl 
accurate  reporting  always  wins.  My  con-l 
gratulations  to  Mr.  Savers  for  a  clean,  clear,} 
concise  job  of  reporting." 

TAKING  A  LEAF  from  the  "Movie- 
time"  book,  20th  Century-Fox  is  sponsoring 
a  series  of  star  junkets  that  will  concentrate 
on  the  "grass  roots"  areas.  They  will  plug 
five  of  the  company's  top  releases,  "Let's 
Make  It  Legal,"  "Anne  of  the  Indies," 
'  Decision  Before  Dawn,"  "Golden  Girl"  and  I 
"Kangaroo".  The  last-named,  incidentally,! 
will  have  an  unusual  twist,  based  on  the! 
filming  of  the  picture  in  Australia.  "Miss 
Kangaroo",  an  Australian  beauty  to  be 
chosen  in  a  national  contest  currently  being 
sponsored  by  the  Hoyt  theatre  chain  in 
that  country,  will  tour  the  LT.  S.  on  behalf 
of  the  film,  making  radio,  TV  and  personal 
appearances  across  the  country. 

THE  "QUO  VADIS"  campaign  went  into 
high  gear  as  Metro  launched  its  biggest 
ad-publicity-exploitation  driv  e  in  history  last 
week,  preliminary  to  the  world  premiere 
next  month.  The  seven  opening  cities  werel 
covered  with  a  barrage  of  48-sheets  and 
announcement  ads  on  Oct.  14th.  Editorial 
color  layouts  in  newspapers  have  been  set 
for  15  towns,  to  be  supplemented  by  special 
full-page  color  ads  in  more  than  a  hundred 
key  cities  served  by  the  American  Weekly. 
Parade  and  metropolitan  Sunday  magazines. 
Another  important  facet  of  the  campaign.il 
tie-ups  with  nationally  advertised  products, 
1  as  now  garnered  co-ops  with  at  least  25 
merchandising  and  manufacturing  houses 
throughout  the  country. 

NO    STRANGER    to    "Oscars".  20th 
Century-Fox  finds  itself  on  the  receiving  end  J 
of  another — the  "Oscar  of  Industry"  trophyji 
for  the  best  annual  report  of  the  motion  pic-fl 
ture  industry.    The  bronze  trophy,  awarded, 
annually  by  the  Financial  World  Survey  ofl 
Annual  Reports,  will  be  presented  to  thej  * 
company  at   the   Annual   Awards  Banquet, 
in  the  Statler  Hotel,  Oct.  29th.   A  total  of 
some  5000  annual  reports  were  considered! 
this  year  in  the  international  competition  te 
be  judged  in  100  classifications. 

OF  MEN  AND  THINGS:  I'niversalj  k 
world  sales  director  Alfred  E.  Daff  begins! 
a  series  of  meetings  with  J.  Arthur  Rank 
representatives  in  Londay  today  (22nd)jX 
which  will  include  guest  speaking  spots  aljj 
the  Rank  Theatre  Circuit  convention  and! 
the  GFD  Distribution  Convention  .  .  .  JohnJ 
Joseph  Kennedy,  RKO  Radio  Far  Fasten, 
division  manager,  died  suddenly  of  a  hearl|l 
attack  at  a  Boston  hotel.  He  was  52  .  .  If 
Cecil  B.  DcMille  was  the  recipient  of  :  I 
special  citation  from  the  American  LcgioiB 
for  his  37  years  of  leardership  in  the  field  oH 
entertainment   and   popular  education  .  .  M> 


18 


FILM    BUL1  E  1 


Allied  ewe*  tc  %u>  Ifork 


NATIONAL  CONVENTION 

and 

TRADE  SHOW 

ALLIED  STATES 

ASSOCIATION 

of 

MOTION  PICTURE  EXHIBITORS 

A  meeting — important  to  every  independent 
exhibitor  .  .  .  We  invite  your  attendance! 

Address  your  correspondence  to  the  Host  Unit 
ALLIED  THEATRE  OWNERS  OF  NEW  JERSEY 
234  WEST  44TH  STREET.  NEW  YORK  18,  N.  Y. 


HOTEL  BILTMORE  Oct.  30th-  31st  and  Nov.  1st 


Tjow  booking 

LOiTCOMTIMEHT 

-      ,„„;.,  CESAR  ROWEKO 

UTTlt  BIG  HORN 
HIGHLY  DANGEROUS 

0„,ClA.K.»::«eaOCKWOO0 


6. 1.  JANE 


starring  Jean 


PORTER  •  Tom  NEAL 


SAVAGE  DRUMS 

starring  SABU 

YES  SIR/  BONES 

The  Showboat  Minstrels 

SKY  HIGH 

starring  Sid  MELTON  ■  Mara  LYNN 

LEAVE  IT  to  the  MARINES 

sirring  Sid  MELTON  '  Mara  LYNN 

VARIETIES  on  PARADE 

"erring  Jackie  COOGAN 

AS  YOU  WERE 

starring 

joe  SAV/YER  ■  William  TRACY 


IN 


TAltc*  '0'^^ 


Movies  Are  Coming  of  Age 


(Continued  jnim  Page  12) 

moviegoer  by  their  mature  approach  to  theii 
topics. 

W  hat  about  that  .meat  American  public 
Wh 


is  it 
spurned  ? 
growing  u.] 
depression 
"cold  war" 
the  growing-up  pr 


)\v  flocking  to  pictures  it  once 
mid  it  be  because  it,  too,  is 
Fired  in  the  crucible  of  a  deep 
nd  hardened  by  the  current 
nd  other  world-shaking  events. 

5  has  been  speeded 
beyond  that  of  any  period  in  history.  And 
with  this  fast-maturing  of  the  American 
people  must,  of  necessity,  come  a  maturity  of 
their  culture.  Many  have  not  yet  come  to 
recognize  this  fact,  including,  strangely,  the 
bulk  of  the  American  people  themselves. 
They  still  underestimate  their  own  culture, 
looking  upon  the  Old  World  as  the 
fountainhead  of  the  arts.  The  comparatively 
new  and  American— born  and  bred— art  of 
motion  picture  entertainment  seems  to  have 
been  recognized  everywhere  in  the  world 
except  the  U.  S.  as  an  important  American 
contribution  to  culture. 

Those  from  other  lands  looking  hopefully 
towards  this  country  as  their  standard 
bearer,  are  gratefully  noting  the  many  mani- 
festations of  America's  maturity.  The 
trend  towards  more  intelligent  motion  pic- 
them — a  highly  important 
great  many,  our  films  are 
atact  with  America.  It  is 
,hy  it  is  so  earnestly  to  be 
Americans  themselves  will 
id  not   relapse  into 


s  sue! 

iud  which  makes  use  of  the 
nominator   in  entertain- 


tures  is  one 
one,  since  to 
the  principal 
another  reasr 
hoped  that  I 
recognize  it 
the  state  of  mil 
lowest  common 
ment. 

All  this  may  sound  very  highfalutin'.  The 
average  exhibitor  doesn't  want  to  bother 
himself  with  philosophical  generalities.  He 
wants  more  business  at  the  bpxoffice  and 
to  hell  with  Art.  But  he  wants  that  busi- 
ness to  be  stable  and  lasting.  Such  patron- 
age can  be  sustained  only  by  a  regular 
following  of  audiences  whose  imaginations 
are  constantly  being  stimuated,  and  who  can 
be  made  to  feel  that  the  movies  deal  with 
those  subjects  which 
—and  deal  with  the 
basis.  You  don't  hav 
enjoy  *  nir.rure  wh 
with 
with 


t  their  own  lives 
a  down-to-earth 
be  a  highbrow  to 
„  grapples  fearlessly- 
big  human  problem  andd  comes  up 
uglv  answer. 


Looking  around  on  the  Hollywood  hori- 
zon, it  seems  there  are  quite  a  few  adult 
>S  on  the  way  to  maintain  the  upward 
ing  of  the  boxofficc  pendulum.  Columbia 
rcadving  Arthur  Miller's  dynamic  play. 
nh',,1  a  Salesman".  Another  Columbia 
production,  with  Judy  Holliday,  is  an 
original  Carson  Kanin-Kuth  Cordon  screen- 
play called  "Marrying  Kind",  which  handles 
the  divorce  problem  at  bed-level.  It  has  in 
the  works  a  screen  version  of  a  play  shortly 
opening  on  Broadway,  "The  Four  Foster". 

With  I  i  nine  Cronyn  and  Jessica  Tandy,  dcal- 


jol 


"Dc 


Twentieth  Century  is  following  "David  & 
Bathsheba"  at  the  New  York  Rivoli  with 
"Decision  Before  Dawn,"  produced  by  Ana- 
tole  ("Snakepit")  Litvak.  It  was  made  in 
Cermany,  and  by  all  accounts  is  a  beautiful, 
intelligent  picture  with  crackling  dialogue 
and  grimly  realistic  situations  which  will 
have  the  critics  on  the  edge  of  their  seats. 

From  Paramount  you  can  expect  three 
promising  adult  films,  soon  to  he  in  release, 
"Detective  Story"  is  the  story  of  a  "dick" 
who  shows  no  mercy  to  crooks,  especially 
abortionists,  and  who  finally,  and  fatally, 
finds  that  his  own  wife  has  had  an  illegal 
operation.  Then  will  come  "My  Son  John", 
an  Alger  Hiss  type  of  story  dealing  out- 
spokenly with  the  Communist  menace  — 
again  an  original  story.  And  also  from 
Paramount  is  coming  another  of  Theodore 
Dreiser's  immortal  classics,  like  "Place  in 
I  he  Sun",  this  time  based  on  his  "Sister 
Carrie",  and  starring  Sir  Laurence  Olivier, 
Jennifer  Jones  and  Miriam  Hopkins. 


There  are  others  on  th 
list    which   will   qualify  as 


up-and-coming 
pictures  of  ex 


DETECTIVE  STORY 

Kirk  Douglas.  Eleanor  Park, 


ceptional  merit,  and  which  will  do  all  thai 
is  necessary,  given  adequate  exploitation  and 
showmanship,  to  restore  public  confidence 
in  the  motion  picture  theatre  as  the  nation's 
leading  form  of  entertainmenl  and  enlighten- 


Indeed,  Hollywood  seems  to  have  foiuM 
its  way  towards  the  light.  It  could  s(,  tasil> 
have  dropped  into  the  trap  of  trying  to  bea 
television  at  its  own  game  —  that  is,  b 
producing  froth.   It  hasn't   It  has  had  th 

guts  to  ignore  outside  factors,  and  to  writ' 
HO-  not   down   -to  the  moxicgoing  public. 


FILM    BUL1  T  T 


UPPERT  PICTURES,  INC. 
255  Hyde  St.,  Son  Francisco,  Calif. 
FOREIGN  SALES  DEPT.: 
■  ■  723  Seventh  Ave.,  New  York,  N.  Y. 

C obi.  Add,.,,  GIlDfllMS-UPPMlMI 


'RODUCTIOn 
I  R€L€flS€ 


R6CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Dat«. 
"No."  is  the  release  Number.  "Rev."  is  the  issue  in  which  th« 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  nw  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cinecolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


1950-51   Features       Completed   (48)       In  Production  (4) 
Serials  Completed    (3)      In  Production  (0) 

Westerns       Completed   (15)       In  Production  (I) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rei.  No.  Rev. 

Death  Of  A  Salesman  March-Dunnock 

-ourposter     ..   Harrison-Palmer    

5olden  Hawk  Fleming-Hayden 
vtarryinq  Kind,  The  Holliday-Harrison 
Sight  Stage  to  Galveston   Autry-Buttram 

COMPLETED  . 

Jiq  Gusher.    Ihe    (68)   Morns-Foster  _    7-51  7-30 

Soots  Malone  __  Holden-Clements 

•rave  Bulls.  The  (107)   Ferrer-Qu.nn  5  5 1       32  1  5  7 

Brave  Warrior  -  Jon  Hall 

Brigand.   The    IT)   Dexter-Lawrence 

Captain  Blood  Returns   -  -    Louis  Hayward 

Clouded  Wellow.  The   194)  Simmons-Howard  10-8 

Corky  of  Gasoline  Alley   S.  Beckett-J.  Lydon  9-5 

, China  Corsair  1781  -   Hall-Farraday  6-51  .  6-18 

Congo  Bill  —    —  -  McGuire-Meore     

Chain  of  Circumstance  168)   —  M.  Feld-R.  Grayson  8-27 

Criminal  Lawyer  173)   -  OBrien-Wyatt  10-51  9-10 

Cripple  Creek   — Montgovery-Booth 

Dark  Page   -    —    Crawford-Derek   

European   Edition    Glen  Ford 

Firefighters.  The  -     Williams-Reynolds       - 

Five  193)  _.  —    S.  Douqlas-W.  Phipps 

Fury  of  the  Congo  Weismuller-Talbot         —  4-51  

Harlem  Globetrotters.  Tho  _..Gomei-Dandridge    _  -  _   

Hawk  ol   Wild   River.  The         .  Starrett-Burnett 

Her  First  Romance  173)   —   O'Brien-Martin   5-51  5-21 

Her  Wonderful  Lie  Kiepura-Eggerth   

Hurricane  Island  IC)   Hall-Windsor   7-51.   

Hills  of  Utah  169)  Autry-Buttram  9-SI        356  9-24 

Jungle  Jim  in  the  Forbidden  Land   Weissmuller-Ryan  

i  Jungle   Safari  _  -   Weissmuller-Greene  

Lady  and  the  Bandit,  The  178)  Hayward-Medina  9-51  9-10 

lLorna  Doone  (T)  Hale-Greene   4-51  ___ 

M  |90)    __Wayne-DaSilva   3-51  5-21 

Magic  Carpet  (90)  ...  Ball-Agar   .  10-8 

I  Man  In  the  Saddle  (T)  .  Scott-Leslie   

[Mask  of  the  Avenger   IT)   183)   Derek-Ouinn  7-51        359  7-16 

|Mob.  The  B-  Crawford-Buehler  10-51  9-24 

The  Mother    Loretta  Young    

Never  Trust  A  Gambler  179)  Clark-O'Donnell  8-51       326  7-16 

Old  West,  The   .._  -  Autry-Davis 

Pickup   180)    Haas-Michaels  8-51  7-30 

Purple  Heart  Diary      F.  Langford-T.  Romano   

Riders  of  the  Whistling  Pines   Autry-White    ...  _    

Sante  Fe  (T)   187)   Scott-Carter   —  ...   4-51  5-21 

Saturday's  Hero  (III)   -  Derek-Reed  9  51        318  8-27 

I  Secret,  The     Derek-Cobb    —   

1  Silver  Canyon    (70)   Autry-Davis  7-16 

Sirocco  198)   .  _    Bogart-Loran      _    ._    7-51    6-18 

Smoky  Canyon  Starrett-Burnette 

I  Small  Wonder  ...    Cummings-Halo  

I  Son  of  Dr.  Jekyll      Hayward-Knox   

I  Sound  Off  _  Mickey  Rooney 

Sueny  Side  of  the  Street   _  Lane-Daniels  —   

Ten  Tall  Men  (T)    Lancaster-Lawrence  :  

Texas  Rangers  (C)   Geo.  Montgomery   _  4-51  

IThief  of  Damascus.  The  Henreid-Sutton 

'Valentino   (T)   103)    Parker-Dexter   4-51   3-2* 

[Valley  of  Fire   _   Aotry-Burnette   '.  4-51  

War  Cry  (C)   Montgomery-Long       

When  the  Redskins  Rode  (C)   (78)     Hall-Castle    .     5-51   4-18 

Whirlwind   _._   Autry-Burnette    4-51  

I  Whistle  at  Eaton  Falls,  The  (90)   Bridges-Gish  8-51    8-13 


1950-51 


L  I  P  P  ERT 


Completed  (30)       In  Production  (0) 


COMPLETED 

As  You  Were 

[  Bandit  Queen  

Blonde  Blackmail  

Danger  Zone   

,  FBI  Girl   

For  Men  Only    

G.  I.  Jane  162)  

Great  Adventure,  The   

Highly  Dangerous 

Kentucky  Jubilee  _   

Leave  It  To  the  Marines 

Little  Big  Horn    

'■  Lost  Continent    

Mask  of  the  Dragon  

Navajo  

Pier  23  

Savaqo  Drums  170) 
I  Sky  Hioh 

Steel  Helmet,  The   _. 

Stop  That  Cab  . 


Superman  and  The  Mole 

Tales  of  Robin  Hood  

Unknown  World 

Varieties  On  Parade   

Yes  Sir,  Mr.  Bones  154) 


RELEASE  CHART 

—  1950-51  — 


Tracy-Sawyer 

.Britton-Parker   

Brent-Chapman 

Beaumont-Travis  ... 

Romero-Totter 

P.   Henreid  _ 

Porter-Neal 

Price-Hawkins 

Clark-Lockwood 

Colonna-Porter  

S.  Melton-M.  Lyni 

..Ireland-Bridges  _ 

..Romero-Brooke   

.Travis-Ryan 

Documentary 
Beaumont- Savage 

Sabu-Baron   

S.  Melton-M.  Lynn 
.  Edwards-Brodie  _ 

Melton-Adrian  ._  

Reeves-Coates 
Clarke-Hatcher 
Kellogg-Nash 
Rose-Carroll 
F.   Miller  _  _ 


MET  R  O-GOLDWYN-MAYER 


1950-51    Features        Completed   (69)       In  Production  (9) 


RELEASE  CHART 


IN  PRODUCTION 

TITLE — Running  Time 
Belle  of  New  York  IT) 
Hour  of  Thirteen.  The 
Invitation  The 
Ivanhoe  IT) 
Merry  Widow,  The  (T) 
Scarmouche 


Sinqin'  In  The  Rain  IT) 
Skirts  Ahoy 

Young  Man  In  a  Hurry 

COMPLETED 

Across  the  Wide  Missour  IT)  (78) 
American  in  Paris  ITI  1113) 
Angels  in  the  Outueld  1 102) 
Because  Your  Mine 

Belle  of  New  York  (T)  

Bannerline  188) 

Callaway  Went  Thataway  1811 

Calling  Bulldog  Drummond  180) 

County  Line   

Excuse  My  Dust  IT)  182)  .  . 
Father's  Little  Dividend  182)  _  . 

Go  For  Broke  192)   

Great  Caruso.  The  (Tl  (109)  . 
Home  Town  Story  (61) 


—  1950-51  — 


Cast 
Astaire-Ellen 
Lawford-Addams 
McGuire-Johnson 
R.  Taylor-E.  Taylor 
Turner-Lamas 
S.  Granger-E.  Parker 
Kelly-O'Connor 
Williams-Blaine 
Roman-Nype 


ig  Country  1891  

Just  This  Once 
Kind  Lady  1781 
Law  and  the  Lady.  The  I  1041 

Light  Touch,  The  1 1  10)  

Lone  Star  .  

Love  Is  Better  Than  Ever  181) 

Man  With  A  Cloak  188)    

Niqht  Into  Morninq  186) 

Mr.  Imperium  (T)  (87)  

No  Questions  Asked    8  1)  . 
Pandora  and  the  Flying  Dutchman 
(T)  (123) 


People  Against  O'Hara  (  102) 

Quo  Vadis   ITI  1171) 

I  Was  a  Stranqer 

Red  Badqe  of  Couraqe  169) 

Rich.  Younq  and  Pretty  ITI   (95)  _ 

Show  Boat  IT)  (.108) 

Singin'   In  The  Rain  IT)  

Soldier's  Three  192) 


Stranger  In  The  House,  The 
Strictly  Dishonorable  195) 
Strip.    The  I8S) 
Tall  Target,   The  178) 
Teresa  1105) 
Texas  Carnival    IT)  (77) 
Too  Young  To  Kiss  (91) 
Unknown   Man.   The  (86) 
Westward  the  Women  1 1  181 
When  In  Rome 

Wild  North  Country,   The  IA) 


Gable-Hodiak  Oct       208  9-24 

Gable-Caron  Nov  9-24 

Douglas-Leigh  Sep       202  8  27 

.  Lania-Whitmore   

.  Astaire-Vera-Ellen   

Forrest-Braselle  Oct       206  9-24 

MacMurray-McGuiro   

Pidgeon-Leiqhton   

Pidgeon-Hodiak  

Skeiton-Forrest       .   ....     June        133  4-4 

Tracy-Taylor  Apr_.    124  2-24 

Johnson-Anderson  May        129  4-9 

Lania-Blyth    Apr        127   .  4-23 

Crisp-Reynolds  May        128   5-7 

All  Star  

Leigh-Lawford  

Barrymore-Evans      _   _  „  July        134  7-2 

Garson-Wilding    .    July        134  7-14 

..Grainger-Angeli  

Gable-Gardner  .  

Taylor-Parks 

Cotten-Stanwyck  Oct  207 

Milland-Hodiak  ....  June  130  6-4 
Turner-Pima  .    _         Sep       203  4-4 

Sullivan-Dahl        _____    June        132  6-18 

Mason-Gardner    Nov 

Tracy-O'Brien  Sep        201  8-27 

Taylor-Kerr  

Whitmore-Davis  

Murphy-Mauldin  Sep       204  8-27 

Powell-Damone  _    _  _  Aug  138  7-16 

Gardner-Keel  ■         July  135  7-2 

Kelly-O^Connor  

Granger-Pilgeon    .     Apr.  126 

..Murphy-Davis  

Pinza-Legih         ........  July 

Rooney-Forrest    Aug  140 

Powell-Raymond  Aug        139  8-13 

Angeli-Erickson    .    July        137  3-12 

Williams-Skelton  Oct       205  9-24 

Ailyson-Johnson        .  _  Nov 

Pidgeon-Harding   July  

Tavlor-Darcel  Nov 

.Johnson-Douglas  

Granger-Corey 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (34) 
Completed  (12) 


In  Production  (  I  ) 
In  Production  (0) 


7-6 
11-2 
10—12 

5—  18- 
9-2 

6-  18  . 
8-27 
3-17. 

_  5— i  r_ 

6-27 
10-19 
_  2-2 . 


RELEASE  CHART 

I0"  —  1950-51  — 

S9I°  IN  PRODUCTION 

5017  .   .    TITLE — Running  Time  Cast 

5002        10-19  Wagons  West  IC)  Cameron 

50,2       9-24  COMPLETED 

5021  According  to  Mrs.  Hoyle  (60)  Byington-Chandler 

5029  .  Aladdin  and   His  Lamp    IC)  Medina-Sands 

.5007   Blazing  Bullets  Brown-Hall  

-5005    Lawless  Cowboys  Wilson-Knight 

.5003   Casa   Manana    173  Forbes-Herlihy 

5004         9-10  Cavalry  Scout  IC)    (78)  Cameron-Long   

.5013-     Counterfeit   DeFoe-King  

Crazv  Over  Horses  Gorcey-Hall 

50I8-;   Elephant   Stampede  Sheffield 

FOni         7-30  Father  Takes  The  Air      .    Walburn-Gray 

5024  Flight  to  Mars  (C)  Chapman-Mitchell 

5006   1-29  Fort  Osage    IC)   Cameron-Nigh 


10-26 
.7-20 
7-13 


_  SOL. 
5030 
5008 
5101 
5020  . 
5019 


Ghost  Chasers  169)  

Gypsy    Fury  (63)   

Joe   Palooka  in  Triple  Cross 

Longhorn,  The   

Lion  Hunters.  The  (47)  

Mexican  Silver      ...   .  


Kirkwood-Downs 
_  Elliott-Coates 

Sheffield-Whitfield 
_  .Wilson-Clyde 


5-6 
I  1-7 
6-10 

5-  13 

11-18 
10-15 

6-  17 
I  l-l  I 

I  l-l  I 
4-29 
3-18 
9-16 

I  1-25 
3-25 


5114 
5110  . 

.5124  

5103 
5102 

5112    .  .5-21 

.5192  7-14 

5118  10-8 


5109 


CTOBER    22,  1951 


21 


Navy  Bouna    _  

Nevada  Badman 

Oklahoma  Justice   

Rodeo  Id 
Stagecoach  Driver 
Teras  Lawmen 
Trail  Dust 

Vengeance  Trail   

Vicious  Years.  The  1791 
Wanted:  Dead  or  Alive  159) 
Whistling  Hills 
Wild  Horse  Prairie 
Witness.  The 

Yellow  Fin  

Yukon  Manhunt 


Babe  Ruth  Story.  The 
Oisc  Jockev 

Highwayman.  The  ICI  183) 

Let's  Go  Navy  (681  

I  Was  An  American  Spy  I8S) 
It  Happened  On  Fifth  Avenue 


Neal-Toomey 

vVilson-Knight  ._. 

Brown-Ellison   

Jane  Nigh 
Wilson-Knight 
Brown-Ellison 
Albright-Winters  . 

.Elliott- Stewart   

Cook-Moore   .. 

Wilson-Clyde 
Brown-Ellison 
Wilson-Knight 
Kirkwood-Gleason 
Morris-O'Flynn 
 Grant-Davis   

ALLIED  ARTISTS 

  Bendw-Trevor 

Simms-O'Shea 
Hendrix-Coburn 

 H.  Hall-G.  Gorcey 

Dvorak-Evans  

DeFore-Storm  


2-25 
5-27 
8-1? 

1-  52 
7-15 

12-31 

2-  18 '. 


5120 
5152 
5144 
5104 
5153 

5107 


5154 
5151 


May 

8-23 

21  . 

6-18 

9-8 

20 

8-27 

7-29 

 4-1 S. 

.  May 

5113 

......  19  

8-27 
.  5-21 

PARAMOUNT 


1950-51  Feautres       Completed    (51)      In  Production  (3) 
RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Sailor  Beware 
Shane  IT) 

Somebody  Loves  Me 
Son  of  Paleface  IT) 

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT)  Shore-Young 
Anything  Can  Happen  _  Ferrer-Hunter 
Appointment  With  Danger  189)  _  Ladd-Calvert 
Big  Carnival.  The  1112)  Douglas-Sterling 
Rev.  under  title:  Ace  in  the  Hole 


Martin-Lewis 
Ladd-Arthur 
Hutton-Meeker 
Hope-Russell 


Big  Timber  IT) 

Carrie  

Crosswinds  (T)  1931 

Darling,  How  Could  You  195)   

Dear  Brat  182)  _.  

Detective  Story    (103)  ... 
Flaming  Feather  ITI 

Greatest  Show  On  Earth  IT)   

Green    Gold  of  Nevada  (Tl  

Here  Comes  the  Groom  (114)  

Honq  Kong  (Tl   

Last  Outpost.  The  (T)  189) 

Lemon  Drop  Kid,  The  (91)    

Matinq   Season.    The    (101)  . 

Molly  183)  _  _    __ 

Rev.  under  title:  The  Goldbergs 
My  Favorite  Spy  (93) 
My  Son  John 
Passage  West  (T)  180) 
Peking  Express  (85) 
Place  in  The  Sun,  A  (122) 

Ouebec  (T)  (85)  

Rage  of  the  Vulture,  The 

Red  Mountain  (T)   

Rhubarb  (95) 

Samson  and  Delilah  (T)  (128) 

Silver  City   (Tl  1901    

Something  To  Live  For  _ 

Stooge.  The  ~_.II 

Submarine  Command  (89) 

That's  My  Boy  (98) 

The  Denver  &  Rio  Grande  ft) 

Tr'°  1911  _ 

Warbonnet  IT) 

Warpath  195)  IT) 

When  Worlds  Collide  (82)  (T) 


Payne-Moorhead 

Olivier-Jones  

Payne-Fleming  

Fontaine-Lund 

Freeman-Arnold 

Douglas-Parker 

S.  Hayden-G.  Russell 

Stewart-Hutton   

Payne-Morrow   , 

Crosby-Wyman   

Reagan-Fleming   

Reagan-Fleming  

Hope-Maxwell    

Tierney-Lund    

Berg-Loeb 

Hope-Lamarr  

Hayes-Heflin  

Payne-O  Keefe  

Cotten-Calvet  

Clift-Winters 
Barrymore.  Jr.-Calvet 
Ladd-Kerr 

Ladd-Kennedy  

Milland-Sterling 

Lamarr-Mature  

DeCarlo-O'Brien 
Fontaine-Milland 

Martin-Lewis  

Holden-Olson 

Martin-Lewis    

O'Brien-Hayden  

Simmons-Rennie 

Heston-Hanson   

O'Brien-Jagger   

Derr-Rush 


10-51 
11-51 
6-51 
11-51 


5-51 
4-51 
3-51 


7-51 

8-51 
9-51 
4-51 


9-51 

3-51 
12-51 
10-51 


5020 
5018 
5016 


5022 

 5024 

5102 
5017  . 


5103 
5010 
5112 


REPUBLIC 


1951-52  Features       Completed  (13) 
Serials  Completed   (  0) 
 Westerns      Completed  (  4) 


RELEASE  CHART 

—  1950-51-52  — 


COMPLETED 

Adventures  of  Captain  Fabian  (100) 
Arizona  Manhunt  (60) 

Bal  Tabarin  _  , 

Buckaroo   Sheriff   of  Texas  (60) 

Bullfighter  and  the  Lady  (87) 

Captive  of  Billy  the  Kid 

Colorado  Sundown 

Dakota  Kid.  The  160) 

Desert  of  Lost  Men 

Don  Daredevil   Rides  Aqain 

Fiqhting  Coast  Guard  186) 

flight  from  Fury 

Fort  Dodge  Stampede  160) 

Fugitive    Lady  (781 

Girl  From  Panama 

Havana  Rose  177) 

Heart  of  the  Rockies  (67) 

Honeychile  (Tr) 

Hoodlum  Empire 

In  Old  Amarillo  167) 


22 


3-25 
1-2? 
12-4 


6-4 

 7-2 

7-30 


In  Production  (3) 
In  Production  (  I  ) 
In  Production  (0) 


E.  Flynn-M.  Prelle 
Chapin-Janssen  

10-6 
9-15 

5101 
5068 

10-8 

Lawrence-Ching   

Chapin-Janssen  

Stack-Page 
Lane-Edwards 
Rex  Allen 

Chapin-Janssen   

HIT  '"iwS 

5066 

  5-15 

5009 

ZI5-7 

ZZ_  7-1. 

5067 

Lane 

1 1-19 

5063 

Curtis-Towne 

6-1 

5084 

Donlevy-Tucker 

  4-1.. 

5010 

5-7 

Edwards-Clark 
Lane-Kay 

8-24 

5062 

6-18 

Paige-Barnes 

Estrelita-Clarke 

Rogers-Rodrigues 

Rogers-Edwards 

Canova-Foy 

Donlevy- Trevor 

Rogers-Edwards 

7-15 

5011 

7-30 

5-15 
  3-30 

5124 
5042 

9-24 

5-15 

5043 

6-* 

Insurance  Investigator  (60)  Denning-Long  ... 

Lady    Possessed  Mason-Havoc 

Last  Musketeer.  The    Allen-Kay 

Lost  Planet  Airmen   (Reedited  from 

"King  of  the  Rocket  Men"  Coffin-Clarke 
Million   Dollar  Pursuit  (60)  Edwards-Flagg 

Oh  Susanna   (Tr)    (90)    Cameron-Tucker 

Oklahoma  Annie  (C)  Canova-Russell 

Old  Spanish  Custom    Estelita-Clarke 

Pals  of  the  Golden  West  Rogers-Evans 
Ouiet  Man,  The  (T)  Wayne-OHara 
Robinson-Vs.  Turpin    153)  Fight  Pictures  ... 

Rodeo  Kind  &   The  Senorita   167)  Allen-Kay 

Sea  Hornet.  The   Cameron-Booth 

Secrets  of  Monte  Carlo    Douglas-Hall   

Silver  City   Bonanza    Allen-Ebsen 

South  of  Caliente  Rogers-Evans 

Stormbound  Dowling-Checchi 
Street  Bandits  Edwards-Clarke 
This  Is  Korea  150)      ...  Documentary 

Thunder  In  God's  Country    (67)  Allen  

Utah  Wagon   Trail   Allen-Edwards 

Wells  Fargo  Gunmaster  Lane-Chapin 

Wild  Blue  Yonder   Corey-Ralston 

Woman  In  The  Dark    Edwards-Elliott 

Wyoming  Saddle  Pals    Chapin-Janssen 


7-20 
7-15 
11-6 
6-20 


5031 
5028 
5008 


5030 
5051 
5151 


8-10  5127 
4-8  5052 

10-15  50S4 
5-15  5061 


RKO  RADIO 


1950-51   Features       Completed  (59)       In  Production 
RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Androcles  and  The  Lion   

Big  Sky.  The   

Korean   Story,  The   

COMPLETED 

Alice  In  Wonderland  (T)  175)   

Behave  Yourself  (81)   

Best  of  the  Badmen  (T)  (84)  

Blue  Veil,  The  (114)   

Crack  Down  

Day  Without  End  

Flying  Leathernecks  IT)  (102) 

Footlight  Varieties  (61)  

Girl  in  Every  Port,  A   

Gun  Notches    _  

Gun  Thunder  ...     

Happy  Go  Lovely  (87)  

Half-Breed,  The   

Hard,  Fast  and  Beautiful  (78)   

His  Kind  of  Woman  1120)   

I   Want  You  

It's  Only  Money  (80)   

Jet  Pilot  (T)  ITS   

Junqle  of  Chang  

Jungle   Headhunted    (T)  (65)  

Kon-Tiki  (73)    

Las  Veqas  Story.  The      

Lilli  Marlene  172) 

Macao    

On  Dangerous  Ground  

Whip  Hand.  The  182)   

My  Forbidden  Past  (70)  ...   

On  The  Loose  (74)   

Overland  Telegraph  (60)  

Pistol  Harvest  (601  

Racket.  The  (88) 

Road  Agent  

Roadblock  173)  

Hustler's  Range    

Saddle  Legion  160)   

Sealed  Cargo  190)   

Sons  of  the  Musketeers  (T)  ... 

Target  

Tarzan's  Peril  (79)   

Texas  Triqgerman    

Thing,  The  (87)   

Tokyo  File  212  (84)  

Two  Tickets  to  Broadway  IT)  (106) 


Cast 
Simmons-Young 
Douglas-Martin 
Mitchum-Tallman 


Disney  Cartoon 
Winters-Granger 

Ryan-Trevor  

Wyman-Carlson 
Williams-Armstrong 

Lupino-Ryan  

Wayne-Ryan   _. 

Pear-Buttons  

Marx-Wilson  


D.   Niven-Vera  Ellen 

Young-Carter  

Trevor-Forrest    

Russell-Mitchum 

Andrews-McGuire   

Sinatra-Russell   

Wayne-Leigh    

Travel 
Travel   

Travel   

Russell-Mature 
McDermott-Daniely 

Russell-Mitchum  

Ryan-Lupino   

Reid-Tuttle  

Gardner-Mitchum 

Evans-Earl   

Holt-Martin    

Holt-Martin  

Mitchum-Scott 

Holt-Martin   

McGraw-Dixon 

.Holt-Martin    

Holt-Martin  

Andrews-Rains  

Wilda-O'Hara  

McGraw-White  

Barker-Huston  

Holt-Martin  .  

Tobey-Sheridan  

Marly-Peyton 
Leigh-Martin  „  


7-51 
9-51 
6-51 


7-51 
12-51 
.  6-51 


7-51 
11-51 
I  1-51 


262 

In? 


4-  51 

5-  51 
10— 51 . 


118 

172 

174 
175 


20th  CENTURY-FOX 


1951  Features 


Completed  (46)       In  Producti 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Return  of  the  Texan 
Wait  Till  The  Sun  Shines  Nellie  (T) 


COMPLETED 

Anne  of  the  Indies  (T)     

As  Young  As  You  Feel  (77)  

Bells  On  Their  Toes  ...  

Bridge.  The 

David  and  Bethsheba  ITI  (123) 
Day  The  Earth  Stood  Still.  The  192) 
Decision  Before  Dawn  

Desert  Fox,  The  (?l) 

EloDement   _  

5  Fingers   

Fixed  Bayonets 

Follow  the  Sun  (?0I    

Fourteen  Hours  (?l)   

Friendly  Island  (T)    

Frogmen  (?6) 

Golden  Girl  (T)   


Cast 
Robertson-Boone 
Peters-Wayne 


Jordan-Paget 

Woolley-Ritter 

Crain-Loy 

Haas-Michaels 

Peck-Hayward 

Ronnie-  Nodi 

Merrill-Basehart 

Mason-Young  

Webb-Francis 

Mason-Rennie 

Basehart-O'Shea 

Ford-Baxter 

Douglas-Basehart 

Lundigan-Greer 

Wid  mark- Andrews 

Day-Gaynor 


12-51 
?-5l 


12-51 
5-51 
4-51 


FILM  BULLET 


Juy  Who  Came  Back.  The  (91)  

Half  Atiw  (T)  1801 
Can  Get  It  For  vou  Wholesale  191) 
'  d  Climb  the   Highest  Mountain 

|    (T)  1881    

|  'II  Never  Forget  You 
ilourney  Into  Light  187) 

Cangaroo  IT) 

(efauver  Crime  Investigation 
<fodel  and  The  Marriage  Broker 

.et's  Make  It  Legal   

.ove   Nest  ...    

.ydia  Bailey  IT) 


.Heet  Me  After  The  Show  IT)  86 
Millionaire  for  Christy  l?l) 
M.  Belvedere  Rings  The  Bell  (88) 
Ho  Highway  In  The  Skv 
3n  the  Riviera   ITI  (90) 
"eople  Will  Talk    II 10) 
'hone  Call  From  A  Stranger 
'ride  of  St.  Louis 
(awhide  1861 


led  Skies  of  Montana  (T)  

iecret  of  Convict  Lake    

eke  Care  of  My  Little  Girl  IT)  (93) 

'iva  Zapata   _ 

tfith  A  Song  In  My  Heart   

'ou're  in  the  Navy  Now  1931 
I  Rev.  under  title:  U.S.S.  Teakettle 


Douglas-Darnell    .  _  _. 

118 

Young-Cotten 

.  LI! 

He 

Dailey-Hayward 

4-51 

III 

4-9 

Haver-Lundigan 

ll-SI 

131 

Power-Blyth 

Hayden-Lindfors 

O'Hara-Lawford 

1 2—5 1 

10-51 

132  9-10 

News  Feature 

J.  Crain-T.  Ritter 

Colbert-Carey 

1  l-SI 

133 

Haver-Lundigan 

10  SI 

131 

Robertson-Francis 

Grable-Carey 
MacMurray-Parker 

8-51 

125 

8-13 

9-51 

127 

8  13 

Webb-Dru 
Stewart-Dietrich 

8-51 
10-51 

124 
121 

8-13 

Kaye-Tierney 
Grant-Crain 

5-51 
9-51 

115 

126 

4-23 
9-10 

Merrill-Winters 

Dailey-Dru 

Power-Havward 

1-51 

111 

4-73 

Widmark-Smith 

Ford-Tierney 

8-51 

123 

Crain-Peters 

7-51 

119 

M.  Brando-J.  Peters 

Hayward-Calhoun 

Cooper-Albert 

4-51 

110 

3-12 

UNITED  ARTISTS 


950-51   Features       Completed  (49)       In  Production  (0) 
RELEASE  CHART 

—  1950-51  — 


COMPLETED 

V  Christmas  Carol 
African  Queen  IT) 

Knother  Man's  Poison   

ladman's  Gold  156) 

■ig  Night.  The    

Chicago  Calling 

Circle  of  Danger  186) 
Cloudburst 

Cyrano  De  Bergerac  (1121   

biola  196)  "Z"'' I'' ZZ  I" 
kt  Legion  186) 

it  Defiance  

(our  In  A  Jeep  197) 
pold  Raiders  156) 

He  Ran  All  the  Way  177) 
Hoodlum.  The  (631 
Hotel  Sahara  187) 
lady  Says  No.  The 
•earn  To  Love 
long  Dark  Hall.  The  186) 
Man  From  Planet  X  170) 
rMan  With  My  Face  1751 
i^ister  Drake's  Duck  181) 
i Mr.  Peek-A-Boo  174) 
Mv  Outlaw  Brother  182) 
Naughty  Arlette  (861 

Hew  Mexico   (A)    (76)  _ 
pbsessed   177)  . 
pdette  1 105) 
pliver  Twist  (105) 
i'ardon  My  French  (81) 

rowler.  The  (92) 
,)ueen  For  A  Day  1 107) 
i  carf.  The  186) 
|:iver.  The  IT)  199) 
Saturday   Island  IT] 

•kipalong  Rosenbloom  1721 

o  Long  at  the  Fair  (85) 

•t.  Benny,  the  Dip  (80)  ... 

hev  Were  Not  Divided 
jhree  Steps  North  (85)   _. 

om  Brown's  Schooldays 
,ry  and  Get  Me  (90) 

Formerly:  Sound  of  Fury 
I  wo  Gals  and  a  Guy  170) 
jlnderworld  Story 

oleano  1110)  . 
Well,  The  I8S) 

Vhen  I  Gi„w  Up  190)   


Bogart-Hepburn 
_  Davis-Merrill    .  . 
„  Carpenter-Lockwood 

..J.  Barrymore-P.  Foster 
_  Duryea-Anderson 

Milland-Roc 

Preston-Sellars 

Ferrer-Powers   

Robinson-Hunt 
Michele  Morgan 
Boyer-Bettger 
D.  Clark-B.  Johnson 
 Lindfors-Meeker 

O'Brien-Ryan 

Garfield-Winters 

Tierney-Roberts 

DeCarlo-Ustinov 

Caulfield-Niven 

O'Keefe-Keyes 

Harrison-Palmer 

Clark-Field 

Nelson-Matthews 

Fairbanks-Donlan 

Greenwood-Bourvil 

Rooney-Hendrix 

Tettering-Williams 

Ayres-Marshall 

Harrar-Fitzgerald 

Neagle-Howard 
 Newton-Guinness  . 

Oberon-Henreid 
.  Heflin-Keyes 
.  Avery-McGavin 

Ireland-McCambridge 

American-Indian 

Linda  Darnell 

Baer-Coogan 

Simmons- Bogarde 
_  Roch-Haymes 

Underdown-Clanton 

Bridges-Padavoni 

Davies-Newton 

Lovefoy-Ryan 

Paige-Alda 
.  Duryea-Storm 
_  Magnani-Brazii 

D.  Fairbanks 

Preston-Scott 


3-22 
8-3 
7-20 


Reb 
Jar 


4-3 
29 

8-24 


C-E 
Pop 


Golden  Hvde  The  IT) 
Here  Come  The  Nelsons 

Hollywood   Story  176) 
Iron   Man  182) 
Katie  Did  It  1811 


Lady  from  Texas  IT)  (781 
Lady  Pays  Off.  The 
Lavender  Hill   Mob  The 
Little  Egypt  IT)  182) 
Ma  and  Pa  Kettle  at  the  Fair 
Ma  and  Pa  Kettle  Back  on  the  Farm 
Mark  of  the  Renegade  IT)  1811 
Meet  Danny  Wilson 
Pool  of  London 

Prince  Who  Was  A  Thief.    ITI  1851 
Raging  Tide.  The 
Reunion  In  Reno  179) 
Smuggler's  Island   IT)  1751 
Son  of  All  Baba  IT) 
Strange   Door.  The 
Thunder  On  the  Hill  185) 
Treasure  of  Lost  Canyon.  The  IT) 

Up  Front  It2)  _  J  ' 

Weekend  With  Father 
You  Never  Can  Tell 


Blythe-Ferrer 

Oiiie  end  Harriet 

Conte-Adams 

Keyes-Chandler 

Blythe-Stevent 

Hull-Duff 

Carnell-McNally 

Guinness- Hoi  loway 

Fleminq-Stevens 

Main-Kilbride 

Maln-Kilbride 

Montal  ban-Cher  I  sse 

Sinetre-Wintert 

Colleeno-Shew 

Curtis-Laurie 

Winters-Conte 

Stevens-Dow 

Keyes-Chandler 

Curtis-Laurie 

Laughton-Karloff 

Colbert-Blyth 

W.  Powell-J.  Adams 

Wayne-Ewell 

Nea!-Heflin   

Powell-Dow 


Oct. 

June 
Auq 
May 
Oct 
Nov 
Oct 
Sept 


July 
Nov 

Oct 
May 


126 
203 

135 
121 


5  21 
7  16 
5-21 


Sept  133 
Apr  118 


WARNER  BROTHERS 


1950-51   Features        Completed    (30)      In  Production  (8) 


RELEASE  CHART 

—  1950-51  — 

Cast 
MacRae-Bracken 
B.  Lancaster 
Cochran-Teal 
Loveioy-Cerlson 


IN  PRODUCTION 

TITLE — Running  T 
About  Face  IT) 
Crimson  Pirate.  The  IT) 
Lion  and  the  Horse,  The 
Retreat,  Hell 
Room  For  One  More 
She's  Working  Her  Way 


Grant-Drake 


COMPLETED 

Along  the  Great  Divide  188)  Douglas-Mayo   

Big  Trees,  The  IT)   Cochran-Aldon  

"jgles  in  the  Afternoon  (T)  R.  Milland-H.  Carter 


Carson  City 
Close  To  My  Heart  1901 
Come  Fill  the  Cup  (113) 
Captain  Horatio  Hornblower  IT) 
Distant  Drums  IT) 
Force  of  Arms  1 1001 
Fort  Worth  IT)  180) 
Goodbye,  My  Fancy  (107) 
I  Was  A  Communist  183) 
I'll  See  You  In  My  Dreams 


Scott-Massey 
Milland-Tierney 
J.  Cagney-P.  Thaxter 
l7Peck-Mayo 
Cooper-Alden 
Holden-Olson 
Scott-Brian 
Crawford-Young 

Lovejoy-Hart  

Day-Thomas 


Inside  Walls  of  Folsom  Prison   (87)  Brian-Cochran 


Jack  and  The  Beanstalk 
Jim  Thorpe    All-American  (105) 
Lullaby  of  Broadway  IT)  (92)  . 
North  of  the  Rio  Grande 
On  Moonlight  Bay  IT)  (95) 
Only  The  Valiant  1 105) 


Abbott. Costello 
Lancaster-Bickford 
Day-Nelson 
McCrea-Mayo 
MacRae-Day 
Peck-Payton 


Painting  Clouds  with  S'hine  IT)   187)  Mayo-Morgan 


Raton  Pass  (84) 
Starlift 

Strangers  On  A  Train  1101) 
Streetcar  Named  Desire,  A  (122) 
Tanks  Are  Coming,  The  1108) 
Tomorrow  Is  Another  Day  (90) 


Morgan-Neal 
Cagney-Mayo 
Walker-Roman 
Brando-Leigh 
S.   Cochran-E.  Miller 
Roman-Cochran 


9  15 
7-14 
5-19 

S-5 


9  1 

3-  24 
7-28 
7-28 

4-  21 
10  6 

4-7 


102 
D28 
024 
023 


101 
023 
C2? 
C29 
C22 
I0S 
C2I 


2-06 
4-23 

S-; 


3-12 
9-24 
4-9 

6-18 
8-27 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


UNIVERSAL-INTERNATIONAL 


950-51   Features       Completed  (51)       In  Production  (3) 


N  PRODUCTION 

I  '-  TITLE — Running  Time 
rancis  Goes  to  the  Big  Town 
Iteel  Town  IT) 

JVorld  In  His  Arms.  The  IT) 

COMPLETED 

Lpache  Drums  (T)  (75)  

attle  of  Apache  Pass  (T)   

[end  of  the  River  IT) 

right  Victory  197) 

ronco  Buster  IT] 
battle  Drive   IT)  1771 

•ave  of  the  Outlaws,  The  IT) 

•imarron  Kid.  The  IT) 
,-omin'  Round  the  Mountain  (77) 
fat  Man.  The  177) 
fnders  Keepers       .       ~  .  \ 

lame  of  Arabv  IT)  _  

Irancis  Goes  to  the  Races  (88) 

CTO  B  E  R    22.  19; 


RELEASE  CHART 

—  1950-51  — 


Cast  Rei 
Donald  O'Connor 
Sheridan-Lund 
Peck-Blyth 


Aug 


128 


Grey-McNally 
Chandler-Lund 
Stewart-Kennedy  _ 
Dow-Kennedy 
Lund-Brady 
McCrea-Stockwell 
Smith-Carey 
.A.  Murphy-Y.  Dugay 

.Abbott  &  Costello-Shay     July  I27_ 

Smart-London  .         May  120 

Ewell-Adams      _  .  .„   

Chandler-O'Hara 

O'Connor-Laurie       .  July  125 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236  N.  23rd  St.,  Phila.  3  —1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


23 


Withov 
exceptio: 
in  ever 
engagemeii 


Warner  Bros,  present 


mm 


STARRING 


KIM  HUNTER  •  KARL  MALDEN 


BASED  UPON  THE  ORIGINAL  PLAY  "A  STREETCAR  NAMED  DESIRE 

Br  TENNESSEE  WILLIAMS 


It's  'Movietime  U.S.A.'  — Now  and  Every  Day! 


CHARLES  K  FELDMAN 


screen  play  by  TENNESSEE  WILLIAMS 

AS  PRESENTED  ON  THE  STAGE  BY  IRENE  MAYER  SE  U'NICK 
DIRECTED  BY  ELI  A  KAZAN 


j4n  Important 
Exhibitor  Asked 

Will 
Paramount 
continue  to 
deliver  the 
kind  of  big 
boxoffice 
attractions 
it  has 
released 
in  the  past 
few  months? 


From  the  great  stage  success 


KIRK  ELEANOR  WILLIAM 

DOUGLAS- PARKER-BENC 

m  WILLIAM  WYLER'S 

Production  of  SIDNEY  KINGSLEY'S 

Detective 
Story 


DECEMBEI 

Large  scale  outdoor  action  thrill 

EDMOND  O'BRIEN 
YVONNE  DE  CARLO 
BARRY  FITZGERALD 

in 

Silver  City 

Color  by  TECHNICOLOR 

Produced  by  NAT  HOLT 


11 


iVMBER 

Spectacle  never  before  filmed 


IOVEMBER 


The  U.  S.  Submarine  "Tiger  Shark"  in  action  off  Korea 


Submarine  Command 


Starring 


i/hen  Worlds 
Collide 

Color  by  TECHNICOLOR 

Produced  by  GEORGE  PAL 


Iji'll  tingle  when  they  tangle  in  Tangiers 


WILLIAM  HOLDEN  •  NANCY  OLSON 
WILLIAM  BENDIX  •  DON  TAYLOR 


AND  EARLY  IN  "52,  BIG  ONES  LIKE 


HAL  WALLIS' 

Sailor  Beware 

slarring 
DEAN  JERRY 

MARTIN  s  LEWIS 


Lj  BOB  HOPE,, 
y  HEDY  LAMARR 

in 

Vly  Favorite 


PERLBERG-SEATON'S 

Aaron  Slick  Front 
Punkin  Crick 

Color  by  Technicolor  •  starring 
ALAN         DINAH  ROBERT 

MERRILL 


HAL  WALLIS' 

Red  Mountain! 

Color  by  Technicolor  •  starring 
ALAN  LISABETH 

LADD  •  SCOTT 

ARTHUR  JOHN 

KENNEDY  ■  IRELAND 


LEO  McCAREY  S 

My  Son  John 

Starring 
HELEN  ROBERT 

HAYES  •  WALKER 

VAN  DEAN 

HEFLIN  •  JAGGER 


WILLIAM  WYLER'S 

Carrie 

«  starring 

LAURENCE  OLIVIER 
JENNIFER  JONES 


.J 


PERLBERG-SEATON'S 

Anything 
Can  Happan 

starring 

JOSE  FERRER 
KIM  HUNTER 


9-9  § 


ft    In  the  Paramount  Building  elevator 

I  the  other  day,  an  important  circuit 
8^  head  met  a  Paramount  sales  executive 
■cput  just  that  question  to  him.  The  answer 
55 an  emphatic  "YES!"  Paramount's  Nov- 
ppr  and  December  releases  alone  justify 
a  answer  because  they  possess  the  grossing 
pitial  of  pictures  such  as  "A  Place  in  the 

""That's  My  Boy"  and  "Here  Comes 

jroom." 


Those  highly  successful  attractions,  all  deliver- 
ed within  a  2-month  period,  were  not  a  flash- 
in-the-pan.  You  can  be  assured  that  in  almost 
every  similar  period  between  now  and  the  end 
of  1952,  Paramount  product,  so  outstanding  in 
the  past  few  months,  will  be  equaled  in  number 
and  quality.  You  can  expect  increased  boxoffice 
revenue  because  Paramount's  consistently 
strong  product  is  the  result  of  long  range 
planning  and  unlimited  financial  investment. 


The  Crowds  Are  Back  Thanks  to  20th  Century-Fot 


EDITORIAL 

SWEET     HUT    T  Q  U  G  II 


In  some  respects,  the  Allied  convention  was  an 
unusual  one.  The  atmosphere,  for  the  most  part,  was 
more  temperate;  absent,  happily,  was  much  of  the 
petty  griping  by  members  about  their  individual, 
localized  problems;  gone  was  most  of  the  blind  an- 
tagonism against  anything  and  everything  concerning 
the  film  companies.  Indeed,  now  23  years  of  age, 
Allied  States  Association  of  Motion  Picture  Exhibitors 
is  a  senior  member  of  this  industry  and  its  18th  annual 
convention  was  conducted  with  becoming  maturity 
and  fine  dignity. 

But,  hold.   This  is  not  meant  to  convey  the  im- 


pression that  this  was  a  namby-pamby  convention, 
given  to  trivia  and  slapping.  Far  from  it.  True,  there 
was  sweet  talk  about  COMPO  and  a  commitment  to 
consider  an  all-inclusive  arbitration  system  for  the 
industry,  but  there  also  was  no  lack  of  well-directed 
tough  talk  about  some  of  the  trade  practices  being 
employed  by  certain  distributors. 

Allied  still  speaks  for  the  thousands  of  rank-and- 
file  exhibitors  of  America  and  last  week's  3-day  meet- 
ing in  New  York  served  to  reaffirm  its  vigilance  in 
the  protection  of  their  interests. 

MO  WAX 


The  Allied  Contention 

MEMBERS'  GRIPES  HARDEN  TONE 
OF  MEETING;  ARBITRATION  OK'D 


For  two  days  the  18th  annual  convention 
of  Allied  States  Association  of  Motion  Pic- 
ture Exhibitors  rolled  along  in  an  atmos- 
phere of  unusual  serenity,  but  there  was  no 
lack  of  fireworks  before  the  third  and  closing 
session  of  this  militant  exhibitor  organiza- 
tion wound  up  late  last  Thursday  afternoon. 

Sparked  by  sharp  criticism  from  the  floor 
against  the  sales  practices  of  certain  of  the 
major  distributors,  the  last  day's  general 
meeting  brought  forth  a  rash  of  strongly 
worded  resolutions  directing  the  Boards  and 
the  general  counsel  of  Allied,  A.  F.  Myers, 
to  take  action  against  the  alleged  offenders. 

The  large  gathering  of  independent  thea- 
tremen  was  a  bit  rankled,  perhaps,  by  the 
fact  that  two  of  the  major  companies  had 
failed  to  have  their  general  sales  managers 
present  at  the  W  ednesday  session,  an  open 
forum  on  the  discussion  of  film  problems. 
Neither  Warner  Bros,  nor  Paramount  was 
lepresented  that  meeting,  although  in  the 
latter's  case  there  was  a  good  reason:  Dis- 
tribution chief  Al  Schwalberg  was  married 
the  dav  the  convention  opened  and  had  left 
on  a  honeymoon.  In  the  case  of  Warners, 
however,  the  ire  of  the  membership  was 
stirred  by  the  failure  of  \VB  sales  manager 
Ben  Kalmenson  to  even  acknowledge  the 
invitation  of  the  independent  theatremen  to 
attend  the  forum. 

The  final  day's  session  began  with  an 
undercurrent  of  discontent  as  the  con- 
ventioneers were  called  to  their  seats  by 


the  gavel  of  Allied  president  Trueman  T. 
Rembusch.  Exhibitors  were  grumbling  that 
they  had  had  no  opportunity  to  present  their 
gripes.  But,  in  typical  Allied  fashion,  Rem- 
busch opened  the  flood  gates  by  turning  over 
the  meeting  to  the  "other  side  of  the  dais" — 
and  the  membership  had  their  day. 

By  the  time  the  air  had  cleared,  the  Allied 
membership  had  agreed  to  have  the  Board 
take  the  action  on  the  following: 

— Investigate  charges  that  20th-Fox  had 
been  forcing  increased  admissions  on  "David 
and  Bathsheba,"  as  a  condition  to  playing 
the  picture,  and  for  the  "General  Counsel  to 
gather  all  available  information  on  this  vio- 
lation of  the  law  and  the  court's  decree," 
and  also  "whenever  or  wherever  such  vio- 
lations" should  come  up. 

— Film  rental  grievances  such  as  "must" 
percentage  terms,  excessive  rentals,  refusal 
to  adjust,  and  "raising  the  floor  on  sliding 
scales  and  lowering  the  ceiling  on  solit 
figures",  which  cannot  be  adjusted  locally 
be  forwarded  through  the  regional  associ- 
ation to  the  coordinator  of  the  Allied  Film 
Committee  in  New  York  for  presentation 
to  distributors. 

— An  "all-inclusive"  arbitration  setup 
covering  clearances  and  prints,  competitive 
bidding,  film  rentals,  forcing,  illegal  setting 
of  admission  prices,  runs,  etc. 

— Take  action  on  those  companies  that 
were  selling  films  made  for  theatrical  ex- 
hibition  to   television.    Named  specifically 


were  Republic,  Monogram  and  United 
Artists. 

— To  treat  drive-ins  in  a  class  equal  to 
conventional  theatres  and  urge  distributors 
to  end  discrimination  against  the  outdoor 
houses  in  runs,  preferred  playing  time  and 
film  rentals. 

A  highlight  of  the  closing  session  was  the 
appearance  of  William  F.  Rodgers,  M-G-M 
sales  chief,  who  earned  a  bonanza  of  ex- 
hibitor good  will  bv  his  presence.  Rodgers 
and  six  other  distributor  heads  had  been 
on  hand  the  preceding  day  in  a  grueling 
question-and-answer  session.  Tlthough  all 
had  been  invited  to  return  Thursday,  none 
signified  his  intention  to  do  so,  so  that 
Rodgers'  appearance  not  only  made  the 
desired  impression,  but  also  permitted  the 
theatremen  to  air  unanswered  gripes  left  un- 
settled on  Wednesday. 

The  Metro  sales  topper  admitted  that  he 
couldn't  define  "pre-release",  one  of  the 
bones  of  contention  the  previous  day.  He 
did  sav  the  function  of  pre-release  was  to 
determine  the  proper  way  of  marketing  a 
film.  The  sales  policy  for  "Quo  Vadis",  for 
instance,  will  depend  on  what  Metro  learns 
from  its  pre-release. 

He  also  stated  flatly  that  Metro  branch 
managers  have  complete  local  autonomy  to 
change  terms  and  to  adjust  film  prices.  On 
clearance.  Rodgers  declared.  "We  have 
never  before,  nor  will  we  object  to  arbitrat- 
ing in  the  matter  of  clearance." 

(Continued  on  Page  7 J 


FILM   BULLETIN  An   Independent  Motion   Picture  Trade   Paper  published  every  other  Monday  by  Film  Bulletin  Company.    Mo  Wax.  Editor  and  Publisher. 

BUSINESS  OFFICE:  35  West  53rd  St.,  New  York,  19;  Circle  6-7159.  David  A.  Bader,  Business  Manager;  Leonard  Coulter,  Editorial  Representative.  PUBLI- 
CATION— EDITORIAL  OFFICES:  1239  Vine  St.,  Philadelphia  7,  Pa.,  Rlttenhouse  4-7424;  Barney  Stein,  Managing  Editor:  Jack  Taylor.  Publication  Manager: 
Robert  Heath,  Circulation  Manager.  HOLLYWOOD  OFFICE:  659  Haverford  Ave.,  facific  Palisades,  Calif.,  Hillside  8183;  Jay  Allen,  Hollywood  Editor. 
Subscription  Rate:  ONE  YEAR,  S3. 00  in  the  United  States;  Canada,  $4.00;  Europe,  $5.00.    TWO  YEARS,  $5.00  in  the  U.  S.;  Canada,  $7.50;  Europe,  $9.00. 


Thanks  for  your  loyal  support  and  your  confidence. 

Thanks  for  your  encouragement  that  inspires  us 
to  create  for  you  attractions  of  the  magnitude 
that  makes  M-G-M  symbol  of  the  Biggest. 

Thanks  for  the  showmanly  effort,  skill  and 
enthusiasm  with  which  you  have  assisted  us  in 
the  promotion  of  our  product. 

Thanks  because  all  of  these  are  wrapped  in  the 
precious  bond  of  friendship. 


"QUO  VADIS"  (Tech.)  —  Promotion  to  blanket  the  nation.  Massive  accessory 
displays;  ad  campaigns;  exploitation  tie-ups.  •  "AN  AMERICAN  IN  PARIS"  (Tech.) 
—  First  10  spots  top  "Show  Boat"  by  15%.  Frisco,  Cleveland  in  5th  week.  •  "ACROSS 
THE  WIDE  MISSOURI"  (Tech.)  —  Nation-wide  success.  •  "CALLAWAY  WENT 
TH  ATA  WAY"  —  Trade  Shows  Nov.  8  of  the  sensational  comedy  to  delight  America  Xmas- 
New  Year's.  •  "WESTWARD  THE  WOMEN"— Unprecedented  ad  campaign.  Long-range 
national  saturation  to  launch  another  M-G-M  Big  One,  a  showmanship  Giant. 

PRODUCTION  NEWS:  As  forecast  by  Hollywood  Reporter  it's  "an  all-time  record 
investment."  Just  a  few  of  the  Big  Ones:  "The  Wild  North"  (Ausco  Color),  "Ivanhoe"  (Tech.), 
"Belle  of  New  York"  (Tech.),  "Singin'  In  The  Rain"  (Tech.),  "The  Merry  Widow"  (Tech.) 
"Scaramouche"  (Tech.),  "Lovely  To  Look  At"  (Tech.),  "Skirts  Ahoy"  (Tech.),  "The  Student 
Prince"  (Tech.)  and  many  more. 


Jke  Allied  Cchtehtich 


View  of  the  dais  at  Allied  (.(invention  as  A.  F.  Myers  delivered  the  l;e\rmie  address 


Help  Not  Gimmicks' —  Kirsch 


Continued  from  Page  5) 

Among  the  ringleaders  of  the  fireworks 
■ere  Minneapolis'  Benny  Berger  and  Ted 
'.lann,  Chicago's  Jack  Kirsch,  Philadelphia's 
Eiarrv  Perlman  and  Sid  Samuelson.  con- 
•ention  chairman  W  ilbur  Snaper.  and  lowa- 
Mebraska's  Charles  Niles.  Niles  tore  into 
Jaramount  for  "gouging"  and  Samuelson 
•uggested  Warners  be  included  as  a  male- 
factor. Neither  of  these  companies,  it  wa- 
oted,  had  been  represented  in  the  sales 
nanagers'  forum. 

Leader  of  the  opposition  to  arbitration 
|vas  voung  Mann  of  Minneapolis.  Almost 
Hdehandedly,  Mann  upheld  the  previous 
practices  which  had  disdained  arbitration 
tn&  relied  rather  on  direct  action  bv  the 
•ounsel  and  litigation.  It  was  a  losing  battle, 
however,  and,  for  the  first  time.  Allied  went 
m  record  as  approving  arbitration.  Xot  a 
ittle  of  the  support  for  arbitration  was  en- 
gendered bv  Mvers'  tacit  endorsement  of 
he  resolution  after  a  direct  question  from 
he  floor  soliciting  his  sentiments. 


JACK  KIRSCH 

On  the  other  side  of  the  fence.  Chicago's 
Kirsch  urged  arbitration  of  "everything". 
Cole  of  Texas  was  another  potent  advocate 
hi  this  method  of  settling  trade  disputes. 

Snaper  was  one  of  the  principal  instigators 
bf  the  hot  discussion  bv  putting  such 
questions  on  the  floor  as  the  companies' 
policy  on  previews,  adjustment  of  price 
Lvhere  availability  is  pushed  back  because 
jf  print  shortages,  competitive  bidding  and 
ocal  autonomy  of  branch  managers.  He 
Ulso  strongly  condemned  theatremen  for-  not 
tiring  their  gripes  in  an  effective  manner.  He 
urged  the  use  of  the  local  organization  to 
Lombat  malpractices  and.  where  this  failed, 
ruse  the  power  of  National  Allied!" 


Kirsch  made  a  fervent  plea  for  distribu- 
tors to  try  to  prevent  the  closing  of  6000 
theatres,  which,  he  said,  many  industryites 
consider  inevitable.  "Give  us  help,  not  gim- 
micks," he  said,  and  advised  the  film  com- 
panies to  forego  stockholders  dividends,  if 
necessary,  in  order  to  aid  in  preserving  these 
theatres. 

A  hint  of  what  was  to  come  was  contained 
in  the  preceding  day's  hassle  with  the  sales 
managers.  As  the  distribution  toppers,  seat- 
ed on  the  dais,  awaited  the  barrage,  Metro's 
Dore  Senary  called  upon  the  exhibitors  for 
cooperation  and  a  common  faith  in  the  in- 
dustry's future.  He  pointed  to  the  difficulties 
involved  in  making  "a  good  picture."  He 
also  cited  the  problem  "of  all  of  us  assum- 
ing that  we  can  do  the  other  man's  job — 
and  while  we  insist  that  we  are  entitled  to 
our  own  margin  of  error,  we  very  seldom 
are  willing  to  give  it  to  the  other  guy,"  add- 
ing the  producer  blames  the  advertiser,  the 
distributor  blames  the  picture  and  the  ex- 
hibitor blames  the  distributor  whenever  the 
picture  "flops."  He  set  forth  his  belief  that 
movies  can  go  on  to  an  even  healthier  and 
broader  industry,  which  needs  not  be 
frightened  bv  competition  .  .  .  and  intimi- 
dated by  criticism,  but  rather  benefited  bv  it. 

Then  Allied  president  Rembusch,  forum 
moderator,  threw  the  floor  open  tor 
questions  aimed  at  the  dsitnbutor  "guests  : 
William  F.  Rodgers.  M-G-M;  Robert  Moch- 
rie  RKO-  A  Montague.  Columbia;  William 
Gehring  '20th  Cenrurv-Fox;  Alfred  Daff. 
Universal-International;  Charles  Feldman, 
U-I:  Morev  Goldstein.  Monogram,  and  Ber- 
nard Kranze.  United  Artists. 

The  sales  toppers,  for  the  most  part,  took 
the  questions  fired  at  them  sideways  rather 
than  broadside.  Such  topics  as  high  rentals, 
percentage  terms,  advanced  admissions,  com- 
petitive bidding,  print  shortages  and  equit- 
able distribution  of  profits,  made  them  wince 
but  the  armor  of  evasiveness  and  high- 
sounding  generalities  kept  them  unharmed. 

Opening  round  was  fired  bv  Col  H.  A. 
Cole  of  Texas,  who  cited  the  smaller  ex- 
hibitor*' increased  operating  expenses— in 
many  cases  to  eat  up  60*  of  ^  ffrosMnd 
asked  the  sales  heads  to  justify  40  per  cent 
terms. 

RKO's  Bob  Mochrie  took  up  the  gauntlet 
bv  explaining  that  lower  priced  films  even 
out  the  40  er  centers  and  that  his  company 
tries  to  "distribute  with  flexibility  for  big 
cities  and  small  ones."  Minnesota  s  Benny 
Berger  drew  an  ironic  guffaw  from  the  as- 
semblage when  he  contended  that  flexibility 
means  vou  pav  through  the  nose." 

Cole  proposed  that  distributors  make  an 
audit  of  the  operations  of  20  representative 
theatres  in  smaller  situations  to  determine 


Highlights  of 
KEYNOTE  ADDRESS 

by  A.  F.  Myers 

The  dates  for  this  convention  were 
decided  upon  many  months  ago,  and  had 
the  Convention  Committee  been  armed  with 
foreknowledge  of  the  events  which  have 
taken  place  since  then,  it  could  not  have  hit 
upon  a  more  opportune  time. 

When  the  convention  was  first  projected 
the  motion  picture  business  had  reached  the 
bottom  of  a  decline  that  had  been  going  on 
for  several  years.  From  the  peak  of  1946 
to  the  valley  of  1951  the  drop  i'au  been 
precipitate  and  there  were  no  sure  signs  that 
better  times  were  coming.  Many  in  this 
usually  happy  business  were  experiencing 
financial  reverses  for  the  first  time  and,  con- 
sequenty.  industry  morjle  was  at  lew  ebb. 

To  some  exhibitors  (whose  judgment  may 
have  been  warped  by  anxiety)  it  seemed  that 
the  producer-distributors  proposed  for  the 
ills  of  the  business  only  a  two-fold  remedy 


A.  F.  MYERS 

which  was  guaranteed  to  kill  the  patient, 
namely,  studio  economies  carried  to  a  •  o 
where  the  quality  of  the  pictures  was  ad- 
versely  affected,   and   demands   for  higher 
film  rentals. 

Amidst  all  this  gloom  and  dissension  there 
were  a  few  prophets  who  held  the  conviction 
that  the  hour  of  doom  was  not  at  hand; 
that  motion  pictures  had  not  yet  fulfilled 
their  high  destiny.  And  they  carried  a  mes- 
sage of  confidence  and  good  cheer  to  the 
faltering  and  the  forlorn,  preaching:  "Have 
faith  in  motion  pictures,  there  is  nothing 
here  or  on  the  horizon  to  seriously  chal- 
lenge, much  less  supplant,  the  movies  as  a 
medium  of  entertainment. ' 

(Continued  on  Page  24) 


(Continued  on  Page  24) 


NOVEMBER    5 ,  1951 


TOO  YOUNG  TO  KISS'  HIGHLY  ENTERTAINING  ROMANTIC  FARCE 

Rates  «  •  •  except  in  action  houses 


M-G-M 
91  minutes 

June  Allyson,   Van  Johnson,   Gig  Young, 
Paula  Corday,  Kathryn  Givney,  Larry  Keat- 
ing, Hans  Conried,  Esther  Dale,  Antonio 
Filauri,  Jo  Gilbert,  Alexander  Steinert. 
Directed  by  Robert  Z.  Leonard. 

The  ingredients  to  make  an  enjoyable  ro- 
mantic farce  are  expertly  blended  in  this 
fast-paced  Metro  comedy.  In  addition  to 
providing  a  full  measure  of  laugh-provoking 
situations  that  will  send  audiences  home 
with  a  smile,  "Too  Young  To  Kiss"  features 
a  brace  of  magnetic  marquee  names  in  Van 
Johnson  and  June  Allyson — a  combination 
that  should  mean  gratifying  boxoffice  returns 
in  most  situations.  Favorable  word-of- 
mouth  shouldn't  hurt  the  take  in  subsequent 
runs.  Returns  will  be  weakest,  of  course, 
in  action  houses.  There  actually  isn't  much 
that  is  new  or  different  about  this  Sam 
Zimbalist  offering,  but  the  old  reliable  farc- 
ical standbys  are  worked  over  in  such  a 
fresh  and  zany  manner,  under  Robert  Z. 
Leonard's    direction,    that    the    film    as  a 


Rutin*  Rating 

•  POOR  •  •  FAIR 

•  •  •  GOOD         •  •  •  •  TOPS 


thoroughly  enjoyable  hour-and-a-half  at  the 
movies. 

As  the  concert  manager — Lothario  who 
mixes  business  with  pleasure  quite  success- 
fully, Johnson  is  all  his  followers  could 
desire.  Miss  Allyson,  in  her  "dual"  role  as 
a  pair  of  12-and-22-year-old  sisters,  leans 
heavily  on  the  dental  braces,  pigtails  and 
little  girl's  clothes  for  the  "kid"  portion  and 
she  does  well  with  the  difficult  assignment. 
The  piano  concertos  and  symphonic  se- 
quences will  score  as  a  special  dividend 
with  due  credit  going  to  Johnny  Green'ji 
musical  direction  and  the  pianist  whose 
talents  are  on  the  sound  track  as  Miss  Ally- 
son  plays.  Gig  Young  is  unimpressive  as 
June's  confused  finance,  but  Paula  Corday 
is  a  sight  to  behold  as  Johnson's  voluptuous 
French  client — girlfriend. 

STORY:  Failing  in  all  her  legitimate 
efforts  to  gain  an  audition  with  Van  John- 


son, prominent  concert  manager,  concert 
pianist  June  Allyson  enters  a  contest  for 
children  disguised  as  a  12-year-old  and 
walks  off  with  ;ill  the  honors.  She  tries  to 
tell  Johnson  about  the  hoax,  but  Johnson  is 
too  excited  with  the  prospects  of  the  fortune 
he  can  make  with  this  "child  prodigy,"  and 
as  her  own  older  sister,  June  signs  a  five- 
year  contract.  Her  newspaperman-fiiance 
Gig  Young  objects  and  the  subsequent  mix- 
up  results  in  Johnson's  taking  the  "child"  to 
his  country  home  to  practice  for  her  first 
concert  and  to  keep  her  from  the  evil  in- 
fluence of  Young  and  her  "older  sister."  As 
the  child,  June  is  a  deliberate  horror,  doing 
all  she  can  to  make  things  miserable  for 
Johnson.  She  plots  with  Young  to  double- 
cross  Johnson  by  exposing  the  hoax  after 
the  concert,  but  falls  in  love  with  Johnson, 
who  is  still  blissfully  unaware  that  she  and 
her  "sister"  are  one  and  the  same.  Young 
exposes  her  in  his  newspaper  just  before 
the  concert,  but  her  talent  is  finally  recog- 
nized despite  her  age,  and  manager  and 
prodigy  wind  up  in  each  other's  arms. 

JACKSON 


'CAVE  OF  OUTLAWS'  TECHNICOLOR  ADVENTURE  MiSSES  PROMISE 

Rates  •  •  +  as  top  dualler  in  action  spots 

to  work  in  several  directions,  none  of  which 
sustains  interest.    The  characters  are  frag- 


Universal-International 
76  minutes 

Macdonald  Carey,  Alexis  Smith,  Edgar 
Buchanan,  Victor  Jory,  Hugh  O'Brian, 
Houseley  Stevenson,  Charles  Horvath, 
Jimmy  Van  Horn,  Tim  Graham,  Clem 
Fuller. 

Directed  by  William  Castle. 

As  adventure  drama,  "Cave  Of  Outlaws" 
only  partially  fulfills  the  considerable 
promise  of  an  interesting  opening — the  story 
of  a  boy,  caught  in  a  robbery,  who  serves 
his  time  and  returns,  a  grown  man,  to  the 
scene  of  his  misadventures  for  a  life  of 
Riley  on  the  basis  of  his  knowledge  of  the 
gold  cache.  The  screenplay  accomplishes  a 
listless  development  of  the  idea,  allowing  it 


mentary,  especially  that  of  the  leading  lady 
who  changes  her  mind  so  often  about  her 
purpose  that  one  rather  wishes  she'd  duck 
the  whole  affair.  The  physical  production, 
utilizing  some  excellent  Technicolor  photo- 
graphy, is  top-notch  and  the  pity  is  that  a 
locale  as  photogenic  and  dramatically  excit- 
ing as  Carlsbad  Caverns  should  have  been 
wasted  on  so  negligible  a  film  as  "Cave  Of 
Outlaws."  Proscribed  by  the  script,  Joseph 
Pevney's  direction  is  slow  and  indifferent. 

Macdonald  Carey  is  pleasant  and  unas- 
suming as  the  hero  of  the  piece.  Attractive 
Miss  Smith  has  trouble  in  making  the 
curious  part  convincing.  Best  work  is  that 
of  Edgar  Buchanan  as  the  relentless  sleuth, 
with  Victory  Jory  a  convincing  heavy. 

STORY:  Macdonald  Carey  plays  the  re- 


turned pail  bird  who  lives  a  comfortable 
life  for  a  few  weeks  on  the  basis  of  his  repu- 
tation as  a  good  credit  risk.  He  invests 
borrowed  money  in  the  newspaper  run  by 
Alexis  Smith.  Trailing  him  all  the  time  is 
Edgar  Buchanan,  a  Wells  Fargo  d  :tective, 
who  wants  to  get  back  the  buried  treasure. 
Macdonald  Carey  makes  a  few  forays  into 
the  Carlsbad  Caverns  where  it  has  been 
buried,  decides  it  is  gone.  Subsequently  he 
learns  Miss  Smith's  husband  had  carried  on 
an  active  search  for  the  horde.  Working 
further  he  comes  up  with  the  conclusion 
that  the  husband  had  been  killed  because 
be  had  actually  discovered  the  money;  that 
Victor  Jory  is  behind  the  murder  and  quite 
;i  bit  of  other  evil-doing  in  the  community. 
In  a  run-in  with  Jory,  Carey  is  about  to  be 
killed,  but  is  rescued  by  Buchanan,  who 
shoots  down  Jory.  JAMES 


GOLD  RAIDERS'  NONSENSICAL  COMIC  WESTERN 

Rates  •  -4-  as  matinee  filler 


United  Artists  (Jack(Schwartz) 
56  minutes 

George  O'Brien,  Clem  Bevans,  Lyle  Talbot, 
Sheilah  Ryan,  Monte  Blue,  Fuzzy  Knight, 
Three  Stooges. 
Directed  by  Edward  Bernds 

Despite  some  promising  performers  and 
its  United  Artists  label,  "Gold  Raiders"  is 
a  woefully  poor  western-with-comedy  so 
ridden  with  clickes  and  slapstick,  it  might 
be  thought  an  attempt  at  satirizing  westerns. 
Unfortunately,  it  is  played  straight  and  the 
audiences  at  which  it  is  aimed  will  so  take 
it— if  they  can.  If  played,  it  should  be 
sneaked  in  for  consumption  only  by  the 
kiddies  and  the  most  undiscriminating  wes- 
tern addicts.  The  cast,  for  the  most  part,  is 


buried  by  the  corny  story,  skimpy  produc- 
tion, uneven  cutting  and  nonsensical  dia- 
logue, with  the  Three  Stooges  wielding 
their  slapstick  shovels  to  aid  measurably 
in  the  interment.  The  very  young  and  the 
rabid  western  fans  may  sit  thn 
without  too  much  strain,  but 
else,  it  is  strictly  spinach. 

George  O'Brien  struggles  v 
role  as  manfully  as  he  d 
but  with  much  less  success.  The  smiles  the 
Stooges  manage  to  evoke  are  pitifully  few 
among  the  welter  of  slapstick  comedy  they 
attempt.  Only  Lyle  Talbot  as  the  boss  of 
a  gold-raiding  gang,  and  Clem  Bevans  as 
a  tippling  doctor  manage  reasonable  per- 
formances. Edward  Bernds'  directions  fails 
to  help  the  silly  script. 


gh  this  one 
for  anyone 


with  his  hero 
ith  the  villains, 


STORY:  Ambushed  on  his  way  to  insure 
mine  owners  against  loss  from  raids  on  gold 
ore  shipments,  George  O'Brien  is  accidental- 
ly rescued  by  the  Three  Stooges,  proprietors 
of  a  traveling  variety  store.  He  hires  the 
trio,  adds  Sheilah  Ryan  and  Clem  Bevans, 
the  girl's  drunken  grandfather,  to  his  staff, 
and  sells  his  insurance  to  a  few  mine  owners. 
Leader  of  the  gold  raiders,  Lyle  Talbot, 
alter  being  stymied  by  O'Brien's  protection 
of  the  gold  shipments,  blackmails  Bevan 
into  revealing  that  the  hiding  place  of  the 
gold  is  in  the  jail.  In  a  climactic  attempt 
to  raid  the  jail,  the  bandits  are  trapped  by 
O'Brien  and  Bevan.  O'Brien  gets  the 
policies,  but  not  the  girl,  as  in  the  true 
western  tradition  he  rides  off  into  the 
sunset.  YORK. 


FILM  BULLETIN 


PICTURE 

DeCARLO 

IN  YOUR 
HOUSE! 


45°  IS  A 


'DeCARLO  SINGING,  DANCING 
AND  COQUETTING  MOST  EFFEC- 
TIVELY! Joyful  comedy... great  fun!' 

-SHOWMEN'S  TRADE  REVIEW 


Of 


IT'S  A  FULL  HOUSE 

for  great  returns  in  initial  en- 
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At 


I  Ullll  Ull  IIUWIHH  imiili 

YVONNE  DeCARLO  -  PETER  USTINOV  -  DAVID  TOMLINSON  ."Hotel  Sahara'1 
m  Roland  Culver  ■  Albert  Lieven  •  mbi  ti  unci  iiiiut  nm  •  tmm  *mk«  on  mm 

tncW  N  O  MUD  •  top*  tot  ■<  fcm*  k,  hM  Urn*  top  Mfe)  to*  •  I  \m  Fte  IU  Mcta 

Dofe  her ...  thru  UA 


THE  TANKS  ARE  COMING'  JL 

Rates  •  •  +  in  action  houses 

Warner  Bros. 
89  minutes 

Steve  Cochran,  Philip  Carey,  Mari  Aldon, 
Paul  Picerni,  Harry  Bellaver,  James  Dobson, 
George  O'Hanlon,  John  McGuire,  Robert 
Boon,  Michael  Steele. 
Directed  by  Lewis  Seiler. 


There  is  little  to  distinguish  "The  Tanks 
Are  Coming"  from  countless  other  war  pic- 
tures. Only  its  spotlight  on  the  tank  corps 
can  be  counted  as  a  new  experience  for  the 
moviegoer.  The  rest  of  this  Bryan  Foy  pro- 
duction is  a  duplication  of  the  usual  heroics, 
the  old  hack  about  the  hard-driving,  ap- 
parently heartless  top  sergeant  who  takes 
over  the  job  after  the  tank  crew's  beloved 
leader  is  killed,  earns  their  hatred  and 
eventually  their  admiration  and  respect.  It 
is  to  the  credit  of  director  Lewis  Seiler  that 
despite  the  often  incredulous  proceedings 
and  stereotyped  characters,  the  film  manages 
to  hold  audience  interest  throughout  and 
even  includes  a  generous  sprinkling  of 
laughs.     There    is    plenty    of    action  and 


T  ANOTHER  WAR  FILM 

derring-do  to  keep  the  lovers  of  such  stuff 
happy,  but  the  more  discriminating  patrons 
won't  be  too  impressed.  The  all-male  cast 
headed  by  Steve  Cochran  (one  female,  Mari 
Aldon,  is  dragged  in  for  a  moment  in  a 
couple  of  extraneous  scenes)  is  virtually 
nil  on  marquee  value.  "The  Tanks  Are 
coming"  should  be  a  satisfactory  attraction 
in  the  action  houses. 

Steve  Cochran's  portrayal  of  the  tough 
and  cocky  sergeant  makes  for  a  largely 
unsympathetic  role  and  the  revelation 
toward  the  finish  that  he  really  has  a  heart 
of  gold  is  unconvincing.  His  "one-man- 
army"  stunts  are  reminiscent  of  the  earlier 
war  films  that  ladled  out  heroics  rather  than 
realism.  The  others  are  cardboard  cutouts 
— the  upstanding  lieutenant,  Philip  Carey; 
the  hot-headed  "Danny,"  Paul  Picerni;  the 
older,  constantly  griping  grease  monkey, 
Harry  Bellaver;  the  naive  young  kid  with 
yearnings  to  be  a  tank  driver,  James 
Dobson,  and  so  on  right  through  to  the 
kindly  general.  Lewis  Seiler's  direction 
makes  the  most  of  Robert  Hardy  Andrews' 


ineffectual  screen  play. 

STORY:  Steve  Cochran,  replacing  the 
fallen  head  of  a  tank  crew,  immediately 
wins  everyone's  animosity  because  of  his 
cocky  and  heartless  attitude.  With  his  tanks 
spearheading  the  armored  group  thundering 
across  France  to  the  Siegfried  Line,  Coch- 
ran drives  his  men  to  great  feats  of  daring, 
but  keeps  them  safe  from  harm.  He  cap- 
tures a  German  general  enabling  the  Divi- 
sion to  learn  of  a  secret  Nazi  move  to 
amass  its  forces  at  the  Siegfried  Line  and 
all  tanks  are  ordered  to  that  point.  Using 
a  knocked-out  tank,  at  the  battle  of  Mons, 
Cochran  captures  a  whole  platoon  of  Nazis 
after  going  into  the  midst  of  the  enemy  to 
save  the  life  of  one  of  his  crew.  At  the 
Siegfried  Line,  his  tank  is  stalled  on  the 
"Dragon's  Teeth"  anti-tank  defenses  as  he 
attempts  to  be  the  first  into  Germany.  He 
grabs  a  bulldozer,  forms  a  pathway  over 
the  tank  traps  to  permit  the  entire  division 
to  pour  into  Germany.  Offered  a  lieu- 
tenancy, Cochran  refuses,  preferring  to  stay 
with  his  men  who  have  also  had  a  change 
of  heart.  BARN 


THE  LIGHT  TOUCH'  PLAYERS  WASTED  IN  DULL  MELODRAMA 

Rates  •  •  +  in  class  and  art  houses;  less  elsewhere 


Metro-Goldwyn-Mayer 
107  minutes 

Stewart     Granger,     Pier     Angeli,  George 
Sanders,  Kurt  Kasnar,  Joseph  Calleir,  Larry 
Keating,   Rhys   Williams,   Norman  Lloyd 
Mike  Mazurki. 
Directed  by  Richard  Brooks. 

"The  Light  Touch"  is  a  long,  dull  mystery 
film,  made  more  conspicuously  disappoint- 
ing by  its  obvious  waste  of  an  excellent 
company  of  players  and  in  intriguing  atmos- 
pheric production  shot  in  Sicily  and  North 
Africia.  The  story  for  this  Pandro  S.  Her- 
man production  starts  off  promisingly,  and 
all   the  elements  are  present   for  a  swift, 


exciting  narrative  about  a  master  art  thief. 
But  the  screenplay  of  Richard  Brooks,  like 
his  direction,  is  slow  and  repetitious.  Sur- 
prise is  totally  lacking  in  the  concept  of  the 
story,  and  the  action  moments  are  few  and 
far  between.  Class  and  art  houses  may  find 
"The  Light  Touch"  a  satisfactory  attraction, 
but  generally  the  exhibitor  will  have  to 
depend  largely  on  interest  in  Stewart 
Granger  and  Pier  Angeli  to  put  this  across. 

While  the  show  will  not  enhance  the 
reputations  of  the  two  newcomers,  Granger 
and  Miss  Angeli  deliver  able  performances, 
and,  at  times,  the  actors  have  some  bright, 
saucy  dialogue  to  help  them  over  the  hump. 
Granger  is  likeable  as  the  crook;  Miss 
Angeli,  warmly  sympathetic  as  the  girl. 
George  Sanders  plays  the  art  dealer  in  his 


usual  arch  manner. 

STORY:  As  a  shrewd,  ingenious  thief 
Granger  masterminds  the  removal  of  a  valu- 
able painting  from  a  Naples  gallery.  He 
transports  the  masterpiece  to  North  Africa, 
V/he;re  it  is  eagerly  awaited  by  crooked 
dealer  George  Sanders,  with  a  buyer  in  tow 
Granger  insists  the  painting  has  been  lost, 
suggests  that  copies  be  made  and  sold  as  the 
original.  Pier  Angeli,  a  young  artists,  is 
lured  into  painting  the  imitations.  She 
learns  of  the  scheme  and  to  prevent  her 
returning  the  painting  to  the  church  where 
it  rightfully  belongs,  Granger  marries  the 
girl.  He  is  regenerated,  however,  under  her 
influence  and  returns  the  painting  as  they 
look  to  a  happy — and  honest — future. 

HANNA  (Hollywood) 


TWO  DOLLAR  BETTOR'  ENGROSSING  GAMBLING  PROGRAMMER 

Rates  •  •  -f-  as  dualler 


Realart  (Jack  Broder) 
72  minutes 

John  Litel,  Marie  Windsor,  Steve  Brodie, 
Barbara  Logan,  Robert  Sherwood,  Barbara 
Bostar,  Walter  Kingsford,  Don  Shelton, 
Kay  LaVelle,  Carl  Switzer,  Isabel  Ran- 
dolph, Ralph  Reed,  Barbara  Billingsley, 
Ralph  Hodges,  Madelon  Mitchel,  Phillip 
Van  Zandt. 

Directed  by  Edward  L.  Cahn 

"Two  Dollar  Bettor"  is  above  average  for 
an  independent  exploitation  entry.  The  pro- 
vocative title  and  incisive  story  about  the 
evils  of  gambling  should  pay  off  in  audience 
interest  and  as  a  good  supporting  dualler 
in  a  wide  variety  of  situations.  Under 
l-.duard  L  Calm,  the  production  doesn't 
show  its  budget  at  the  seams,  and  the  cast 


players.  Cahn,  doubling  as  director,  plays 
is  composed  of  generally  competent 
the  melodrama  with  a  fast  tempo,  reading 
strong  suspense  qualities  into  the  racing 
scenes  and  a  climactic  battle  against  time. 

John  Litel  is  a  standout  as  the  middle- 
aged  banking  executive  who  wages  a  losing 
battle  against  the  ponies.  At  times,  the 
character  is  written  too  naively  to  be  com- 
pletely credible,  but  Litel's  sure  playing 
covers  this  to  a  large  degree.  Marie  Wind- 
sor's overplaying  of  the  temptress  is  curious- 
ly effective,  and  Brodie  is  fine  as  the  crook. 
Walter  Kingsford  scores  as  the  understand- 
ing bank  president. 

STORY:  John  Litel,  a  banker  of  previous- 
ly unimpeachable  integrity,  is  lured  by 
friends  into  placing  a  small  bet  at  the  track. 
Prodded  by  winner's  luck  that  sticks  with 


him  for  a  few  weeks,  Litel  continues  bet- 
ting. But  fortune  turns  the  other  way;  in1 
a  matter  of  months  he  has  dipped  into  his 
savings;  finally,  he  turns  to  the  bank  till. 
He  becomes  more  desperate  and  the  situ- 
ation is  complicated  by  the  romance  that 
blossoms  between  his  daughter  and  the  son 
of  the  bank  president.  He  is  also  being  taken 
by  Marie  Windsor,  a  collector  for  the  book. 
She  passes  her  lover,  Steve  Hrodie,  off  as 
her  brother.  They  conspire  to  take  him  for 
$20, 000  on  a  so  called  "information"  bet. 
The  horse  is  scratched,  thus  giving  Litel  an 
opportunity  to  learn  how  seriously  he  has 
been  victimized.  A  shooting  foray  ensues 
in  which  he  is  fatally  injured.  The  bank 
president  protects  his  name  in  deatli  and 
the  marriage  of  the  young  people  goes  off 
on  schedule.  ANGEL 


10 


FILM  BULLETIN 


A  SENSATIONAL  INNOVA- 
TION IN  ACTION  ENTER- 
TAINMENT! Music,  songs  and 
ballads  pacing  terrific  thrill 
drama  !  .  .  Songs  include  that 
top  hit  tune  "I  WISH  I  WUZ". 


A  ROARING  SAGA  OF  RED- 
1  SKIN  VENGEANCE... AND 
OF  THE  TINY  CAVALRY 
OUTPOST  THAT  DEFIED  IT! 


SLAUGHTER 


Co/or  by  CINECOLOR 


starring 


BRIAN  DONLEVY-  GIG  YOUNG 
VIRGINIA  GREY-  ANDY  DEVINE 
ROBERT  HUTTON  terrTImyson, 

composer  of  "Cry  of  the  Wild  Goose,"  singing:  "HOOFBEAT  SERENADE," 
"BALLAD  8ANDELIER,"  "THE  GIRL  IN  THE  WOOD,"  "EVERYONE'S  CRAZY 
'CEPTIN'  ME"  and  "JITTERY  DEER-FOOT  DAN" 
Produced  and  Directed  by  IRVING  ALLEN 
Screenplay  by  SID  KULLER 


LET'S  MAKE  IT  LEGAL'  FAIRLY  ENTERTAINING  FAMILY  COMEDY 

Rates  •  •  +  as  top  dualler  in  family  houses 

20th  Century-Fox 
79  minutes 

Claudette  Colbert,  Macdonald  Carey,  Zach- 
ary  Scott,  Barbara  Bates,  Robert  Wagner, 
Marilyn  Monroe,  Frank  Cady,  Jim  Hay- 
ward,  Carol  Savage,  Paul  Gerirts,  Betty 
Jane  Bowen,  Vici  Raaf,  Ralph  Sanford, 
Harry  Denny,  Harry  Harvey,  Sr. 
Directed  by  Richard  Sale. 

"Let's  Make  It  Legal"  is  a  family  comedy 
that  passes  muster  in  its  bracket  because  of 
the  adroit  trouping  of  Macdonald  Carey 
and  Claudette  Colbert  in  the  leading  roles. 
Their  performances  plus  a  script  that  is 
frequently  bright  and  fresh  in  its  dialogue 
passages,  if  not  in  its  plot  construction,  pro- 


duce quite  a  few  chuckles  in  the  20th 
Century-Fox  release.  The  yarn  itself  is  fluff 
and  nonsense — held  together  by  the  flimsiest 
of  plot  premises.  Production  qualities  reflect 
the  new  trend  in  Hollywood  of  holding  the 
medium  shows  within  a  handful  of  sets. 
Since  this  affects  pace,  not  even  the  flip 
direction  of  Richard  Sale  is  able  to  over- 
come some  of  the  slow  spots.  This  should 
make  a  favorable  attration  for  the  family 
spots  as  a  top  dualler. 

Colbert  and  Carey  make  an  excellent  ma- 
ture romantic  team.  Zachary  Scott  con- 
vinces as  the  local  boy  who  made  good,  and 
Barbara  Bates  is  pretty  as  the  girl.  Robert 
Wagner    is    fine    as    her    young,  husband 


THE  STRANGE  DOOR'  DISAPPOINTING  HORROR  TALE 

Rates  •  •  as  dualler 


Universal-International 
80  minutes 

Charles  Laughton,  Boris  Karloff,  Sally 
Forrest,  Richard  Stapley,  Michael  Pate, 
Paul  Cavanagh,  Alan  Napier,  William  Cot- 
trell. 

Directed  by  Joseph  Pevney. 

"The  Strange  Door,"  adapted  from  a 
Robert  Louis  Stevenson  story,  is  disappoint- 
ing fare  for  the  horror  fans — despite  the 
presence  in  top  roles  of  such  usually  artful 
masters  of  the  macabre  as  Charles  Laughton 

JUNGLE  MANHUNT'  AVERAGE 

Rates  •  •  as  dualler 

Columbia 
66  minutes 

Johnny  Weissmuller,  Bob  Waterfield,  Sheila 
Ryan,  Rick  Vallin,  Lyle  Talbot,  William 
P.  Wilkerson,  "Tamba  the  Chimp". 
Directed  by  Lew  Landers 

Plenty  of  action  makes  "Jungle  Manhunt" 
acceptable  to  a  degree  in  its  secondary 
bracket,  even  with  the  incredible  screenplay. 
Filmed  in  sepiatone,  the  entry  is  an  addition 
to  the  "Jungle  Jim"  series  produced  by  Sam 
Katzman.  The  presentation  follows  a  set 
pattern — the  wild,  woolly  story  set  against 
a  background   that    makes   liberal   use  of 


and  Boris  Karloff.  The  latter  is  wasted  on 
a  sympathetic  role,  and  Laughton,  playing 
a  17th  Century  sadist,  simply  lacks  the  ma 
terial  with  which  to  work.  The  screenplay 
is  a  fumbling,  single-lined  narrative  con 
taining  no  surprises,  little  suspense,  and  few 
moments  of  action  until  the  finish.  In  its 
bracket,  the  piece  will  just  get  by. 

Charles  Laughton  overplays  in  his  usual 
forthright  fashion,  but  the  old  tricks  don't 
work  under  the  unhappy  circumstances. 
Boris  Karloff  mutters  through  the  role  of  a 
loyal   servant.    Sally   Forrest   and  Richard 

JUNCLE  JIM'  SERIES  ENTRY 

stock  shots.  In  the  main,  these  are  woven 
adroitly  into  the  narrative.  Highlights  of 
the  saga  involve  a  fight  between  two  pre- 
historic monsters  and  a  battle  to  the  death 
between  a  shark  and  a  giant  squid.  Where 
the  "Jungle  Jim"  films  click,  this  one  should 
follow  the  same  groove. 

Under  Lew  Landers'  speedy  direction,  the 
performances  are  nearly  convincing.  Johnny 
Weissmuller  has  played  "Jungle  Jim"  long 
enough  to  appear  comfortable  in  the  part. 
Sheila  Ryan  is  good  in  the  feminine  lead. 
Bob  Waterfield,  one-time  football  star 
making  his  debut  in  the  picture,  is  given 
little   to    do,    but   adds    some  exploitation 


UTAH  WAGON  TRAIN'  LEISURELY  REX  ALLEN  WESTERN 

Rates  •  •  in  western  houses 


Republic 
67  minutes 

Rex  Allen,  "Koko",  Penny  Edwards,  Buddy 
Ebsen,  Roy  Barcroft,  Sarah  Padden,  Grant 
Withers,  Arthur  Space,  Edwan  Rand, 
Robert  Karnes,  William  Holmes,  Stanley 
Andrews,  Frank  Jenks. 
Directed  by  Philip  Ford. 

"Utah  Wagon  Train",  Rex  Allen's  final 
picture  in  Republic's  lower  sagebrush  di- 
vision before  moving  into  the  production 
bracket  occupied  by  Roy  Rogers,  is  a 
rather  ragged  showcase  for  the  young  star. 
As  a  display  of  Allen's  likeable  personality, 
"Utah  Wagon  Train"  is  far  more  impressive 
than  it  is  as  a  western  adventure.  While 


Rex  indicates  that  he  may  be  able  to  fill 
Roy's  shoes,  he  is  not  helped  by  a  hokey 
and  contrived  script  and  the  action  se- 
quences only  fleetingly  effective.  Philip 
Ford's  direction  is  leisurely,  hardly  the  ap- 
proach for  a  horse  opera.  Story  makes  the 
mistake  of  exposing  the  heavies  and  their 
purpose  at  the  three-quarter  mark  so  the 
last  fifteen  minutes  of  running  time  amount 
to  so  much  surplus  footage.  Since  the  Allen 
buildup  will  be  concurrent  with  general  re- 
lease, it  not  a  fortunate  choice  for  his  low- 
budget  exit. 

Penny  Edwards  is  pert  and  vivacious  as 
the  feminine  lead.  Buddy  Ebsen's  comic 
capers  run  from  fair  to  mediocre.  Roy  Bar- 
croft performs  the  duties  of  villain  with  his 


Marilyn  Monroe's  whistle-provoking  figure 
is  seen  attractively. 

STORY:  Claudette  Colbert,  about  to  re- 
ceive her  final  divorce  decree  from  Mac- 
donald Carey,  finds  herself  being  pressed 
into  reconciling  with  him  by  her  daughter 
Barbara  Bates.  An  old  swain,  Zachary 
Scott,  shows  up  in  town,  now  wealthy  and 
about  to  receive  a  presidential  appointment. 
He  woos  her  violently  and,  impulsively,  she 
accepts  his  proposal  of  marriage.  She  forces 
him  to  explain  why  he  jilted  her  years 
before,  learns  that  Scott  lost  her  in  a  crap 
game  to  Carey.  When  she  subsequently  finds 
out  that  Carey  played  the  game  with  loaded 
dice  she  realizes  she  really  loves  him  and 
they  start  life  over  again.  JAMES 


Stapley  are  only  fair  in  the  romantic  leads 
STORY:  Laughton,  a  maniacal  eccentric, 
has  kept  his  brother  a  prisoner  in  a  dungeon 
jail  for  some  years  because  of  anger  at 
having  been  jilted  at  the  altar  by  a  girl  who 
subsequently  married  the  brother.  To  com- 
plete the  cycle  of  wrath  he  plots  to  marry 
off  the  brother's  daughter,  Sally  Forrest,  to 
Richard  Stapley,  an  adventurer,  Laughton 
mistakes  for  an  evil  Joe.  Instead,  Stapley 
turns  out  to  be  quite  a  gallant  fellow,  a 
hero  who  enlists  the  cooperation  of  Sally 
Forrest  and  Boris  Karloff  in  ending  the 
diabolical  fuss  and  feathers.  ANGEL 


value. 

STORY:  The  plot  has  Johnny  Weiss- 
muller aiding  Shelia  Ryan,  a  photographer 
hired  to  locate  a  flier  missing  for  years  in 
the  jungle.  The  two  run  into  a  mysterious 
situation  involving  a  white  man  who  has 
become  the  leader  of  a  native  tribe,  enslaving 
other  natives  as  workers  in  a  mine  whose 
radioactive  ore  makes  synthetic  diamonds. 
Contact  with  the  ore  causes  fatal  illness,  so 
the  white  chieftain  is  obliged  to  follow  a 
program  of  constant  raids  in  order  to  sustain 
the  quantity  of  manpower.  By  destroying 
the  mine,  hero  Weissmuller  is  able  to  end 
the  nefarious  doings.  JAMES 


customary  authority.  Sarah  Padden  is  fine 
as  a  salty  old-timer,  head  of  the  expiditio  . 

STORY:  Allen,  responding  to  a  call  from 
his  uncle  for  help,  arrives  at  a  Western 
settlement  to  discover  that  a  band  of  people 
are  about  to  set  off  by  stagecoach  along  a 
route  travelled  a  century  before  by  their 
forbears.  Allen  wonders  if  more  than  senti 
ment  is  involved  in  the  expedition,  soon  dig 
covers  that  the  pioneers  lost  a  huge  amount 
of  gold  which  this  group  hopes  to  recover 
and  put  to  work  in  the  construction  of  a 
ranch  for  homeless  boys.  Heavies,  knowing 
of  the  scheme,  press  down  hard  on  the 
charitible  folk  until  Allen  puts  them  in 
their  places.  HANNA  (Hollywood) 


12 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

Behind  the  Scenes  of  Film  Production 
Cxdujto  fa*  BULLETIN 


COLUMBIA 

5  Top  Budgeters  Shooting 
Bode  Bright  Product  Bill 

There's  a  zing  in  the  air  around 
Columbia's  Gower  Street  lot  these  bright, 
fall  days  that  has  nothing  to  do  with  the 
seasons.  Rather,  it  stems  from  an  accumu- 
lation of  good  business  omens  which  bode 
well  for  the  company's  future. 

Production  is  surging  ahead  at  new  crests, 
with  five  pictures  shooting — all  of  them  in 
the  top  budget  class;  the  company's  No.  1 
money-maker,  Rita  Hayworth  is  set  to  go 
back  before  the  cameras  on  December  1; 
the  Stanley  Kramer  company  is  steadily 
piling  up  a  substantial  backlog  of  high- 
calibre  product,  with  additional  scripts  com- 
pleted and  ready  to  go  into  work;  and  long- 
range  plans  emanating  from  prexy  Harry 
Cohn's  office  assure  a  steady  flow  of  pro- 
duction throughout  the  remainder  of  the 
year. 

Of  the  five  pictures  which  were  before  the 
cameras  at  the  turn  of  November,  four  are 
from  Columbia's  own  production  program, 
and  the  other  is  a  Stanley  Kramer  project. 
In  each  instance,  there  is  a  top-notch  cast, 
plus  an  adequate  shooting  schedule  for  turn- 
ing out  Class  A  fare.  "The  Marrying  Kind" 
(Judy  Holliday)  has  now  passed  its  fortieth 
day  of  shooting  under  the  guidance  of  pro- 
ducer Bert  Granet  and  director  George 
Cukor;  "The  Mother"  (Loretta  Young-Kent 
Smith),  directed  by  Rudy  Mate  and  pro- 
duced by  Buddy  Adler,  is  nearing  com- 
pletion after  30-odd  days  before  the  cameras, 
and  Kramer's  "My  Six  Convicts"  (John 
Beal-Mdlard  Mitchell-Gilbert  Roland-Mai- 
shall  Thompson),  is  in  it's  twenty-sixth,  and 
probably  final  day  of  shooting,  under  Hugo 
Fregonese's  direction.  "Okinawa,"  a  more 
recent  starter,  is  being  directed  by  Leigh 
Jaickson  and  produced  by  Wallace  Mac- 
Donald,  with  a  cast  headed  by  Pat  O'Brien, 
Rhys  Williams  and  Richard  Denning.  "The 
Harem  Girl,"  which  rolled  on  October  21, 
stars  Joan  Davis,  Arthur  Blake  and  Peggy 
Castle— and  is  being  directed  by  Edward 
Bernds,  for  producer  Wallace  MacDonald. 

Coming  up  this  month  are:  "Laramie 
Mountains,"  to  be  produced  by  Carl  Clarke 
and  directed  by  Ray  Nazarro,  starting  No- 
vember 5;  "Apache  Country,"  George  Arch- 
inbaud  directing  for  producer  Armand 
Schaefer,  November  12;  "European  Edition," 
Jerry  Bressler  producing  (in  place  of  Sam 
Marx,  who  recently  resigned  from  Columbia 
after  differences  with  Harry  Cohn),  Novem- 
ber 26;  "Rough,  Tough  West",  Ray  Nazarro 
megging  for  producer  Carl  Clark,  November 
27,  and  "Jubel's  Children,"  to  be  produced 
by  Buddy  Adler,  also  November  27. 

NOVEMBER    5,  1951 


The  Kramer  organization  now  has  com- 
pleted five  pictures  in  the  11  months  it  has 
been  operating  at  Columbia — none  of  them 
yet  released.  In  addition,  eight  scripts  are 
completed  for  future  filming,  awaiting  the 
go-ahead  from  the  front  office  to  start  cast- 
ing. All  of  the  completed  product  was  filmed 
on  shooting  schedules  of  approximately  25 
days,  and  all  arc  marked  with  the  Kramer 
louch  of  blooming  genius. 

LIPPERT  PRODUCTIONS 

Foreman  Pact  May  Mean 
Gary  Cooper  Starrer  Here 

Big  news  on  the  Lippert  front,  this  month, 
is  the  signing  of  a  three-picture  pact  with 
the  newly-organized  Carl  Foreman  Produc- 
tion Company.  The  deals  calls  for  Lippert 
to  provide  the  financing  on  the  trio  of  pro- 
ductions, each  to  be  budgeted  at  approxi- 
mately $300,00O-and  all  to  be  delivered 
within  the  next  year. 

The  Lippert-Foreman  association  followed 
closely  on  the  heels  of  Stanley  Kramers' 
buy-out  of  Foreman's  interests  in  the 
Kramer  company  at  a  reported  $250,000. 

Although  Foreman  has  not  disclosed  the 
names  of  all  of  the  stockholders  in  his  new 
company,  it  known  that  Gary  Cooper  is  one 
of  the  largest  investors,  which  has  led  to 
speculation  that  he  will  probably  star  in  at 
least  one  of  the  upcoming  productions. 

According  to  a  spokesman  for  the  new 
company,  Foreman  will  have  complete  juri-- 
diction  over  all  phases  of  production, 
serving  as  writer,  director  and  producer. 
Lippert  will  supply  total  financing. 

Foreman  tells  FILM  BULLETIN  that 
he  will  employ  much  the  same  techniques 
in  his  production  that  have  been  in  effect 
through  all  of  the  pictures  he  has  worked 
on  with  Kramer — including  "Champion," 
"Home  oi  the  Brave"  and  "Cyrano". 
Furthermore,  he  indicated  that  he  will  em- 
phasize topicality  in  the  selection  of  his 
screen  stories — something  which  has  paid 
off  very  handsomely  for  Kramer. 

The  past  month  has  also  witnessed  con- 
siderable activity  on  the  part  of  Lippert's 
organization  in  lining  up  completed  inde 
product  for  future  release.  At  least  two 
pictures,  "Unknown  World"  and  "Home- 
town Boy,"  were  corralled  within  the  past 
two  weeks,  as  predicted  they  would  in  a 
recent  issue  of  FILM  BULLETIN.  Still 
others  are  about  to  be  set  for  a  Lippert 
release. 

The  first  Paul  Henreid  independent  pro- 
duction, "For  Men  Only,"  is  proving  such  a 
click  with  preview  audiences,  that  Lippert 
has  also  okayed  an  additional  pair  of  pic- 
tures from  that  source,  both  to  be  made 
during  the  next  vear. 


MONOGRAM— AA 

Broidy  Schedules  Seven 
For  Shooting  By  Year's  End 

column  during  the  past  year,  as  repi Tied 
in  the  last  issue  of  FILM  BULLETIN, 
Monogram  is  hypoing  its  future  production 
plans  with  an  eye  toward  even  great  ei 
profits  in  the  new  fiscal  year. 

Indicative  of  the  expanded  plans  for  the 
future  is  William  F.  Mroidy's  announcement 
to  the  press,  late  last  month,  that  he  is 
putting  a  total  of  seven  pictures  before  the 
camera  between  now  and  year's  end.  Of 
these,  executive-producer  Walter  Mirisch 
will  personally  handle  "Africian  Treasure," 
which  is  the  seventh  in  his  Bomba  series 
starring  Johnny  Sheffield.  Walter  Wander 
is  preparing  two  for  Allied  Artists:  "Yellow- 
knife,"  to  be  filmed  in  Cinecolor,  and  "Queen 
of  the  Universe,"  which  is  now  in  the  final 
scripting  stages.  Jerry  Thomas  is  readying 
the  next  two  entries  in  the  Bowery  Boys 
series:  "Plough  Jockey"  and  "Bowery 
Leathernecks."  Stanley  Clements  first  as- 
signment under  his  new  contract  with  the 
>tiulio  is  also  in  the  final  stages  of  prepa- 
ration, and  is  tentatively  tagged  "Jet  Job." 

As  of  this  writing,  three  pictures  are 
before  the  cameras:  "Hold  That  Line"  (Leo 
Gorcey  -  Huntz  Hall  -  John  Bromfield  - 
Mona  Knox),  and  "Stage  From  Amarillo,"  a 
Whip  Wilson  starrer.  William  Beaudine  is 
directing  for  Producer  Jerry  Thomas  on 
"Hold  That  Line."  which  teed  off  on  October 
14,  and  Vincent  Fennelley  is  producing 
"Stage  From  Amarillo,"  with  Lewis  Collins 
directing. 

Next  to  roll  will  be  "Waco,"  (Wild  Bill 
Flliott),  which  Producer  Vincent  M.  Fen- 
nelley expects  to  put  before  the  cameras  on 
November  19,  and  "Man  From  the  Black 
Hills"  (Johnny  Mack  Brown-Jimmy  Elli- 
son), also  a  Fennelley  production  chore. 
The  latter  is  expected  to  roll  around  the 
10th  of  the  month. 

In  addition  to  the  company's  own  pro- 
ductions, Scott  R.  Dunlap  has  announced 
that  he  hopes  to  get  rolling  very  soon  on 
"Cow  Country,"  an  independent  venture 
which  he  will  release  through  Allied  Artists. 
The  high-budgeted  film,  which  will  be  made 
on  location  in  New  Mexico  and  Texas,  is 
the  biggest  outdoor  drama  ever  planned  for 
an  A  A  release. 

PARAMOUNT 

Biggest  Backlog  Slows 
Hectic  Production  Pace 

With  the  biggest  inventory  of  films  in  the 
company's  history  safely  tucked  away  for 
future  release,  Paramount  is  settling  down 
to  a  more  even  production  pace,  with  three 
and  four  pictures  scheduled  for  simultan- 
eous filming  throughout  the  remainder  of 
the  year. 

Within  ihe  past  month,  four  pictures  have 
been  completed  and  a  trio  of  new  ones  have 

(Continued  on  Page  16) 

13 


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NEW  for  '52 

This  great  COLOR  schedule 
is  but  one  of  the  highlights 
of  the  big  NEW  Monogram 
and  Allied  Artists  program 
of  45  features  for  19521 


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(Continued  jrom  Page  13) 

moved  onto  the  soundstages  to  r-;)lace 
them.  The  program  calls  for  the  strrt  oi 
three  more  within  the  next  30  to  40  days, 
moving  in  one  at  a  time  as  the  earlier  pic- 
tures are  finished  —  thus  maintaining  the 
steady  How  that  makes  for  maximum  ef- 
ficiency and  economy. 

The  three  new  starters  during  this  period 


are:   "Famous,"   "This  Is 

Dynamite"  and 

"Los  Alamos."   Although  they  are  all  top- 

budgeted  entrees,  "Famous' 

will  be  by  far 

the  most  costly,  carrying  a 

lut  of  well  over 

a  million  dollars.    Bing  Cr 

osby  is  starred, 

with  Jane  Wyman  repeating 

the  co-starring 

chore  which  proved  such  a 

cilck  in  "Here 

Comes  the  Groom."  Ethel 

Barrymore  and 

Robert    Arthur   round  out 

the   cast,  with 

Elliott   Nugent  directing  fo 

r  producer  Pat 

Duggan.    The  Technicolor 

cameras  started 

rolling  on  the  feature  OctoL 

er  24.   "This  Is 

Dynamite"    (William  Hole 

en    -  Edmond 

O'Brien-Alexis  Smith),  has 

William  Asher 

holding    down    the  produc 

er's    chair,  and 

William  Dieterle  megging. 

Filming  started 

on  October  11,  and  will  ca 

rry  through  to 

mid-November.  "Los  Alamc 

s"  (Gene  Barry 

-Lydia  Clarke),  got  away 

on   October  11 

under  Jerry  Hopper's  direction,  with  Joseph 
Sistrom  producing. 

Completed  during  October  were:  "Shane," 
Technicolor  biggie  starring  Alan  Ladd,  Jean 
Arthur  and  Van  Heflin,  George  Stevens  pro- 
ducing and  directing;  "Son  of  Paleface,' 
Bob  Hope  -  Jane  Russell  comedy,  also  in 
Technicolor,  Robert  Welch  producing, 
Frank  Rashlin  directing;  "Somebody  Loves 
Me,"  the  Perlberg-Seaton  Technicolor  musi- 
cal starring  Betty  Hutton  and  Ralph  Meeker, 
Irving  Brecher  directing;  and  Hal  Wallis' 
"Sailor  Beware,"  latest  Martin  and  Lewis 
funfest,  directed  by  Hal  Walker. 

With  the  completion  of  "Somebody  Loves 
Me,"  Perlberg  and  Seaton  wound  up  two 
pictures  ahead  of  their  commitment  for  the 
year.  As  a  result,  they  plan  to  make  only 
one  picture  next  year,  and  that  is  the 
comedy,  "Country  Girl,"  due  to  roll  in  late 
winter  or  early  spring. 

The  Broadway  hit,  "Stalag  17,"  has  been 
purchased  for  production  by  Paramount. 
Billy  Wilder  will  direct  and  produce,  as  well 
as  collaborate  on  the  screenplay  with  Edwin 
Blum. 

REPUBLIC 

Yates  To  Appeal  Rogers 
Win  As  Autry  Readies  Suit 

The  past  month  has  been  marked  chiefly 
by  prolonged  legal  hassles  for  Republic, 
with  Roy  Rogers  winning  the  precendent- 
setting  suit  which  restrains  the  company 
from  selling  his  old  pictures  for  com- 
mercial showings  on  television,  and  a  similar 
action  threatened  by  the  studio's  other  one- 
time No.  1  cowboy  actor,  Gene  Autry  Re- 
public prexy  Herbert  N  ates  has  served  of- 
ficial notice,  however,  that  he  intends  to  ap- 
peal the  Rogers  case  to  a  higher  court 
late  this  month. 


Production-wise,  filming  was  completed 
on  three  pictures  during  the  month,  one  new 
feature-length  film  and  a  serial  went  before 
the  cameras,  and  the  top-budgeted  "Bal 
Tabarin,"  continued  shooting  in  Paris.. 

Completed  were:  "Hoodlum  Empire.'' 
highest-budgeted  feature  of  the  year,  which 
required  a  total  of  34  days  shooting  time; 
"The  Last  Musketeer"  and  "Girl  From 
Panama."  "Empire"  was  produced  and  di- 
rected by  Joseph  Kane,  with  a  cast  headed 
by  Brian  Donlevy,  Claire  Trevor,  Vera 
Ralston,  Forrest  Tucker  and  Luther  Adler. 
"Musketeer"  (Rex  Allen-Mary  Ellen  Kay), 
was  produced  by  Edward  J.  White  and  di- 
rected by  William  Witney.  "Girl  From 
Panama,"  (Estrelita  Rodriguez  -  Robert 
Clark),  was  produced  and  directed  by  Sidney 
Picker  and  R.  G.  Springsteen. 

The  carry-over  production,  "Bal  Tabarin," 
stars  Muriel  Lawrence  and  William  Ching, 
and  is  now  in  it's  sixth  week  of  filming — 
Phil  Ford  directing  for  associate  producer 
Herman  Millakowsky. 

The  new  feature-length  entry  was  "Lead- 
ville  Gunslinger"  (Rocky  Lane  -  Elaine 
Riley),  and  the  serial,  "Radar  Man  From 
the  Moon."  The  former  rolled  on  October 
25,  with  Harry  Keller  doubling  as  associate 
producer  and  director.  The  new  serial  stars 
Penny  Edwards  and  George  Wallace,  and  is 
being  directed  by  Fred  Brannon  for  pro- 
ducer  Franklin  Adreon. 

November  starters  include:  "Gobs  and 
Gals,"  a  still-uncast  musical,  for  which 
Sidney  Picker  has  been  assigned  the  pro- 
ducer reins,  and  "The  Slasher"  (Anne 
Richards-Anne  Gwynne),  a  Pegasus  pro- 
duction, with  Edmond  Angelo  directing  for 
producers  Max  Gifford  and  Stephen  Auer. 

RKO 

Shelves  Full  Of  Inde 
Product,  RKO  Marks  Time 

RKO  production  has  slowed  down  to  a 
virtual  standstill  during  the  past  couple  of 
weeks,  with  the  only  activity  limited  to  in- 
dependent units  who  release  through  the 
organization.  Sources  close  to  Howard 
Hughes  say  the  hiatus  is  due  to  the  large 
backlog  of  old  pictures  which  have  been 
gathering  dust  on  the  studio  shelves,  and 
the  large  quantity  of  product  being  contri- 
buted by  the  indies. 

Only  three  pictures  have  been  turned 
out  by  RKO's  own  production  company 
since  the  first  of  the  year,  in  addition  to  a 
dribbling  of  Tim  Holt  westerns.  Moreover, 
there  is  every  indication  that  the  emphasis 
will  continue  to  be  on  independent  films, 
inasmuch  as  only  a  mere  handful  of  RKO- 
owned  scripts  are  in  the  preparation  mills. 

Nevertheless,  there  is  a  total  of  eleven 
independently  produced  films  to  highlight 
the  forthcoming  release  slate.  These  are: 
Fidelity's  "Chuck-A-Luck ;"  Wald-Krasna's 
'Behave  Yourself"  and  "The  Blue  Veil;" 
Samuel  Goldwyn's  "I  Want  You;"  American 
Pictures'  "3000  A.D.;"  Filmakers'  "On  the 
Loose"  and  "Day  Without  End;"  Edmund 
Grainger's  "The  Racket;"  Irving  Allen's 
"Slaughter  Trail;"  the  English  feature, 
"Lilly  Marlene,"  which  KK()  lias  purchased 


outright,  and  a  documentary,  "Jungle  oi 
Chang." 

Four  pictures — all  independents  for  RKO 
release  —  are  before  the  cameras  at  the 
present  time — Winchester  Productions'  "The 
Big  Sky"  (Girk  Douglas  -  Dewey  Martin), 
Edmund  Grainger's  "The  Korean  Story" 
(Robert  Mitchum-Ann  Blythe),  GP  Pro- 
ductions' "Androcles  and  the  Lion"  (Jean 
Simmons  -  Victor  Mature  -  Robert  Newton  - 
Maurice  Evans),  and  Wald-Krasna's  "Clash 
By  Night  (Barbara  Stanwyck-Paul  Douglas- 
Robert  Ryan).  "Big  Sky,"  which  has  been 
before  the  cameras  ever  since  July  23,  is 
being  produced  and  directed  by  Howard 
Hawks.  Tay  Garnett  directs  "Korean 
Story"  for  Edmund  Grainger,  the  film  having 
started  August  27.  "Androcles,"  which  in- 
cidentally will  cost  $3,000,000,  started  Sep- 
tember 17,  and  is  now  a  little  over  two 
weeks  behind  schedule,  with  Chester  Erskine 
directing  for  producer  Gabriel  Pascal  and 
associate  producer  Lewis  J.  Rachmil.  And 
"Clash  By  Night,"  the  most  recent  starter, 
was  given  the  go-signal  by  producer  Harriet 
Parsons  and  director  Fritz  Lang  on  October 
15. 

Two  more  independent  productions  are 
scheduled  to  roll  this  month.  Both  are 
scheduled  to  roll  on  November  15:  "Cow- 
poke,"  from  the  Wald-Krasna  company,  and 
'Sword  of  Venus,"  an  American  Pictures 
Production.  Nicholas  Ray  will  direct  the 
Wald-Krasna  production,  and  Robert  Mit- 
chum  will  star.  Renee  DeMarco  is  set  to 
head  the  cast  of  "Venus,"  with  Albert  Zug- 
smith  serving  as  associate  producer  for  Jack 
Pollexfen  and  Aubrey  Wisberg. 

The  biggest  surprise  of  the  past  month  at 
the  studio  was  the  resignation  of  Sam  Bis- 
chofT  as  executive  producer  on  the  lot.  He 
gave  as  his  reason  for  resigning  the  com- 
pany's extensive  backlog  of  pictures  which 
afforded  him  no  assignments.  He  will  return 
to  his  old  stomping  ground  at  Warner 
Brothers. 

20TH  CENTURY-FOX 

Fox  Sets  Heavy  Shooting 
Program  To  Carry  Into  '52 

20th-Fox  is  getting  ready  to  wind  up  the 
year's  activities  in  high  gear,  with  a  quartet 
of  pictures  currently  filming  and  an  even 
half-dozen  more  slated  to  roll  within  the 
next  30  days.  This  heralds  the  return  to 
full-scale  production  which  has  been  held 
up  pending  Darryl  Zanuck's  okay  of  a 
number  of  films  following  his  return  from 
an  extended  European  vacation. 

It  is  expected  that  the  heavy  flow  of  pro- 
duction will  carry  well  into  the  next  year 
without  interruption.  Already,  Zanuck  has 
assigned  over  a  dozen  stories  to  studio 
scriveners  with  early  1952  starting  dates 
pencilled  in.  Of  that  number,  a  goodly 
percentage  are  musicals,  indicating  that  Fox 
will  continue  to  emphasize  tunefilms  in  its 
forthcoming  slate. 

Color  also  will  play  an  important  part  in 
future  Fox  releases,  as  indicated  by  the  high 

(Continued  on  Page  17) 


16 


FILM  BULLETIN 


[  STUDIO  SIZ6-UPS  I 

(Continued  from  Page  16) 

percentage  of  tinted  features  among  the  pic- 
tures now  filming  or  about  to  go  before  the 
cameras.  Of  the  four  pictures  now  in  pro- 
duction, three  are  in  color:  "The  I  Don't 
Care  Girl,"  "The  Way  of  A  Goucho"  and 
"The  Girl  Next  Door."  Only  "Diplomatic 
Courier"  is  in  black  and  white. 

"Courier"(  Tyrone  Power-Patricia  Neal), 
is  the  most  recent  picture  to  go  before  the 
cameras,  having  rolled  on  October  19.  with 
Casey  Robertson  producing  and  Henry 
Hathaway  directing.  "The  I  Don't  Care 
Girl"  (Mitzi  Gaynor  -  David  Wayne  -  Oscar 
Levant)  was  launched  on  October  8,  George 
Jessel  producing,  Lloyd  Bacon  directing. 
"Way  Of  A  Goucho"  (Gene  Tierney-Rory 
Calhoun)  went  before  the  cameras  one  week 
later  in  Argentina,  with  Jacques  Tourneur 
directing  for  producer  Phillip  Dunne.  "The 
Girl  Next  Door"  (June  Haver-Dan  Dailcy- 
Dennis  Day)  carried  an  October  17th  start- 
ing date  for  producer  Robert  Bassler  and 
director  Richard  Sale. 

In  the  offing  also  is  the  Technicolor 
version  with  music  of  "What  Price  Glory," 
for  which  the  studio  has  named  John  Ford 
as  director.  The  production,  which  was  set 
to  go  under  the  title,  "Charmaine,"  rolls 
December  10.  "The  Full  House"  is  the 
name  chosen  for  Andre  Hakim's  omnibus 
production  of  five  O.  Henry  Short  stories. 
Each  has  been  scripted  by  a  different  writer 
—"The  Clarion  Call,"  by  Richard  Breen; 
''The  Cop  and  the  Anthem,"  by  Lamar 
Trotti;  "The  Last  Leaf,"  by  Walter  Bul- 
lock; "The  Ransom  of  Red  Chief,"  by  Nun- 
nally  Johnson;  and  "The  Gift  Of  the  Magi," 
by  Philip  Dunne. 

Other  announcements  of  title  changes  are 
"Down  Among  the  Sheltering  Palms" 
(William  Lundigan-Jane  Greer-Mit/i  Gaynor 
-David  Wayne-Gloria  DeHaven),  formerly 
"Friendly  Island,"  and  "Japanese  War 
Bride."  which  is  the  new  title  for  "East  Is 
East"  (Shirley  Yamaguchi  -  Don  Taylor). 
The  latter  is  directed  by  King  Vidor  and 
produced  by  Joseph  Bernhard,  of  Bcrnhard 
Productions,  for  Fox  release.  The  studio 
also  made  public  the  casting  of  Marilyn 
Monroe  to  co-star  with  Richard  Widmark 
in  "Night  Without  Sleep,"  a  suspense  drama 
to  be  directed  by  Roy  Baker  and  produced 
by  Julian  Blaustein. 

UNITED  ARTISTS 

New  Distribution  Deals 
Give  UA  Solid  Product  Flow 

The  past  month  should  have  removed  any 
doubt  tha'  United  Artists  is  finally  over  the 
hump.  Not  only  is  the  company  showing  a 
comfortable  profit  on  its  current  releases 
but  the  once-slim  product  line-up  has  been 
built  up  to  a  high  level  that  will  assure  a 
continued  flow  of  pictures  through  the  or- 
ganization's distribution  channels. 

In  recent  weeks,  the  company  has  taken 
over  several  importart  films  which  were 
originally  made  without  a  release,  including: 


"Tomahawk  Territory,"  produced  by  Ed 
Finney  and  B.  S.  Ray,  the  latter  also  direct- 
inn;  "Gold  Raiders,"  a  Bernard  Glasscr  pro- 
duction starring  George  O'Brien;  "  The  Lady 
Says  N'n,"  Ros'-Stillman  production  which 
stars  Joan  Caultield  and  David  Niven,  and 
the  western  hemisphere  distribution  on 
"Saturday  Island,"  a  David  Rosc-Coronado 
Production  starring  Linda  Darnell,  and  di- 
rected by  Stuart  lleisler.  Negotiations  are 
also  near  ihe  signing  stage  for  Irving  Allen's 
"The  Gamma  People,"  which  goes  before  the 
cameras  in  Vienna  in  mid-November.  Cast 
and  director  have  been  withheld  pending 
outcome  of  the  negotiations. 

The  only  picture  shooting  at  the  present 
time,  definitely  earmarked  for  a  UA  release, 
is  "The  Tightrope"  (John  Forsythe),  which 
went  before  the  cameras  on  October  17.  It 
is  an  Aspen  production,  directed  by  Robert 
Wise  and  produced  by  Theron  Warth.  UA 
is  advancing  the  total  $250,000  nut  which  the 
project  carries.  Stanley  Kramer's  "High 
Noon"  (Gary  Cooper  -  Grace  Kelly),  went 
into  the  can,  marking  the  end  of  Kramer's 
association  with  UA. 

Arthur  Krim,  the  UA  prexy,  has  also  con- 
cluded arrangements  for  a  number  of  Mcx 
ican  pictures  to  be  included  with  the  com- 
pany's other  releases,  and,  at  the  same  time, 
has  worked  out  a  plan  for  release  of  the 
American  product  in  theatres  south  of  the 
border. 

UNIVERSAL-INTERNATIONAL 

Production  Normal  With 
U-Decca  Merger  In  Prospect 

It's  still  anybody's  guess  as  to  whether  the 
proposed  merger  of  Universal-International 
and  Decca  Records  will  eventually  he 
consummated,  and,  for  that  reason,  actual 
production  and  production  planning  are 
going  ahead  at  the  studio  as  if  there  were 
no  thought  of  a  change  in  ownership. 

With  the  start  of  shooting  on  "Ma  and  Pa 
Kettle  Go  to  Paris"  on  October  23,  the  com- 
pany has  five  pictures  currently  before  the 
cameras.  As  in  the  previous  Kettle  pictures, 
Marjorie  Main  and  Percy  Kilbride  are 
starred,  and  Charles  Lamont  is  again  direct- 
ing for  producer  Leonard  Goldstein.  Others 
stooting  are:  "The  World  In  His  Arms" 
(Gregory  Peck  -  Ann  Blythe),  million-dollar 
Technicolor  biggie  in  work  since  September 
14,  Raoul  Walsh  directing  for  producer 
Aaron  Rosenberg;  "Oh  Money,  Money'- 
(Charles  Coburn  -  Piper  Laurie),  Techni- 
color musical  which  went  before  the  cameras 
October  8,  directed  by  Douglas  Sirk  for 
producer  Ted  Richmond;  "Hear  No  Evil" 
(Tony  Curtis  -  Jan  Sterling  -  Mona  Free- 
man), with  Leonard  Goldstein  producing, 
Joseph  Pevncy  directing,  started  October  19; 
and  "Red  Ball  Express"  (Jeff  Chandler-Alex 
Nicol),  which  producer  Aaron  Rosenberg 
and  director  Bud  Boetticher  launched  on 
October  31. 

A  single  new  film,  "Claim  Jumpers" 
(Audie  Murphy),  will  be  started  this  month 
with  Leonard  Goldstein  producing.  How- 
ever, alt  departments  concerned  with  pre- 
production   planning  are   operating  at  full 


tilt  in  preparation  for  an  unusually  heavy 
December  shooting  schedule.  First  to  roll 
in  December — probably  around  December  1 
—will  be  "Whip  Hand,"  a  Shelley  Winters- 
Scott  Brady  starrer,  to  be  filmed  in  Techni- 
color, with  Leonard  Goldstein  producing. 
No  director  has  been  set. 

Meantime,  preparations  arc  going  ahead 
at  a  rapid  rate  to  launch  big  scale  operations 
in  television  through  the  company's  TV 
subsidiary.  United  World  Films.  The 
studio's  facilities  will  be  used  in  the  TV 
films,  although  there  has  been  a  definite 
decision  igainsl  using  any  of  the  U-I  stock 
players  in  the  telepix. 

WARNER  BROTHERS 

Warners  Deny  Production 
Halt;  Quartet  Set  To  Roll 

Despite  published  reports  that  Warner 
Brothers  will  rest  on  its  backlog  for  the 
remainder  of  the  year,  officials  of  the  com- 
pany assure  FILM  BULLETIN  that  a  min- 
imum of  four — and  possibly  five — picture* 
will  roll  within  the  next  30  to  40  days.  More- 
over, the  very  fact  that  the  company  has 
become  openly  receptive  to  independent 
deals  within  the  past  month,  indicates  that 
studio  toppers  do  not  feel  that  the  backlog 
of  13  pictures  constitutes  a  sufficient  cushion 
for  a  general  production  retrenchment. 

Six  pictures  are  in  production  at  present: 
"The  Crimson  Pirate"  (Technicolor),  a  Burt 
Lancaster  starrer,  which  director  Robert 
Siodmak  has  been  filming  in  Italy  ever  since 
July  3;  "She's  Working  Her  Way  Through 
College"  (Technicolor),  starring  Virginia 
Mayo,  Ronald  Reagan  and  Gene  Nelson, 
with  William  Jacobs  producing,  Bruce 
Humberstone  directing;  "Retreat,  Hell!" 
(Frank  Lovejoy  -  Richard  Carlson),  Joseph 
Lewis  directing,  Milton  Sperling  producing; 
"This  Woman  Is  Dangerous"  (Joan  Craw- 
ford-Dennis Morgan  -  David  Brian),  Robert 
Sisk  producing,  Felix  Feist  directing;  and 
"Mara  Maru"  ( Errol  Flynn),  Gordon  Doug- 
las directing  for  producer  David  Weisbart. 
The  last  two  have  started  since  the  previous 
Si/.e-ups  report,  "Woman"  having  rolled  on 
October  11,  and  "Maru"  the  19th.  In  ad- 
dition, Fidelity  Pictures  started  shooting  on 
"San  Francisco  Story"  October  1  for  Warner 
release,  starring  Joel  McCrea  and  Yvonne 
DeCarlo,  with  Robert  Parrish  directing  for 
Howard  Welsh. 

The  group  of  five  pictures,  which  the  com- 
pany insists  will  start  within  the  next  few 
weeks,  includes:  'Darby's  Rangers,"  Rudi 
Fchr  to  produce,  Gordon  Douglas  to  direct; 
"Four  Chaplains,"  Lewis  R.  Edelmarn  to 
produce;  "The  Big  League,"  Bryan  Foy  to 
produce;  "Springfield  Rifle,"  Lewis  F.  Edel- 
man  producer,  and  'The  Will  Rogers  Story' 
(Technicolor),  Michael  Curtis  to  direct, 
Robert  Arthur  producing.  No  casts  have 
been  announced  on  any  of  the  pictures. 

Pictures  completed  within  the  past  month 
were:  "About  Face"  (Gordon  MacRae - 
Eddie  Bracken),  in  Technicolor;  "The  Lion 
and  the  Horse"  (Steve  Cochran);  "Room 
For  One  More"  (Cary  Grant  -  Betsy  Drake), 
and  "Where's  Charlie"  (Ray  Bolger  -  Allyn 
McLerie),  in  Technicolor. 


NOVEMBER    5,  1951 


17 


Film  Companies  Slampede 
To  Video  Film  Production 

Its  mouth  watering  for  the  revenue  from 
films  produced  to  keep  the  endless  hours 
of  television  programming  filled,  Hollywood 
has  been  casting  covetous  glances  at  the 
TV  field  for  some  time.  Within  the  past 
few  weeks,  this  interest  has  taken  on  the 
proportions  of  a  stampede. 

Paramount,  Universal,  Monogram  are  the 
latest  theatre-picture  studios  to  take  the 
TV-picture  plunge.  In  each  case,  it  is  noted 
a  subsidiary  organization  will  handle  the 
video-film  activities.  Paramount  Television 
Productions  Inc.  president  Paul  Raibourn 
named  Hurt  Balaban  (son  of  the  parent 
company's  president)  as  director  of  pro- 
gramming and  production  and  John  Howell 
as  sales  and  merchandising  director.  Bala- 
ban, who  previously  headed  Paramount's 
television  film  department,  will  be  in  charge 
of  the  crucial  function  of  obtaining  rights 
to  and  producing  top  TV  film  properties. 

Cniversal's  United  World  Films  will 
handle  the  production  of  films  "designed 
expressly  for  the  requirements  of  television," 
it  was  revealed  by  UWF  president  James 
Franey.  The  TV  films,  it  was  said,  will  be 
in  color  as  well  as  in  black-and-white.  It 
was  pointed  out,  however,  that  while  the 
Universal  studios  will  be  used  for  most  of 
the  production,  no  U-I  contract  players  will 
appear  in  the  video  pictures,  nor  would 
these  films  "compete  with  the  full  length 
motion  pictures"  produced  by  U-I  for 
theatres.  George  Bole,  assistant  U-I  studio 
manager,  was  named  liaison  executive 
between  the  studio  and  United  World. 

Monogram's  new  TV  film  unit,  unveiled 
by  president  Steve  Broidy  in  the  annual 
report  to  stockholders,  will  have  Harold 
Mirisch  and  G.  Ralph  Branton  at  the  helm. 
Hranton,  who  recently  acquired  a  sizeable 
interest  in  Monogram,  is  neck  deep  in  the 
video  film  production  picture,  with  financial 
holdings  in  several  other  such  projects  out- 
side of  Monogram. 

On  the  heels  of  the  swing  to  TV  pro- 
duction by  the  studios,  independent  pro- 
ducers Edward  Small  and  Sol  Lesser  merged 
for  a  unit  for  production  and  distribution 
of  TV  films.  They  will  also  make  available 
several  of  their  films  which  had  theatrical 
release  in  past  years.  George  Shupert, 
former  head  of  commercial  operations  for 
Paramount  Television  Productions,  will  be 
in  charge  of  distribution  for  the  new  com- 
pany. 

Republic  Net  Holds  With 
$728,000  For  3  Quarters 

Republic  maintained  a  healthy  profit 
margin  with  a  robust  $728,000  for  the  39 
weeks  ended  July  28  last.  Although  the  nine- 
month  net  represented  a  drop  of  $100,000 
from  the  corresponding  figure  last  year, 
when  the  company  netted  $8.50,000  for  the 
39  weeks,  most  of  the  decrease  ($70,000) 
was  due  to  increased  taxes. 

Before  Federal  taxes,  Republic  reported 
a  net  of  $1,358,000,  in  the  '51  period;  for 
the  same  nine  months  last  year,  the  before- 
.ax  net  was  $1,390,000. 


BULLETIN 


Vol.  14,  No.  23 


November  5,  1951 


BURT  BALABAN 

Agressive"  TV  Production 


And  Have  YOU  Made  Your 
Changes  For  New  Tax  Laws? 

Pfc.  Elwood  Bleight  appeared  at  the 
ticket  window  in  his  home  town  movie 
house  last  Thursday.  On  the  schedule  of 
prices  was  the  line,  "Servicemen  in  uniform 
admitted  free — plus  tax."  As  he  reached 
into  his  khaki  trousers  for  the  change  repre- 
senting the  Federal  admissions  tax,  the 
ittle  cashier  smiled,  "Not  any  more, 
Just  go  in.  From  here  on  out,  it's 
he  house,  even  Uncle  Sam's." 
ashier  referred  to  one  of  the  changes 
new  revenue  law  which  went  into 
ov.  1,  exempting  armed  forces  per- 
lmitted  free  to  theatres 
[missions  tax.  Also  af- 
fecting movie  houses: 

( )n  reduced-price  tickets,  tax  will  be  com 
pitted  only  on  the  amount  actually  charged, 
rather  than  the  regular  established  price. 

Juvenile  prices  no  longer  restricted  to 
children  under  twelve.  Theatres  may 
charge  any  admission  price,  with  no  age 
limitations,  and  collect  the  tax  on  only  the 
price  charged. 

All  lil iii  showings,  whether  in  commercial 
theatres  or  not,  will  be  subject  to  tax. 

All  film  stock  and  equipment  used  by  the 
industry  as  a  "cost  of  business'  is  exempt 

from  Federal  tax. 


blonde 


sonnel  and  otl 
from  the  Feck 


Two  TOA  Regionals  Set 
To  Air  Grass  Roots  Beefs 

The  first  TOA  grass-roots  gripes  meeting 
a  development  of  the  recent  eruption  during 
the  national  convention,  will  be  held  No 
vember  16  at  New  York's  Hotel  Astor.  Thi: 
was  revealed  by  S.  H.  Fabian,  chairman  o 
the  New  York  area,  as  he  invited  theatre 
men  from  13  states  and  the  District  o 
Columbia  to  attend  the  regional  meeting 
Following  on  the  heels  of  this  confab,  ; 
regional  meeting  will  be  held  in  Charlotte 
Nov.  20,  in  conjunction  with  the  Theatn 
Owners  of  N.  and  S.  Carolina  convention 
to  give  the  Southern  exhibitors  a  chano 
to  sound  off. 

Fabian  also  revealed  that  the  TOA  exl 
ecutive  committee  will  hold  its  first  meetinj 
of  the  1951-52  season  on  Nov.  15  at  th 
Astor.  The  date  was  chosen,  Fabian  said 
because  many  of  the  committee  member 
will  want  to  attend  the  Motion  Pictur 
Pioneers  dinner  that  night. 

The  regional  meetings,  Fabian  declared 
"can  provide  a  real  clearing  house"  fo 
grievances  and  constructive  suggestions  oi 
taxation,  censorship,  arbitration,  theatr 
television  and  trade  practices  that  requir 
the  advice  and  recommendations  of  exhibi 
tors  large  and  small."  He  expressed  grati 
rica'ion  with  the  selection  of  New  York  fo 
the  kick-off  meeting  "because  we  are  anxiou 
to  strengthen  our  relationships  with  pro 
duction  and  distribution  and  have  then 
understand  more  clearly  some  of  th 
problems  we  face." 

The  regional  conferences,  he  added,  "cat, 
embrace  any  subject  that  the  exhibitor 
desire  to  bring  up."  The  confabs  will  giv 
the  national  body  "a  real  treasury  of  in 
formation  and  suggestions  to  provide  thos 
aids  that  every  sound  national  organization 
should  be  able  to  give  its  members." 

Agenda  for  the  executive  committee  meet 
ing  will  include:  plans  for  the  1952  nations 
convention,  arbitration  developments,  thea 
tie  TV  hearings  before  the  FCC,  plans  fo 
the  mid-winter  meeting  of  the  board  of 
rectors  in  Los  Angeles  and  for  the  othe 
regional  meetings  in  Atlanta,  Dallas 
Chicago,  Denver  and  Los  Angeles. 

Paramount  Takes  Lead 
In  Color  TV  Production 

It  looked  like  Paramount  was  going  t< 
carry  the  ball  for  color  television.  At 
"clarification"  conference  held  between  De 
fense  Mobilization  Administrator  Charles  E 
Wilson  and  manufacturers  of  TV  equipment 
Paramount's  Barney  Balaban  made  the  leadt 
ing  move  to  insure  continued  experimenta 
tion  of  color  TV  and  production  of  colo 
tubes. 

The  key  to  the  situation  was  forthcoming 
when  Wilson  said  that  as  long  as  manu 
facturers  did  not  seek  additional  allocation: 
of  materials,  the  "end  product"  was  imma 
terial.  Balaban  pounced  upon  this  as  mean 
ing  that  either  color  or  black-and-white  pro 
duction  could  continue  providing  the  ma 
terials  allocated  for  B  &  W  could  b. 
switched  to  color.    Wilson  agreed  emphati 

(Continued  on  Srxt  /'age 


JVetM^s  and  Opinion 


(Continued  jrom  Preceding  Page) 

cally,  adding  that  his  office  has  not  yet  regu- 
lated end  products  and  "we  don't  intend  to 
start  now." 

Balaban  announced  his  company's  inten- 
tion to  maintain  production  (50,000  per  year) 
of  the  Chromatic  tubes,  which  utilize  both 
black-and-white  and  color.  Paramount  has 
a  50  per  cent  interest  in  the  tube. 

The  set  manufacturers,  however,  weren't 
too  happy  with  this  edict.  With  the  ware- 
houses loaded  with  regulation  sets,  and 
public  buying  at  a  virtual  standstill  in  an- 
ticipation of  the  new  color  sets,  the  TV 
companies  would  obviously  have  welcomed 
an  official  ban  on  color  production  to  un- 
load their  vast  inventories.  Wilson's  previous 
request  to  halt  color  production,  which  led 
to  the  meeting,  was  snapped  up  by  Columbia 
Broadcasting  System,  and  others  indicated 
they  would  comply. 

Both  Wilson  and  Defense  Production  Ad- 
ministrator Manly  Fleischrnan  said  that 
there  was  no  present  thought  of  curtailing 
theatre  color  TV  manufacture. 

Meanwhile,  National  Theatres  president 
Charles  Skouras  outlined  a  plan  for  produc- 
ing theatre  TV  shows  in  the  chain's  own 
studios  and  piping  it  into  each  of  the  circuit's 
houses  in  color.  The  NT  president  revealed 
the  proposal  just  before  his  departure  for 
Switzerland  to  view  the  20th-Fox  Eidophor 
system,  and  to  discuss  the  plan  with  brother 
Spyros,  head  of  20th. 

Another  use  for  theatre  TV  was  seen  by 
Robert  O'Brien,  secertary-treasurer  and 
video  head  of  United  Paramount  Theatres. 
Programming  of  business  and  educational 
telecasts  during  hours  when  a  theatre  is  not 
showing  its  regular  show  was  proposed  as 
a  valuable  source  of  revenue.  Such  events 
as  national  coventions,  stockholders  meet- 
ings, sales  meetings,  educational  displays 
etc.  which  would  be  of  interest  to  certain 
groups  should  prove  an  important  adjunct 
|  to  theatre  operation. 

Half  Of  Fox  1952  Output 
In  Technicolor  Sets  Record 

Plenty  of  hue  in  '52,  was  the  theme  of 
20th  Century-Fox's  release  program  next 
year.  No  less  than  eighteen  films — half  of 
the  entire  feature  schedule  for  the  year — 
will  be  in  Technicolor,  doubling  the  number 
of  tint  films  over  last  year  and  four  more 
[than  the  combined  color  output  in  the  two 
preceding  years,  it  was  revealed  last  week 
as  the  company  unveiled  its  record  color 
Kim  slate.  All  musicals  and  semi-musicals 
will  be  tinted. 

I  Of  the  18  scheduled,  seven  have  been 
jcompleted  and  four  are  currently  shooting. 

The  remaining  seven  will  be  before  the 
[cameras  during  the  next  few  months,  the 

company  said. 

Already  in  the  can  are  "Kangaroo,"  "With 
la  Song  in  My  Heart,"  "Down  Among,  the 
[Sheltering  Palms,"  Red  Skies  of  Montana," 
[Belles  on  Their  Toes,"  "Lydia  Bailey,"  and 
■  'Wait  'Til  the  Sun  Shines,  Nellie." 
I    Shooting  are,  "The  I  Don't  Care  Girl," 

NOVEMBER    5,    195  1 


SCHARY  GIVES  'EM  LOTS  TO  LAUGH  ABOUT 

Dore  Schary,  who  makes  good  jokes  as  well  as  good  pictures,  as  witness  above, 
gave  the  Metro-Goldwyn-Mayer  sales  ami  advertising  executives  plenty  to  feel  good 
about  in  his  outline  of  Metro's  forthcoming  product.  Prime  object  of  discussion  was 
"Quo  Vadis,"  which  Schary  predicted  would  get  top  repeat  business  three  or  four 
times.  Sales  vice-president  William  F.  Rogers  unveiled  an  unprecedented  plan  of  adver- 
tising the  picture's  merchandising  plans  in  all  the  trade  papers  around  November  15. 

Schary  took  pride  in  the  studio's  delivery  of  top  product  it  promised  almost  three 
years  ago.  Of  117  films  scheduled  for  a  32-month  period,  he  -aid,  82  have  been  de- 
livered, 13  are  completed,  five  are  in  production  and  will  start  shortly. 

Speakers  on  the  dais  with  Schary,  above,  are,  from  left:  Si  Seadler,  Rudy  Bcrger, 
Burtis  Bishop,  Henderson  Richey  (almost  obscured).  Rodncrs,  Charles  Reagan,  Dictz, 
John  J.  Maloney  and  George  Hickey. 


"The  Girl  Next  Door,"  "Way  of  a  Gaucho" 
and  "Swamp  Girl,"  the  remainder  set  for 
production  include:  "The  Golden  Serpent," 
"White  Witch  Doctor,"  "What  Price  Glory," 
"Bloodhounds  of  Broadway,"  "The  Snows  of 
Kilimanjaro, I  he  Stars  and  Stripes  For- 
ever" and  "The  Farmer  Takes  a  Wife." 


UA'S  PICKER 

Arnold  M.  Picker,  new  United 
Artists  vice-president  in  charge  of 
foreign  distribution,  shoved  off  for 
London  after  a  genial  meeting  with 
the  trade  press. 

Hailing  from  a  family  well-known 
in  the  American  film  world,  Picker 
had  been  identified  with  only  one  other 
film  company,  Columbia,  where  he 
rose  to  vice-president  of  the  companys 
International  division. 


Republic  To  Appeal  Rogers 
Decision;  Sells  176  To  TV 

Indicating  its  disbelief  that  Roy  Rogers' 
victory,  even  if  upheld  on  appeal,  would  be 
a  test  case.  Republic  Pictures  sold  television 
rights  for  a  block  of  174  pictures  to  a 
Chicago  TV  station  less  than  a  week  after 
the  Rogers  decision  was  handed  down  in 
Los  Angeles  Federal  Court. 

The  sale  was  announced  by  WGN-TY 
and  ^'ives  the  station  exclusive  first-run 
video  rights  to  the  174  films  in  the  Chicago 
area  for  two  years.  No  Rogers  films  were 
included  in  the  group,  nor  any  Republic  re- 
leases starring  Gene  Autry,  who  also  started 
action  against  the  company  on  the  same 
basis  as  Rogers.  Republic  counsel  indicated 
that  an  appeal  would  be  taken  to  the  highest 
court,  if  necessary. 

The  Rogers  suit  was  based  on  the  clause 
in  his  pact  which  reserved  commercial  and 
advertising  rights  for  the  actor.  The  court 
upheld  Roger's  contention  that  exhibition 
on  TV  for  a  commerical  sponsor  consti- 
tuted either  a  direct  or  indirect  endorsement 
of  the  product.  Autry  had  a  similar  clause 
in  his  Republic  contract. 

The  initial  industry  belief  was  that  the 
Rogers  suit  would  set  a  precendent  that 
might  touch  off  a  wave  of  court  actions 
against  film  companies  selling  old  films  to 
TV.  On  the  basis  of  the  Federal  Court 
decision,  however,  the  indication  was  that 
only  those  stars  who  specifically  maintained 
commercial  rights  in  their  pacts  could 
expect  success  in  a  court  action. 

Features  and  'featurettes"  sold  in  the  Re- 
public block  to  WGN-TV  were  mostly  in 
the  western  category,  including  those  star- 
ring Wild  Bill  Elliott,  Johnny  Mack  Brown, 
Bob  Steele,  Rocky  Lane.  Don  Barry,  Sunset 
Carson,  The  Three  Mesqniteers,  and  others. 

19 


WOULD  YOU 
SPEND  THE 

AST 
ARTH 


fill 

roil 

Pioduced  b,  Oirected  b» 

GEORGE  PAL  .  RUDOLPH  MATE 

Screenplay  b,  SYDNEY  BOEHM 


You  can  actually  experience  this  day  in 
Paramount's  story  of  the  destruction  of 
earth  in  "When  Worlds  Collide." 

Consider  for  a  moment  what  could 
actually  happen.  An  astronomer  checks 
and  double -checks  his  horri- 
fying discovery  — a  huge, 
distant  destroyer-planet 
racing  through  space  toward 
an  unavoidable  collision  with 
our  own  world. 

In  the  face  of  this  onrushing 
danger,  high  on  a  mountain 
top  an  army  of  scientists 
work  desperately  to  build  a 
giant  rocket- ship  —  a  modern 
Noah's  Ark  to  carry  a  few 
picked  survivors  to  a  new  life 
on  another  world! 

Here  is  the  vast  panorama  of 
humanity  in  its  last  frenzied 
days  before  this  complete 
catastrophe  .  .  .  grasping 
at  love,  losing  all  inhibitions 
.  .  .  reaching  the  heights  of 
self-sacrifice  and  the  depths 
of  the  animal  lust  for  sur- 
vival as  they  fight  to  be 
among  the  few  who  can  be 
saved. 

If  this  day  were  to  come  in 
your  lifetime  .  .  .  what  would  you  do? 

For  the  excitement-packed  answer  you 
must  see  . . .  "When  Worlds  Collide." 


SELLING  AIDS 

The  Paramount  ad-publicity-exploitation  department  has  capitalized 
the  sensational  theme  and  the  personal  approach  to  excellent  effect  in 
preparing  the  film's  promotion.  Aided  by  the  studio's  still  department — 
some  of  the  stills,  such  as  the  tidal  wave  striking  New  York,  the  earth- 
quakes,  or  the  launching  of  the  rocket-ship,  are  among  the  most  exciting 
we  have  seen — ads,  posters,  heralds  and  the  other  accessories  sock  the 
exploitation  possibilities  across  with  telling  force. 

Free  for  the  asking  are  a  40  x  60  lobby  display,  with  snipes  for 
daily  changes  numbered  backwards  from  21  to  "Tomorrow"  and  "Now", 
to  make  up  a  full  3-week  teaser  campaign.  The  jumbo  full-color  herald, 
with  a  dramatic  illustration  and  scenes  from  the  picture,  and  a  "Facts" 
insert  stitched  into  the  pressbook,  detailing  in  copy  and  illustration  the 
story  and  the  fascinating  technical  accomplishments  during  the  making  of 
the  picture,  are  noteworthy  items. 

The  visual  thrills  make  the  use  of  a  lobby  "see"  board  an  important 
display  accessory.  Wherever  possible,  the  stills  should  be  blown  up  to  im- 
pressive size  and  description  should  be  in  bold,  colorful  letters.  Another 
display  suggested  in  the  press  book  has  two  revolving  globes  with  the 
caption,  "Can  Science  Save  Civilization  'When  Worlds  Collide?'" 

The  personal  approach  can  be  augmented  to  garner  newspaper  space 
with  an  Inquiring  reporter  asking  the  question,  "If  you  knew  tomorrow 
is  the  day  'When  Worlds  Collide,'  how  would  you  make  the  most  of 
your  last  day  on  earth?"  If  newspaper  cooperation  isn't  obtainable,  use 
the  question  in  your  lobb)  with  the  ten  best  answers  receiving  guest 
tickets  to  the  picture.  A  lobby  board  could  be  made  up  of  the  best  answers. 


Here  Is  An 
EXPLOITATION  Picture 


Look  at  the  ad  on  the  left.  Head  it.  Makes  you  think, 
doesn't  it?  More  important,  it  makes  you  want  to  go  out  and  see 
Paramount's  George  Pal  Technicolor  production  about  an 
pending  collision  between  Earth  and  a  runaway  star,  the  effect 
of  doomsday  on  the  people,  and  the  thrilling  escape  via  a  giant 
rocket  ship  by  a  handful  of  survivors  to  start  life  anew  on  another 
planet. 

A  natural  for  the  action  and  science  fans,  "When  Worlds 
Collide"  carries  a  potential  draw  for  every  moviegoer  because 
it  encompasses  the  fundamental  instinct  of  every  living  being- 
the  desire  for  survival.  By  taking  the  tack,  "What  would  YOU 
do  .  .  .  ."  it  punches  home  this  potent  factor  in  the  most  effective 
manner — the  personal  approach.  The  copy,  too,  is  a  masterpiece 
of  promotion.  There  is  a  terrible  fascination  in  the  thesis  of  the 
end  of  the  world;  there  is  drama  and  suspense  and  awe-inspiring 
spectacle  as  earthquakes  crumble  mountains,  tidal  waves  engulf 
cities,  and  a  modern  Noah's  Ark,  with  its  select  crew,  blasts  its 
way  through  space  to  another  world.  The  newspaper  ads,  parti- 
cularly this  one,  present  this  in  all  its  awful  splendor. 

To  George  Pal  for  his  technical  wizardry,  to  director 
Rudolph  Mate  for  his  dramatic  presentation,  and  to  the  Para- 
mount staff  of  boxofficers  under  Jerry  Pickman,  must  go  the  show- 
man's thanks  for  this  truly  natural  exploitation  picture. 

George  Pal,  whose  "Puppetoons"  were  marvels  of  miniature 
set  designing,  and  whose  "Destination  Moon"  carried  the  Pal 
technique  into  live  action  proportions,  reaches  new  heights  in 


12  3  4  5  6  7  8 


WHEN  WORLDS  COLLIDE 


special  effects  with  his  ''When  Worlds  Collide."  To  film  his  story 
of  the  earth's  collision  with  a  maverick  star,  Pal  was  forced  to 
solve  technical  problems  that  many  a  film  expert  thought  im- 
pregnable. Massive  tidal  waves  sweeping  away  cities,  earthquakes 
swallowing  up  moutains.  forests  in  huge  areas  set  afire  by  the 
blistering  heat,  a  giant  rocketship  launched  to  carry  the  survivors 
to  another  planet,  the  final  explosive  collision  that  would  send  a 
shattered  planet  reeling  out  into  space — all  these  and  much  more 
have  been  depicted  with  terrifying  realism  by  Pal"s  production 
genius. 

For  his  story.  Pal  chose  Sydney  Boehm  to  write  the  script 
from  a  novel  by  Philip  Wylie  and  Edwin  Balmer  that  combined 
the  science-fiction  aspect  of  the  mechanical  destruction  of  the 
world  with  the  humans'  reaction  to  the  coming  catastrophe.  \\  hile 
the  special  effects  conjured  up  by  Pal's  magic  are  the  real  stars 
of  the  picture,  a  good  deal  of  the  film  is  concerned  with  human 
values.  For  his  principals,  the  producer  relied  on  little-known 
but  competent  players  to  delineate  the  romantic  and  ideological 


conflict  against  this  terrifying  background. 

The  tale  opens  with  the  discovery  of  a  new  star  and  satellite 
by  an  astronomer  in  South  Africa.  Although  an  analysis  by  the 
scientists  proves  that  this  is  a  "runaway"'  star  hurtling  through 
space  and  will  crash  into  Earth  in  nine  months,  with  the  satellite 
missing  but  causing  huge  destruction  19  days  earlier,  another 
astronomer's  denial  causes  the  United  .Nations  to  refuse  pleas  to 
construct  a  rocket  that  might  conquer  space  and  carry  the  fore- 
runners to  a  new  life  on  another  planet.  A  millionaire,  assured 
that  he  will  be  a  passenger  finances  the  construction,  and  the  finest 
minds  in  the  country  are  recruited  to  construct  the  rocket  ship.  The 
satellite  arrives  on  schedule  and  horrible  chaos  follows  as  tidal 
waves,  earthquakes  and  fires  destroy  cities,  mountains  and  forests. 
The  day  before  the  star  is  to  strike.  14  selected  men  and  women, 
all  sorts  of  livestock,  seed,  everything  necessary  to  transplant 
civilization  is  loaded  on  the  rocket.  It  takes  off  as  the  star  hits 
Earth  and  crumbles  it,  and  the  survivors  fly  through  space  to  a 
new  world. 


"QUOT6S" 


What  the  Newspaper  Critics  Sag  About  New  Films 


Critics  Lavish  Raves  on 
MGM's  'American  In  Paris' 

The  red  plush  carpet  usually  reserved  for 
royal  visitors  was  rolled  out  by  the  New 
York  newspaper  critics  to  herald  the  arrival 
of  Metro's  "An  American  In  Paris"  at  the 
Radio  City  Music  Hall.  With  one  exception, 
the  reviewers  were  united  in  this  lavish 
praise  of  the  movie's  music,  dancing  and 
plot;  and  even  the  lone  dissenter  found 
occasion  to  temper  his  criticism  with  ad- 
jectives like  "superb." 

William  K.  Zinsser,  in  the  Herald-Tribune, 
calls  it  "a  rich  show,"  a  mixture  of  "music, 
dance  and  plot"  that  is  "to  say  the  least, 
spectacular."  It  may  not,  he  finds,  "be  the 
best  musical  film  ever  made,  but  it  is  hard 
to  think  of  a  better  one." 

In  the  Post,  Archer  Winsten  finds  it  "a 
creation  of  fine,  colorful  fabric,  presented 
with  unfailing  artistic  taste,  lightened  with 
genuine  humorous  touches,  and  climaxed 
with  ...  the  Grand  Slam  of  production 
numbers."  He  cites  it  as  "a  high  mark  of 
the  romantical  musical." 

"Music,  dance  and  pageantry  achieve  an 
ecstatic  blend,"  writes  Alton  Cook  in  the 
World-Telegram.  Describing  it  as  "an  ani- 
mated panorama  of  elaborate  loveliness," 
Cook  concludes:  "In  the  sedate  confines  of 
the  Music  Hall,  one  does  not  whistle  and 
stamp  and  cheer  but  you  certainly  will  feel 
like  it." 

The  Jqurnal-American's  Rose  Pelswick 
agrees  with  the  others,  labeling  it  "a  musical 
that's  out  of  the  very  top  of  the  top  drawer 
...  a  picture  you'll  want  to  see  more  than 
just  once;  it's  a  super-musical." 

Only  Bosley  Crowther,  of  the  Times,  did 
not  completely  succumb.  He  was  over- 
whelmed by  "a  bewitching  French  lassie 
.  and  a  whoop-de-do  ballet  number,  one 
of  the  finest  ever  put  upon  the  screen,"  but 
finds  when  Leslie  Caron  is  not  around,  "it 
bumps  along  slowly  as  a  patched-up,  con- 
ventional musical  show." 

A  STREETCAR  NAMED  DESIRE" 

Warner  Bros. 

"You  must  see  it  to  appreciate  it  .  .  .  and 
that  we  strongly  urge  you  to  do  ...  As 
fine,  if  not  finer,  than  the  play  .  .  .  Simply 
superlative  cast."— Crowther,  N.  Y.  Times 

"Convincing  and  solid  piece  of  movie 
work  ...  (a  picture)  for  its  makers  to  take 
pride  in  and  for  movie  audiences  to  ex- 
perience."—Guernsey,  N.  Y.  Herald-Tribune. 

"Does  much  more  than  merely  bring  the 
Pulitzer  Prize  play  to  the  screen  .  .  Slightly 
terrific  .  .  ..  Practically  certain  to  be  on 
every  one's  list  of  the  year's  ten  best."— 
Winsten,  N.  Y.  Post. 

"Takes  a  high  place  in  the  parade  of 
superior  pictures  that  have  been  crowding 
Broadway."— Cook,  N.  Y.  World-Telegram. 

"Follows  faithfully  Williams'  brooding 
study  of  frustration  and  tragedy  ...  A  bold 
arresting  drama  that's  definitely  not  for 
Junior."— Pelswick,  N.  Y.  Journal-American. 


'PEOPLE  WILL  TALK' 

20th  Century-Fox 

"Very  ingratiating  .  .  .  Amiable,  witty 
light  comedy  .  .  .  Relaxing,  mellow  movie." 
-Cook,  N.  Y.  World-Telegram 

"Despite  excessive  length,  a  screen  drama 
with  ideas  .  .  \  Talk  is  not  only  intelligent 
and  independent,  which  is  fine,  but  also 
pretentious  ...  I  wish  the  picture  took 
itself  somewhat  more  casually."  —  Watts, 
N.  Y.  Post. 

"Merry  melange  of  medicine,  mystery  and 
what  must  be  the  Mankiewicz  philosophical 
code  .  .  .  Vastly  entertaining  and  rewarding." 
—A.  W.,  N.  Y,  Times 

"An  intriguing  comedy-drama  .  .  .  Com- 
pletely off  the  beaten  track."  —  Pelswick, 
N.  Y.  Journal-American. 

RHUBARB' 

Paramount 

"Mr.  Smith's  'Rhubarb'  was  brazenly 
sassy.  Paramount's  is  'cute.'  That  cat  is 
purring  when  he  ought  to  be  licking  his 
chops."— H.  H.  T,  N.  Y.  Times. 

"Mildly  diverting  .  .  .  Just  an  average 
tasty  dish  as  a  motion  picture." — Rice,  N. 
Y.  Post 

"Completely  wacky  farce  .  .  .  Full  of 
chases,  characters,  complication?  and  much 
talk  about  Brooklyn  baseball." — Pelswick, 
N.  Y.  Journal-American 

PAINTING  THE  CLOUDS 
WITH  SUNSHINE' 

Warner  Bros. 

"Really  scraping  the  barrel  .  .  .  Banal, 
water-thin  goings-on  .  .  .  Feeble  excuse 
for  a  musical  romance" — H.  H.  T.,  N.  Y. 
Times 

"Totally  humorless  Technicolor  song-and- 
dance  film." — Pihodna,  N.  Y.  Herald  Tribune 

"Hit  rock  bottom,  running  to  dreariness 
in  spite  of  large  and  colorful  song  and 
dance  numbers."  —  Cook,  N.  Y.  World- 
Telegram 

"Light  Summer  musical  .  .  .  Typical  musi- 
cal-comedy book  .  .  .  Pleasant  musical 
score." — Pelswick,  N.  Y.  Journal-American 

A  PLACE  IN  THE  SUN* 

Paramount 

"Hollywood,  Paramount  and  George 
Stevens,  producer-director,  can  point  with 
pride  ...  A  work  of  beauty,  tenderness, 
power  and  insight  ...  A  distinguished  work 
.  .  .  now  placed  among  the  ranks  of  the 
finest  films  to  have  come  from  Hollywood 
in  several  years." — A.  W.,  N.  Y.  Times. 

"Tries  for  the  top  art  run  in  picture- 
making,  and  reaches  its  goal  .  .  .  Second 
and  superior  working  of  the  Dreiser  novel." 
—Winsten,  N.  Y.  Post 

"Powerful,  emotionally  stirring  drama  .  .  . 
Top-flight  production,  direction  and  casting 
.  .  .  Will  be  high  in  the  running  when  it 


comes  to  choosing  among  the  year's  best 
.  .  .  You'll  find  it  an  outstanding  motion 
picture." — Pelswick,  N.  Y.  Journal-American 

'TEXAS  CARNIVAL' 

M-G-M 

"Not  very  unique  entertainment  ...  All 
Technicolor,  titillation  and  twaddle.  And 
don't  sell  twaddle  short.  Most  restful  stuff 
you  can  take  on  an  empty  head." — Winsten, 
N.  Y.  Post. 

"Entirely  Red  Skelton's  show  .  .  .  Straight 
Skelton  comedy — big,  brawling,  boisterous — 
like  Texas.  Or,  if  you  wish,  like  a  carnival." 
— Crowther,  N.  Y.  Times. 

"Funny  and  fast-moving  Technicolor 
movie." — Pihodna,  N.  Y.  Herald-Tribune. 

"Gay  and  diverting  comedy  .  .  ..  dished  up 
in  pretty  Technicolor  .  .  .  Gives  Skelton  a 
chance  to  trot  out  all  his  slapstick  routines." 
— Pelswick,  N.  Y..  Journal-American. 

'A  MILLIONAIRE  FOR  CHRISTY' 

20th  Century-Fox 

"One  of  the  most  tedious  comedies  to 
come  out  of  Hollywood  in  some  time  .  .  . 
Embarrassingly  unfunny  from  start  to 
finish." — Barstow,  N.  Y.  Herald  Tribune. 

"Slapstick  comedy  is  closer  to  Mack  Sen- 
net than  it  is  to  Will  Shakespeare  ...  An 
infectious  trifle  ...  as  harmless  and  pala- 
table as  a  bon  bon  .  .  .  Likely  to  get  a  fair 
share  of  laughts." — Weiler,  N.  Y.  Times. 

"Campaign  for  better  American  pictures 
can  consider  this  the  outstanding  blot  on 
the  month  of  October." — Winsten,  N.  Y. 
Post. 

"Cheerful,  scatterbrained  romance  with 
almost  as  many  laughs  as  kissing  scenes 
.  .  .  Everything  happens  .  .  .  and  much  of  it 
is  funny." — Creelman,  N.  Y.  World-Tele- 
gram. 

'THE  WELL' 

United  Artists 

"An  interesting  picture  .  .  .  Better  than 
average  movie  fare  .  .  .  Persuasive  and  grip- 
ping .  .  .  Striking  interlude  of  social  and 
personal  disturbances." — Guernsey,  N.  Y. 
Herald-Tribune. 

"Taut  and  absorbing  exposition  .  .  .  Off- 
beat shocker  .  .  .  Packs  real  thrills." — 
Crowther,  N.  Y.  Times. 

"Cauldron  of  seething  passion  .  .  .  Still 
another  addition  to  the  unprecedented  list 
of  superior  pictures  that  have  flooded  into 
Broadway  .  .  .  And  this  is  one  of  the  very  best 
of  the  lot."— Cook,  N.  Y.  World-Telegram. 

"Probably  the  best  of  pictures  dealing 
with  the  birth  and  development  of  racial 
mob  violence  .  .  .  Must  rank  as  one  of  the 
best,  most  generally  stimulating  pictures  of 
the  year." — Winsten,  N.  Y.  Post. 

"Grim  study  of  human  relations  .  .  .  devel- 
oped with  gripping  drama  and  suspense  .  .  . 
Isn't  a  pretty  picture  but  it's  a  very  forceful 
one." — Pelswick,  N.  Y.  Journal-American. 


22 


FILM  BULLETIN 


Always  the  first  to  help  others 


IT'S  TIME  TO 


HELP  OUR  OWN ! 


The  Foundation  of  the  Motion  Picture  Pioneers  has  been  organ- 
ized by  a  group  of  industry  leaders  to  assist  pioneers  who  are  in 
need  of  financial  aid,  medical  care  or  temporary  subsistence  dur« 
ing  periods  of  unemployment. 

The  whole  industry  is  uniting  in  the  greatest  benefit  show  ever 
staged — a  benefit  for  our  own.  Do  your  share.  Buy  tickets  today. 


*    THE  ALL-STAR  SHOW  OF  ALL  TIME! 


f;  /|vtf:\/|\*v/\  v* 


WHAT  THE   GUEST   SPEAKERS   HAD  TO  SAY 


BARNEY  BALABAN.  President  Para- 
mount Pictures:  "I  am  fully  reconciled  to 
the  fact  that  differences  of  opinion  between 
buyers  and  sellers  will  always  prevail  .  .  . 
but,  beyond  that  point,  we  must  never  for- 
get that  we  are  mutually  interdependent.  .  .  . 
The  first  signs  of  better  business  do  not 
signal  the  end  of  our  problems.  If  we  are 
bold  in  our  thinking,  we  can  convert  this 
new  trend  into  an  irresistible  tide." 

ARTHUR  B.  KRIM,  President,  United 

Artists:  "You  exhibitors  are  our  partners; 
we  are  yours.  .  .  .  The  new  United  Artists 
management  had  faith  in  the  future^  eight 
months  ago;  we  still  have  confidence." 

NED  E.  DEPINET.  President,  RKO  Pic- 
tures, President,  COMPO:  "I  quote  many 
exhibitors  in  all  types  of  situations,  as  well 
as  the  Hollywood  contingent  who  partici- 
pated, when  I  tell  you  that  'Movietime,  U. 
S.  A.'  has  been  the  greatest  accomplishment 
for  our  own  good  in  the  industry's  history. 


KEYNOTE  ADDRESS 

(Continued  from  Page  7) 

Partly  as  a  result  of  these  preachments, 
partly  because  of  confidence  gained  from  ex- 
periments in  all-industry  cooperation,  but 
due  mainly  to  a  returning  sense  of  balance 
and  appreciation  of  the  true  greatness  of 
our  own  industry,  this  dismal  picture  quick 
ly  changed  and  in  a  very  short  period  of 
time  the  industry  has  lifted  itself  from  the 
depths  of  despair  to  the  heights  of  con- 
fidence and  enthusiasm,  as  if  by  its  own 
bootstraps. 

It  would  not  be  honest  to  assert  that  the 
recent  experiments  in  all-industry  cooper 
ation  have  been  wholly  successful.  You  have 
heard  me  grumble  because  the  tax  cam- 
paigns were  hampered  by  the  surly  attitude 
and  dragging  feet  of  certain  little  frogs  in 
little  puddles  who  preferred  to  go  it  alone. 
And  you  have  heard  the  grumbling  of  local 
Movietime  Committees  because  so  few  stars 
participated  in  the  celebrations.  There  is 
ground  for  complaint  over  many  things  that 
have  happened  in  the  past;  but  those  com 
plaints,  however  just,  should  not  lessen  our 
ardor  for  further  collective  efforts  in  the 
broad  and  fruitful  field  of  public  relations. 

Many  of  the  exhibitors  here  today  are 
seeing  the  presidents  of  the  film  companies 
for  the  first  time.  Some  of  the  chief  ex- 
ecutives have  never  before  seen  so  many  of 
their  customers  at  one  time.  Each  group 
will  be  glad  to  note  the  absence  of  horns 
and  hoofs  on  the  other  and  the  experience 
should  be  reassuring  to  both. 

There  are  a  few  issues  which  the  board 
has  considered  during  the  past  year,  which 
have  been  the  subject  of  discussion  between 
your  General  Counsel  and  representatives  of 
the  film  companies,  on  which  I  very  much 
hope  this  great  body  of  exhibitors  will  de- 
clare itself. 

The  first  of  these  is  competitive  bidding 
When  that  practice  was  first  foisted  upon 
the  industry  by  the  District  Court  here  in 
New  York,  the  organized  exhibitors  of  the 
country  worked  as  a  unit  for  the  first  time 
in  history  in  opposing  the  practice  in  the 
Supreme  Court.  That  court  struck  the  re- 
quirement from  the  District  Court's  decree 
and  in  doing  so  used  language  which  tended 
strongly  to  discredit  all  competitive  bidding 
under  conditions  peculiar  to  the  motion  pic- 
ture busm  ess.  ^A/hen  the  Supreme  Court's 
decision  was  handed  down,  we  congratu- 
lated OUT!  that  we  had  dispatched  that 
serpent.  u  round,  to  our  dismay,  that 
it  had  mere  <  otched  and  not  killed. 

At  the  bo  held  iust  prior  to 

our  last  annuo  ion  I  was  supplied 


N.  J.  BLUMBERG,  President,  Universal 

Pictures:  "Allied  commendable  position  in 
the  development!  of  COMPO  clearly  indi- 
cates that  you  are  ready  for  the  new  era 
when  we  will  work  together  rather  than 
work  apart  from  each  other." 

JACK  COHN,  Executive  Vice-President 
Columbia  Pictures:  (Speaking  of  the  chari- 
ties of  the  Motion  Picture  Pioneers  Founda- 
tion) "Our  industry  has  always  been  happy 
to  help  all  causes,  but  now  let's  help  our- 
selves." 

AL  LICHTMAN,  Director  of  Distribu- 
tion, 20th  Century-Fox:  "Any  distributor 
with  only  an  ounce  of  common  sense  short 
of  being  an  imbecile  realizes  that  without 
successful  exhibitors  there  can  be  no  motion 
picture  industry.  By  the  same  token,  many 
I  be  so  bold  as  to  suggest  that  some  ex- 
hibitors cease  to  look  upon  the  distributors 
as  their  enemy." 


with  an  able  and  experienced  advisory  com- 
mittee and  instructed  to  take  up  with  the 
film  companies  this  vexatious  problem.  The 
committee  and  I  met  here  in  New  York 
just  a  year  ago  and  marshaled  our  arguments 
and  drafted  a  plan  which  were  submitted 
in  writing  to  the  heads  of  all  the  film  com- 
panies. The  plan  was  not  submitted  on  a 
take-it-or-leave-it  basis,  but  merely  as  a  basis 
for  future  disucssions  which  we  hoped  would 
be  forthcoming. 

Shortly  thereafter  I  was  visited  by  an 
emissary  from  the  film  companies  seeking 
the  cooperation  of  National  Allied  in  devis- 
ing and  setting  up  an  arbitration  system. 
The  main  reason  advanced  in  support  of 
such  a  system  was  that  it  might  tend  to 
reduce  litigation  in  the  motion  picture  busi- 
ness. I  reported  this  occurrence  to  the 
board  at  the  February  meeting  and  it  autho- 
rized me  to  explore  the  subject  "with  those 
who  approached  Allied"  and  directed  me  to 
continue  my  efforts  to  secure  relief  from 
competitive  bidding,  more  or  less  tying  the 
two  subjects  together. 

Last  spring  I  had  a  few  conferences  with 
the  general  counsel  of  certain  of  the  com- 
panies, and  while  our  actions  were  not  bind 
ing  on  our  respective  principals,  I  gained 
the  impression — which  I  believe  was  shared 
by  them — that  it  would  be  fcsible  to  erect 
an  efficient  arbitration  sys..ern  within  the  in- 
dustry, without  the  expenditure  of  huge 
sums  for  outside  talent  or  know-how,  for 
the  determination  of  dispute  involving  runs 
and  clearance  and  perhaps  minor  disputes 
growing  out  of  license  agreements. 

The  third  major  problem  this  convention 
will  have  before  it  involves  the  steady  and 
seemingly  inexorable  increase  in  the  price  of 
film. 

All  that  I  am  prepared  to  say  now  is  that 
I  have  detected  a  current  of  unrest  among 
the  exhibitors  and,  in  some  quarters,  a 
strong  disposition  to  blame  the  distributors 
for  saddling  upon  them  an  unfair  share  of 
the  losses  resulting  from  the  boxoffice  re- 
cession which,  I  hope  and  pray,  is  rapidly 
drawing  to  a  close. 

If  these  complaints  are  well-founded,  then 
it  is  no  excuse  to  say,  as  some  distributor 
spokesmen  do,  that  the  remedy  is  for  the 
exhibitors  to  bestir  themselves  and  fet  more 
patrons  into  the  theatres.  Of  course,  they 
should  do  that,  and  one  of  the  beneficial  by 
products  of  the  recession  is  that  the  ex- 
hibitors are  working  harder  to  increase  at- 
tendance than  ever  before.  But  a  fair  divi- 
sion of  the  boxoffice  dollar  as  between  dis- 
tributor and  exhibitor  cannot  be  dependent 
on  changes  in  economic  conditions,  giving 
the  distributor  a  larger  proportionate  share 
when  times  are  bad  than  when  times  are 
good. 


ALBERT  WARNER,  Vice-President,  I1 
Warner  Bros.:  "I'm  not  one  of  the  WarnersH 
who  make  speeches,  which  is  probably  whyB 
I'm  liked  so  well." 

STEVE  BROIDY.  President,  Monogram-!  Ii 
Allied  Artists:  "Monogram's  flat  rental  pic-jil 
tures  have  saved  many  'shaky  A's'  .  .  .  AllB' 
we  ask  is  a  fair  shake." 

HERMAN  ROBBINS.  President,  Nation-M 
al  Screen  Service:  "The  areas  of  conflict  mil 
the  industry  are  narrowing  down  more  andlH 
more,  and  they  can  be  reduced  to  a  minimumjB 

as  we  go  along." 

COL.  WILLIAM  McGRAW,  Variety  I J 
International  Liaison:  "The  film  industry  I 
needs  no  defense,  only  advocates.  I  feel  youiH' 
don't  have  to  apologize  for  anything  whenMj 
you  entertain  50  million  persons  every  weekiBj 
.  .  .  You  have  every  reason  to  be  proudHt 
of  yourselves." 




Rodgers  Proposes 
Incentive'  Selling 

(Continued  from  Page  7) 

the  costs  of  this  type  of  house  and  set  a 
policy  for  all  such  situations,  rather  than 
"individually." 

An  "incentive  selling"  plan  was  broached} 
and  Metro's  Rodgers  said  (and  was  upheld 
glowingly  bv  the  usually  caustic  Berger) 
that  M-G-M  has  long  been  selling  thousands 
of  small  town  theatres  on  a  flat  rental  basis.; 
Only  isolated  films  required  percentage,  hei 
said,  adding,  "I  haven't  had  five  complaints 
a  year  from  exhibitors  telling  me  they 
couldn't  buy  flat." 

But  the  distributor  representative  whe 
took  the  most  virulent  attack  was  20th- 
Fox's  Bill  Gehring,  appearing  in  place  ot 
the  ailing  Al  Lichtman.  New  Jersey's  Wilbui 
Snaper  tore  into  the  sales  policy  on  "David 
and  Bathsheba".  charging  that  exhibitors 
were  forced  to  pass  up  the  film  because  the 
70  per  cent  terms  forced  exhibitors  to  raise 
their  prices.  Gehring  denied  a  charge  that 
Fox  was  asking  advanced  admissions  on  this 
or  any  other  picture  since  the  outlawing  oi 
this  practice.  He  added  that  the  film  was 
still  in  "pre-release"  and  that  the  sales  policy 
will  be  flexible  when  it  goes  into  genera 
release. 

Abe  Montague,  of  Columbia,  said  his  com 
pany  is  making  only  3  per  cent  on  its  invest- 
ment. Could  exhibitors  expect  a  reductior 
on  that  margin  of  profit?  he  asked.  Ht 
joined  with  U-I's  Feldman  in  disclaiminf 
disclosure  of  bids.  The  only  time  bids  an 
revealed  are  when  all  parties  request  it,  i 
was  said. 

Summing  up  the  Wednesday  forum 
Massachusetts  Nate  Yamins  said  that  re 
gardless  of  the  sweetness  and  light  that  pre 
vailed  when  the  company  presidents  spok< 
the  preceding  day.  and  the  pleas  for  co- 
operation and  unity  bv  the  distributors 
there  could  be  none  of  this  so  long  as  ex- 
hibitors are  being  treated  "unfairly." 

Despite  the  mild  beginnings  of  this  year's 
Allied  convention,  the  concluding  firework; 
and  the  militant  tone  that  characterized  tin 
climactic  sessions  have  once  again  giver 
proof  that  Allied  will  continue  to  cooperat 
if  it  can,  but  fight  if  it  must  for  the  bes 
interests  of  the  nation's  independent  ex 
hibitors. 


24 


FILM  BULLETIN 


'RODUCTIOn 
k  R€L€flS€ 


R6CORD 


COLUMBIA 

1950-51  Features 

Completed  (48) 

In  Production 

(4) 

Serials 

Completed    (  3) 

In  Production 

(0) 

Westerns 

Completed  (15) 

In  Production 

(1  ) 

In  the  Release  Chart,  "Rel."  is  the  National  Release  Date. 
"No."  is  the  release  Number.  "'Rev."  is  the  issue  in  which  the 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  new  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor. 
(C)  Cincolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 

Marrying  Kind,  The  

(Harem  Girl,  The   .   

.Laramie  Moutains 

Mother.  The   

COMPLETED 

lBiq  lusher.    The  (68)   

Soots  Malone 

Brave  Bulls.  The  1107)    

Brave  Warrior    

[Brigand.   The  IT)   

Captain  Blood  Returns   

Clouded  Wellow,  The  196)     Simmons-Howard 

Corky  of  Gasoline  Alley   _   S.  Beckett-J.  Lydon 

China  Corsair  178)   Hall-Farraday  

Congo  Bill     .  McGuire-Moore   

Chain  of  Circumstance  168)   _  _M.  Feld-R.  Grayson 

Criminal  Lawyer  173)    O' Brien-Wyatt 

Cripple  Creek    Montgovery-Booth 

Dark  Page    Crawford-Derek  

Death  Of  A  Salesman     March-Dunnock   


Cast 

..  -  Holliday-Harrison 

Davis-Castle 
.  Starrett-Burnett 

Young-Smith 

Morris-Foster 
Holden-Clements 

 Ferrer-Quinn 

..  Jon  Hall  _  _ 
_  Dexter-Lawrence 
_  Louis  Hayward 


Unknown  World 
Varieties  On  Parade 

Kellogg-Nash 
 Rose-Carroll   

10  26  5101 
7  20  5020 

Yes  Sir,  Mr.  Bones  (54) 

 F.  Millar   

7-13      5019  9-24 

1  METRO 

-COLD  W  YN 

-MAYER  1 

1950-51  Features 

Completed  (72) 

In  Production  (5) 

RELEASE  CHART 

—  1950-51  — 


7-30 
5-7 


Cast 
Lawford-Addams 
Grayson-Skelton 
Turner-Lamas 
S.  Granger-E.  Parker 
Williams-Blaine 


European  Edition 
Firefighters,  The  .... 

Five  1931  ...   

Fourposter 
Fury  of  the  Congo 
Golden  Hawk 


..Glen  Ford   

Williams-Reynolds  

..S.  Douqlas-W.  Phipps 
.Harrison-Palmer 

.Weismuller-Talbot  -  

-Havden 


Harlem  Globetrotters,  The    _  Gomez-Dandridge 


of   Wild    River  The 

Her  First  Romance  173)    

Her  Wonderful  Lie    

Hurricane  Island  (C)   

iHills  of  Utah  169) 


Starrett-Burnett 
O'Brien-Martin  _ 
.Kieoura-Eqgerth 

..Hall-Windsor   

Autry-Buttram 


the  Forbidden  Land   Weissmuller-Ryan  .... 

.  Weissmuller-Greene 
Hayward-Medina 

Hale-Greene   

Wayne-DaSilva  

Ball-Agar   ......  

Scott-Leslie   

Derek-Ouinn 
B.  Crawford-Buehler 
Beel-Mitchell 

.Clark-O'Donnell   

Autry-Buttram 
Autry-Davis 
Haas-Michaels 


IN  PRODUCTION 

TITLE — Running  Time 
Hour  of  Thirteen  The 
Lovely  To  Look  At  IT) 
Merry  Widow,  The  (T) 
Scaramouch* 
Skirts  Ahoy 

COMPLETED 

Across  the  Wide  Missouri  (T)   (78)  Gable-Hodiak 
American  in  Paris  IT)   (113)  Kelly-Caron 
Angels  in  the  Outfield   1102)  Douglas-Leigh 

Because  Your  Mine    Lanza-Whitmore  

Belle  of  New  York    IT)   Astaire-Vera-Ellen 

Bannerline    1881  Forrest-Braselle 
Callaway  Went  Thataway  (81)  .  MacMurray-McGuire 

Calling  Bulldog  Drummond  (80)  Pidgoon-Leighton 

County  Line  _      .      .  _  Pidgeon-Hodiak  

Excuse  My  Dust  (T)    (82)   Skelton-Forrest 

Father's  Little  Dividend  (82)   Tracy-Taylor 

Go  For  Broke    192)     Johnson-Anderson 

Great  Caruso.  The  (Tl  (109)  Lania-Blyth  

Home  Town  Story  (61)   _..  Crisp-Reynolds 

Invitation  The  McGuire-Johnson 
It's  A  Big  Country  189)  All  Star 


Oct 
Nov 
Sep 


Oct 
Dec 
Dec 


208  10-22 
9-24 

202  8  27 


Apr 
May 
Apr 
May 


133  6-4 

124  2-26 

129  4-9 

127  .  4-23 

128  5-7 


R.  Taylor-E.  Taylor 
Leigh-Lawford 


Law  and  the  Lady,  The  1104) 

Light  Touch,  The  1 1 10)  .....   

Lone  Star  .  


Magic  Carpet  190)   

;Man  In  the  Saddle  (T) 

Mask  of  the  Avenger  (T)  183) 
|Mob.  The  _. 

My  Six  Convicts 

Never  Trust  A  Gambler  (79)  _. 

Night  Staqe  to  Galveston   

Old  West.  The     

Pickup  180)    

'Purple  Heart  Diary     _   F.  Langford-T.  Romano 

Riders  of  the  Whistling  Pines   Autry-White   

Sante  Fe  IT)   187)  Scott-Carter   _. 

Saturday's  Hero   (III)     Derek-Reed 

Secret,  The  ._   Derek-Cobb   

Silver  Canyon    170)    Autry-Davis   

Sirocco  (98)     Bogart-Loran 

Smokv  Canvon  Starrett-Burnette 

Small  Wonder  Cummings-Hale  _ 

Sniper.  The  

!Son  of  Dr.  Jekyll  (78)   

Sound  Off  ...   

Sunny  Side  of  the  Street 

Ten  Tall  Men  IT)   

Texas  Rangers  (C)    

Thief  <M  Damascus.  The  ... 
Valentino   IT)  103) 

Valley  of  Fire   

War  Cry  IC) 


.  Meniou-Franz 
Hayward-Knox 

Mickey   Rooney  _  .  _    

Lane-Daniels    

.Lancaster-Lawrence   

Geo.  Montgomery   6—51. 

Henreid-Sutton 

.  Parker-Dexter      ,_   4-51  . 

.Aotry-Burnette  6-51. 

..Montgomery-Long  

When  the  Redskins  Rode  (C)   (78)  Hall-Castl*     5-51 

Whirlwind    Autry-Burnette   4-51. 

Whistle  at  Eaton  Falls,  The  (90)  _  Bridges-Gish    8-51 


»-5   9-'0  Love  Is  Better  Than  Ever  (81)  . 

 ——  Man  With  A  Cloak  188)   

—3—51  5-21  Night  Into  Morninq  186)   

-    10-8  Mr.  Imperium  IT)  (87)  

 :   No  Questions  Asked  181)   

7-  51  -  359  7-16  Pandora  and  the  Flying  Dutchman 
10-51   9-24  (T)    (123)  .  _   

People  Against  O'Hara  (102) 

8-  51   326  .       7-16  Qu0  Vadis   (T)  1171) 

—    I  Was  a  Stranger 

-  -   — -—  Red  Badqe  of  Couraqe  169) 

8-  51   7-30  Rich.  Young  and  Pretty  IT)   195)  .. 

  Show  Boat  ITI  1108)   

—  ."  v.-  Singin"  In  The  Rain  (T)   

4-5  5-21  Soldier's  Three  192)   

9-  51        318         8-27  Ta|k  About  a  stranger 

  Strictly  Dishonorable  (9S)   

 7-16  Strip.    The  (85)   

-  7-51    6-18  Tall  Target.    The  (78) 

  Teresa    1 1051  

  Texas  Carnival   ITI  (77) 

    Too  Youna  To  Kiss  (91) 

  10-22  Unknown  Man.  The  186)    

  Westward  the  Women  (118)   

  When  In  Rome 


Wild  North  Country,  The  (A) 
Young  Man  in  a  Hurry   .  Roman-Nype 


Barrymore-Evans 
Garson-Wilding 
Grainger-Angeli 
Gable-Gardner 
Taylor-Parks 
Cotten-Stanwyck 
Milland-Hodiak 
Turner-Pinza 
Sullivan-Dahl 

Mason-Gardner 
Tracy-O'Brien 
Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 

Gardner-Keel   

Kelly-O^Connor 
Granger-Pilgeon 
Murphy-Davis 
Pinza-Legih    .    . . 
Rooney-Forrest 
Powell-Raymond 
Angeli-Erickson  . 
Williams-Skelton 
Ailyson-Johnson 
Pidqeon-Harding 
Taylor-Darcel 
Johnson-Douglas 
Granger-Corey 


.140  :  

139  8  13 

-137  3-12 

205  9-24 


MONOGRAM  -  ALLIED  ARTISTS 


6-18 
8-13 


1950-51  Features 
Westerns 


Completed 
Completed 


(37) 
(12) 


In  Production  (  I  ) 
In  Production  (0) 


1950-51 


L  I  P  P  ERT 


Completed  (30)       In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


COMPLETED 

As  You  Were    

Bandit  Queen  

Blonde  Blackmail 

Danger  Zone   

FBI  Girl   

For  Men  Only    

3.  I.  Jane  (62)  

Great  Adventure,  The   

Highly  Dangerous   _  

Kentucky  Jubilee   

j-eave  It  To  the  Marines 

Little  Big  Horn  

-ost  Continent    

vtask  of  the  Dragon  

Savaio 

fier  23  ;  

=  avaqe  Drums  .70) 
>>ky  Hiqh 

Jteel  Helmet,  The  .  _ 
?top  That  Cab   , 


RELEASE  CHART 

—  1950-51  — 


Tracy-Sawyer   

..Britton-Parker   

Brent-Chapman 
Beaument-Travis 

.  ftomero-Totter   

..P.   Henreid  _  


IN  PRODUCTION 

TITLE — Running  Time 
Starlight  Canyon 

COMPLETED 

According  to  Mrs.  Hoyle  (60) 

Aladdin   and   His  Lamp    IC)  .... 

Blazing  Bullets  _   

Lawless  Cowboys   

Casa   Manana  173 


Byington-Chandler 
Medina-Sands 
Brown-Hall 


Forbes-Herlihy 
.  Cameron-Long 
DeFoe-King 


...Porter-Neal   7-6 

..Price-Hawkins     11-2 

Clark-Lockwood    10-12 

.  Colonna-Porter  5-18.. 

S.  Melton-M.  Lynn     9-2 

-Ireland-Bridges  6-I8- 

-Romero-Brooke    8-27 

-Travis-Ryan  _  3-1 7_ 

Documentary   

..Beaumont-Savage  5-1 1_ 

Sabu-Baron  _   _    6-22 

S.  Melton-M.  Lynn  ...  _  10-19 
Edwards-Brodie  2-2_ 


5012 
5021 
5029  . 

.5007. 
5005  . 

.5003.. 
5004 

.5013.. 


_Melton-Adrian 
Reeves-Coates 
Clarke-Hatcher 


-3-3 1  _ 
LI-16 
I  1—30 


5018. 

5001 
5024 

.5006.. 

_50l_ 


Cavalry  Scout  (C)  (78) 

Counterfeit  

Crazy  Over  Horses 

Elephant  Stampede  

Father  Takes  The  Air  _ 
Flight  to  Mars  IC) 

Fort  Osage  (C)    

Ghost  Chasers  169)   

Gypsy    Fury  163)   

Hold  That  Line 

Joe  Palooka  in  Triple  Cross  Kirkwood-Downs 
Longhorn,  The  Elliott-Coate 


Cameron-Nigh 
Gorcey-Hall 
Viveca-Lindfors 
Gorcey-Hall 


11-18  5114 

10-  29  5110  

6-17  .5126  

11-  ll  5103  

2-  10  5102 

4-29    .5112  5-21 

3—  18  5192  7-16 


Lion  Hunters.  The  (67) 

Mexican  Silver  

Navy  Bound  ..  

Nevada  Badman  .  _ 
Oklahoma  Justice  


Sheffield-Wh.tfield 

Wilson-Clyde  

Neal-Toomey 

Wilson-Knight   

Ellison 


9-16  5118 
I  1-25 

3-25  5109 


10-B 


Elloitt 
Jane  Nigh 


2-25  .5120 
5-27  ..5I52_ 
8-19  .5144- 


MOVEMBER    5  , 


25 


Stagecoach  Driver 
Teras  Lawmen 
Trail  Dust 

Vengeance  Trail  ... 
Vicious  Years.  The 
Wagons  West  IC) 
Wanted:  Dead  or  / 
Whistling  Hills 
Wild  Horse  Prairie 

Witness.  The   

Yellow  Fin 
Yukon  Manhunt 


Babe  Ruth  Story,  The 
Disc  Jockey 

Highwayman.  The  ICI  183) 
Let's  Go  Navy  168) 
I  Was  An  American  Spy  185) 
It  Happened  On  Fifth  Avenue 


Wilson-Knight   

Brown-Ellison 
...  Albright-Winters 

_  ..Elliott- Stewart    ...  ... 

Cook-Moore   -  

.  Cameron    

Wilson-Clyde 

...  Brown-Ellison   

Wilson-Knight 
Kirkwood-Gleason 
Morris-O'Flynn 
 Grant-Davis 

ALLIED  ARTISTS 

Bendix-Trevor 
Simms-O'Shea 
Hendrix-Coburn 
H.  Hall-G.  Gorcey 

  Dvorak-Evans  

DeFore-Storm  


7-15 
1 2—3 1 


5IS3 
5 1 OT : 


5 1  54 
5151 


May 
8-23 

21 

6-18 

9-8 
7-29 

20 
5113 

 8-27 

8-27 

4-15 
May 

 19  . 

_  5-21 

PARAMOUNT 


1951-52  Features       Completed  (55)       In  Production  (3) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

This  Is  Dynamite  Holden-Smith  

Los  Alamos  Barry-Carke  

Famous   (T)      Crosby-Wyman  

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT)  Shore-Younq  

Anything  Can  Happen   ...  .  Ferrer-Hunter      

Appointment  With  Danger  (89)  ...     Ladd-Calvert   .  5-51  5019  4-23 

Big  Carnival.  The  1112)  Douglas-Sterling  7-51  5023  7-2 

Rev.  under  title:  Ace  in  the  Hole 


Big  Timber  IT) 

Carrie  .... 

Crosswinds  IT)  1931 

Darling,  How  Could  You  195)  

Dear  Brat  182)   .......  

Detective  Story  1103)  

Flaminq  Feather  (T)  

Greatest  Show  On  Earth  (T)  

Green    Gold   of  Nevada  IT) 

Here  Comes  the  Groom  (114)   

Honq  Kong  ITI  

Last  Outpost.  The  IT)  (89)  

Lemon  Drop  Kid,  The  (91)   

Matina    Season.    The  1101) 

Molly  183)    

Rev.  under  title:  The  Goldbergs 
My  Favorite  Spy  193) 
My  Son  John 

Passage  West  (Tl  180)     

Peking  Express  185) 

Place  in  The  Sun,  A  (122)   _  . 

Quebec  (T)  (85)  

Rage  of  the  Vulture,  The  

Red  Mountain  (T)     

Rhubarb  1951 
Sailor  Beware 

Samson  and  Delilah  (T)  (128) 

Shane  IT) 

Silver  City  IT)  (90) 
Somebody  Loves  Me 

Something  To  Live  For   

Son  of  Paleface   (T)  ~ 

Stooge,  The      

Submarine  Command  (89) 

That's  My  Boy  (98)    

The  Denver  &  Rio  Grande  (T) 

Trio  (91)  _  ____ 

Warbonnet   (T)    .  .  ... 

Warpath  (951  ITI 

When  Worlds  Collide  (82)  (T) 


Payne-Moorhead 

Olivier-Jones    

Payne-Fleming    

Fontaine-Lund 

Freeman-Arnold 

Douglas-Parker 

S.  Hayden-G.  Russell 

Stewart- Hutton  

Payne-Morrow 
Crosby-Wyman 


Hope-Maxwell 
Tierney-Lund 
Berg-Loeb 

Hope-Lamarr 
Hayes-Heflin 
Payne-O'Keefe 
Cotten-Calvet 
Clift-Winters 
Barrymore.  Jr. 
Ladd-Kerr  ..... 
Ladd-Kennedy 
Milland-Sterlinc 
Martin-Lewis 
Lamarr-Mature 
Ladd-Arthur 
DeCarlo-O'Briei 
Hutton-Meeker 
Fontaine-Millani 
Hope-Russell 
Martin-Lewis  ... 
Holden-Olson 
Martin-Lewis  ... 
O'Brien-Hayder 
Simmons-Rennie 
Heston-Hanson 
O'Brien-Jagger 
Derr-Rush 




9-51 

.5101 

3   

3  

1  '  5-5 1  . 

5020  . 

....  4-51 

.....  3-51 

5018  

5016  .... 

...3-25 
.1-29 

.  4-51 

5011  ..... 

 12-4 

12-51 

5110 

10-22 

7-51 
...  8-51 

5022  l 
5024 

 7-2 

9-51 

5102 

7-30 

-Calvet  ... 

4-51 

5017 ...... 

9-5 1 
.  3-51 
12-51 
10-51 


5103 
.5010 

51  12 ..." 


8-13 

___ 

10-8 


10-51 
_  8-51 

5107 
5026 

9-24 
7-? 

6-51 

5030  

1 1-6 

8-5l" 
1  1-51 

"  5025  I 
5106 

----- 
9-24 

REPUBLIC 


1951-52  Features       Completed  (15) 
Serials  Completed   (  0) 
 Westerns       Completed   (  6) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production   (  I  ) 


RELEASE  CHART 

—  1950-51-52  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Bal  Tabarin  Lawrence-Ching 
Leadville  Gun  Slingers  Lane-Riley 

COMPLETED 

Adventures  of  Captain  Fabian  (100) 
Arizona  Manhunt  (60) 
Border  Saddlemates 
Buckaroo   Sheriff   of  Texas  160) 
Bullfighter  and  the  Lady  (87) 

Captive  of  Billy  the  Kid  _ 

Colorado  Sundown  .. 

Dakota  Kid.  The  (60)    ,■ 

Desert   of  Lost  Men 
Don   Daredevil   Rides  Aqain 
Fabulous  Senorita.  The 
Fightinq  Coast  Guard  186) 

Fliqht  from  Fury   .._   

Fort  Dodqe  Stampede  (60) 

Lady    (78)   ™ 


Girl  From  Panama 
Havana  Rose  (77) 
Heart  of  the  Rockies  I 

Honeychilc    (Tr)  _  

Hoodlum  Empire 

In  Old  Ar.-Mrillo  (67) 

26 


E.  Flynn-M.  Prelle 

Chapin-Janssen   

Allen-Kay 
Chapin-Janssen  _ 

Stack-Page   

Lane-Edwards 
Rex  Allen 

Chapin-Janssen   

Lane 

Curtis-Towne 
Estelita-Clarke 
Donlevy-Tucker 
Edwards-Clark 
Lane-Kay 
Paige-Barnes 
Estrelita-Clarke 
Rogers-Rodriques 
Rogers-Edwards 
Canova-Foy  . 
Donlevy-Trevor 
Rogers-Edwards 


S067 
5063 
5084 

5010 

5062 


7-30 
9-24 


Insurance  Investigator  160)  

Lady  Possessed  

Last  Musketeer.  The  

Lost  Planet  Airmen   IReedited  from 
"Kinq  of  the  Rocket  Men"  .. 

Million   Dollar  Pursuit  160)  

Oh  Susanna   (Tr)  190)  

Oklahoma  Annie  IC)   

Pals  of  the  Golden  West 

Quiet  Man.  The  (T)  

Robinson-Vs.  Turpin  153)   

Rodeo  Kind  &   The  Senorita  167) 

Sea  Hornet,  The  (84)   

Secrets  of  Monte  Carlo  

Silver  City  Bonanza   

South  of  Caliente  

Stormbound  

Street  Bandits 

This  Is  Korea  (50) 

Thunder  In  God's  Country  (67) 

Utah  Waqon  Trail    

Wells  Farqo  Gunmaster  

Wild  Blue  Yonder   

Woman  In  The  Dark  

Wyoming   Saddle  Pals  


Allen-Kay 

Coffin-Clarke  ... 

Edwards-Flagg 

Cameron-Tucker 

Canova-Russell 

Rogers-Evans 

Wayne-O  Hara 

Fight  Pictures 

Allen-Kay 

Cameron-Booth 

Douglas-Hall 

Allen-Ebsen 

Rogers-Evans 

Dowling-Checchi 

Edwards-Clarke 

Documentary   

Allen 

Allen-Edwards  ... 

Lane-Chapin   

Corey-Ralston 

Edwards-Elloitt 

Chapin-Janssen 


7-25  5031 

5-30      5028       6-18 ■ 

3-10      5008  3-261 


5030 

5051 
5ISI 
5032 
5130 
5127 

5052 
5054 

5061 


RKO  RADIO 


1950-51   Features       Completed   (59)       In  Production  (4) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Androdes  and  The  Lion   

Big  Sky,  The  

Clash  By  Night   

Korean    Story,  The  

COMPLETED 

Alice  In  Wonderland  (T)  (75) 
Behave  Yourself  181) 
Best  of  the  Badmen  (T)  (84) 
Blue  Veil,  The   1 1  14) 

Crack  Down  ...   

Day  Without  End    

Double   Dynamite  180) 

Flying  Leathernecks  IT)  1102) 

Footlight  Varieties  (61)    

Girl  in  Every  Port,  A    

Gun  Notches  .  ....  _  

Gun  Thunder    

Happy  Go  Lovely  187)    

Half-Breed,  The    

Hard,  Fast  and  Beautiful  178)  . 

His  Kind  of  Woman  (120)  

Hot  Lead  1601   

I   Want  You  

Jet  Pilot  (T)  1118)  

Jungle  of  Chang  

Jungle   Headhunters    (T)  (65) 

Kon-Tiki   (73)    _   

Las  Vegas  Story.  The    

Lilli  Marlene  172)  

Macao  .  ._    

On  Dangerous  Ground    

Whip  Hand,  The  182)    

My  Forbidden  Past  (70)  __  _ 

On  The  Loose  (74)  

Overland  Telegraph  160)   

Pistol  Harvest  (60)      

Racket,  The  (88)  

Road  Agent   

Roadblock  173)  

Hustler's  Range    

Saddle  Legion  160)   

Sealed  Cargo  190) 


Slaughter  Trail    IC)  (76) 
Sons  of  the  Musketeers  (T)  . 

Target    

Tarzan's  Peril  (79)   

Texas  Triqqerman   _   

Thing,  The  (87)    

Tokyo  File  212  (84)    

Two  Tickets  to  Broadway  (T)    (106)  Leigh-Martin 


Cast 

Simmons-Younq  ... 
Douglas-Martin 
Douglas-Stanwyck 
Mitchum-Tallman 

Disney  Cartoon 
Winters-Granger 

Ryan-Trevor  

Wyman-Carlson 
Williams- Armstrong 

Lupino-Ryan  

Sinatra-Russell   

Wayne-Ryan   

Pear-Buttons   

Marx-Wilson  

Holt-Martin   

Holr-Martin   

D.    Niven-Vera  Ellen 

.Young-Carter  

Trevor-Forrest  

Russell-Mitchum 

Holt-Martin   

Andrews-McGuire  ... 

Wayne-Leigh  

Travel  

Travel  

..Travel  

Russell-Mature 
McDermott-Daniely 

Russell-Mitchum  

Ryan-Lupino   

Reid-Tuttle   

Gardner-Mitchum 

Evans-Earl  

Holt-Martin   

Holt-Martin   

Mitchum-Scott 

Holt-Martin   

McGraw-Dixon  

..Holt-Martin   

Holt-Martin  _  

Andrews-Rains   

Donlevy-Grey   

Wilda-O'Hara  

McGraw-White 

Barker-Huston  

Holt-Martin   

Tobey-Sheridan   _.. 

Marly-Peyton  


7-51 
9-51 
6-51 


10-51 

8-51 
3-51 
12-51 


12-51 
.  6-51.. 
8-51 


292 
206 
176 


7-14 
9-2 
5-7 
9-24 


5-51 
11-51 


4-51 

.5-51 
10-51 


202 
205 


20th  CENTURY-FOX 


1951  Features 


Completed   (46)       In  Production  (2) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

I  Don't  Care  Girl.  The  (T)    .  Gaynor-Wayne 

Way  of  a  Gaucho  IT)  Tierny-Calhoun 

Girl  Next  Door,  The   (T)   Haver-Dailey 

Diplomatic  Courier  Power-Neal 

COMPLETED 

Anne  of  the  Indes  (T)    182)  Jordan-Paget 

As  Young  As  You  Feel  (77)   Woolley-Ritter   

Bells  On  Their  Toes     Crain-Loy   

David  and  Bethsheba  (T)  (123)  Peck-Hayward   

Day  The  Earth  Stood  Still.  The  (92)  Rennie-Neal  

Merrill-Basehart 

Mason-Young   

Webb-Francis 
Mason-Rennie 
Basehart-O'Shea 
Ford-Baxter 
Douglas-Basehart 
Lundigan-Greer 
Widmark-Andrews 
Haas-Michaels 
Day-Gaynor 
Douglas-Darnell 
Young-Cotten   


19; 


Decision  Before  Dav 
Desert  Fox,  The  191) 

Elooement  

5  Fingers  

Fixed  Bavonets 

Follow  the  Sun  (901   

Fourteen  Hours  191)    

Friendly  Island  IT)   

Frogmen  1961  

Girl  on  the  Bridge.  The 
Golden  Girl  IT)  1108) 
Guy  Who  Came  Back.  The  (91) 
Half  Angel   IT)  (80)  


FILM  BULLETi: 


,1  Can  Get  It  For  vou  Wholesale  191)  Dailey-Hayward 

'I'd  Climb  the   Highest  Mountain 

IT)    188)      -  Haver-Lundiqan 

ll'll  Never  Forget  You   (T)  Power-Blyth 

Japanese  War  Bride  191)  Yamaguchi-P.  Taylor 

Journey  Into  Light  187)  Hayden-Lindfors 

Kangaroo  IT)  .  -  O' Hara-Lawford 

Kefauver  Crime  Investigation    News  Feature 

Model  and  The  Marriaqe  Broker  J.  Crain-T.  Ritter 

Let's  Make  It  Legal  177)  Colbert-Carey 

love   Nest   184)  Haver-Lundigan 

Lydia  Bailey  IT)  Robertson-Francis   

:  Meet  Me  After  The  Show  IT)  (86)  Grable-Carey 

Millionaire  for  Christy  191)  MacMurray-Parker 

Mr.  Belvedere  Rings  The  Bell  188)  Webb-Oru 

No  Highway  In  The  Skv      _  Stewart-Dietrich 

On  the  Riviera    IT)    190)    Kaye-Tierney 

People  Will  Talk    (110)    Grant-Crain 

Phone  Call  From  A  Stranger  Merrill-Winters 

Pride  of  St.  Louis  Dailey-Dru 

Rawhide    184)     Power-Hayward   _ 

Red  Skies  of  Montana  (T)  Widmark-Smith  

Return  of  the  Texan  Robertson-Boone 

Secret  of  Convict  Lake  183)  Ford-Tierney 

Take  Care  of  My  Little  Girl  (T)  193)  Crain-Peters 

Viva  Zapata  M.  Brando-J.  Peters 

Wait  Till  The  Sun  Shines  Nellie  IT)  Peters-Wayne 

With  A  Song  In  My  Heart  _  Hayward-Calhoun  _ 

You're  in  the  Navy  Now  193)  Cooper-Albert 
Rev.  under  title:  U.S.S.  Teakettle 


4-51 

I  1-51 
12-51 

10-51 

4-51 


III  4-9 

131  .  


125 


8-13 


8-  51 

9-  51  127  8  13 
8-51  124  8-13 

10-51  121 

5-51  115  4-23 

9  51  126  9-10 

5-51  113    .  4-23 


Golden  H-«rd«  The  ITI   

Here  Come  The  Nelsons 
Hollywood   Story  176) 

Iron  Man  (82)   

Katie  Did  It  1811  .  

Lady  from  Texas  ITI  178) 
Lady  Pays  Off.  The 
Lavender  Hill   Mob  The 
Little  Egypt  IT)  182) 
Ma  and  Pa  Kettle  at  the  Fair 
Ma  and  Pa  Kettle  Back  on  the  Farm 
Mark  of  the  Renegade  IT)  181) 

Meet  Danny  Wilson   

Pool  of  London 

Prince  Who  Was  A  Thief.    ITI  IBS) 
Raging  Tide.  The  1921 
Reunion  In  Reno  179) 
Smuggler's  Island  IT) 


175) 


Son  of  All  Baba  IT) 
Steel  Town  IT) 
Strange   Door.  The 
Thunder  On  the  Hill  185) 
Treasure  of  Lost  Canyon,  The  IT) 

Up  Front  (Ml    

Weekend  With  Father    

You  Never  Can  Tell 


BlytheFarrer 
Ozzie  and  Harriet 

Conre-Aaams 

Oct. 
June 

1  34 
124 

 . 

5  21 

Keyes-Chandler 
Blyth-Stevens 

Aug 
May 

130 
122 

7  16 
5-21 

Hull-Duff 

Oct. 

136 

10-8 

Darnell-McNally 
Guinness- Hoi  low  ay 
Fleming-Stevens 

Nov 
Oct 
Seot 

202 
280 
131 

8-27 

Main-Kllbrlda  

Main-Kilbride 

Montalban-Charisse 

Sinatra-Winters 

Apr 
Aug 

117 
128 

4  9 

8-13 

Colieano-Shaw 
Curtis-Laurie 

July 

126 

6  18 

Winters-Conte 
Stevens-Dow 

Nov 
Oct 

203 
135 

10-22 
10-8 

Keyes-Chandler 

Mav 

121 

5-2 

-Curtit-Lauria   

Sheridan-Lund 

Laughton-Karloff 

Colbert-Blyth 

W.  Powell-J.  Adams 

WayneEwell 

Nea!-Heflin   

Powell-Dow 


8  13 
3  12 

9  10 


WARNER  BROTHERS 


UNITED  ARTISTS 


1950-51   Features        Completed   (51)       In  Production  (0) 
RELEASE  CHART 

—  1950-51  — 


1950-51   Features        Completed   (34)       In  Production  (5) 


COMPLETED 

A  Christmas  Carol   186)  ...  

African  0"een  IT)  

Another  Man's  Poison   

Badman's  Gold  156)  

Big  Night,  The  I7S)  

Chicago  Calling  174) 
Circle  of  Danger  186) 
Cloudburst  (83) 

Cyrano  De  Bergerac  (112)   

Fabiola  196) 

First  Legion   186)  _.    

Fort  Definance  181). 
Four  In  A  Jeep  197) 
Gold  Raiders  156) 
Green  Glove.  The 

He  Ran  All  the  Way  (77)   

High  Noon   

Hoodlum.   The  163)  

Hotel  Sahara  (87)  

Lady  Says  No.  The  (80)  . 
Long  Dark  Hall.  The  186) 

Man  From  Planet  X  (70)   _ 

Man  With  My  Face  (75)    

Mister  Drake's  Duck  181)  . 
Mr.  Peek-A-Boo  (74) 

My  Outlaw  Brother  182)  

Naughty  Arlette  186)  

New   Mexico   IA)  176) 

Obsessed  177)   

Odette  1105)  

Oliver  Twist  (105)     

One    Big  Affair 

Pardon  My  French  (81)    

Prowler.  The  (92)  

Queen  For  A  Day  1107)   

Scarf,  The  (86)   ... 

River.  The  IT)  (99)  

Saturday   Island  IT) 
Skipalong  Rosenbloom  172) 
So  Long  at  the  Fair  185) 

St.  Benny,  the  Dip  180)   

Thev  Were  Not  Divided  

Three  Steps  North  185) 

Tom  Brown's  Schooldays  193) 

Try  and  Get  Me  (90) 

Formerly:  Sound  of  Fury 
Two  Gals  and  a  Guy  170) 

Underworld  Story     

Volcano  1 1 10) 
Well,  The  185) 
When  I  Gi„w  Up  190) 


Sim    

Bogart-Hepburn   

Davis-Merrill  . 
Carpenter-Lockwood 
J.  Barrymore-P.  Foster 

Duryea-Anderson   

Milland-Roc 
Preston-Sellars 

Ferrer-Powers    

Michele  Morgan    

Boyer-Bettger 

D.  Clark-B.  Johnson   

Lindfors-Meeker    .  _ 

O'Brien-Ryan 

Ford-Brooks 

Garfield-Winters 

Cooper-Kelly 

Tierney-Roberts 

DeCarlo-Ustinov   

Caulfield-Niven   

Harrison-Palmer  . 

Clark-Field   

Nelson-Matthews 
Fairbanks-Donlan 
Greenwood-Bourvil 

Rooney-Hendrix    

Tettering-Williams 

Ayres-Marshall 

Harrar-Fitzqerald 

Neagle-Howard   

Newton-Guinness  . 
OKeefe-Keyes 

Oberon-Henreid  

Heflin-Keyes 

Avery-McGavin   

Ireland-McCambridge 
American-Indian 

Linda  Darnell    

Baer-Coogan      _  ._  . 

Simmons-Bogarde 
Roch-Haymes 

Underdown-Clanton  

Bridges-Padavoni 

Davies-Newton   ...  

Lovejoy-Ryan 

Paige-Alda  

Duryea-Storm 

Magnani-Brazzi  

Rober-Kelly 
Preston-Scott 


.  7-13 

7-27 

10—  15 

1 1-  16 
4-10 
4-27 

6-8 
9-21 


4-3 
3-29 
8-24 


Reb 

Kr 

Jar 
Cor 
Sach 


7-16 
6-18 


9-10 
6-4 
4-9 

3-26 


Dan 
Wil 
Stm 


C-E ... 
Pop 


IN  PRODUCTION 

TITLE— Running  Time 
Crimson  Pirate.  The  IT) 
Mara  Mary 
Retreat.  Hell 
She's  Working  Her  Way 
Through  College  IT] 
This  Woman  Is  Dangerous 

COMPLETED 

About  Faca  IT)    

Along  the  Great  Divide  188) 

Big  Trees,  The  (T)  

Bugles  in  the  Afternoon  IT) 
Carson  City 


RELEASE  CHART 

—  1950-51  — 

Cast 
B.  Lancaster 
Flynn-Roman 
Loveioy-Carlson 


Mayo-Reaqan 
Crawford-Morgan 


MacRae-Bracken 
Douglas-Mayo  _ 
Cochran-Aldon 
R.  Milland-H.  Carter 
Scott-Massey 
Milland-Tierney 

Caqney-P.  Ihaxte 


Close  To  My  Heart  (90) 
Come  Fill  the  Cup  1113) 

Captain  Horatio  Hornblower  IT)  H7Peck-Mayo 

Distant  Drums  IT)     Cooper-Alden 

Force  of  Arms  1100)       _  Holden-Olson 

Fort  Worth  IT)   180)  _  ...  Scott-Brian 

Goodbye,  My  Fancy  (107)   Crawford-Young 

I  Was  A  Communist  (83)      _  Lovejoy-Hart  _ 

I'll  See  You  In  My  Dreams  Day-Thomas 

Inside  Walls  of  Folsom  Prison  (87)  Brian-Cochran 


Abbott-Costello 

Lancaster-Bickford 

Cochran-Teal 


and  The  Beanstalk 
Lion  and  the  Horse,  The 
Jim  Thorpe.  All-American  1105) 
Lullaby  of  Broadway  IT)  192) 
North  of  the  Rio  Grande 
On  Moonlight  Bay  IT)  (95) 
Only  The  Valiant  1 105) 


Painting  Clouds  with  S'hine  (T)   (87)  Mayo-Morgan 


Raton  Pass  184) 
Room  For  One  More 
San  Francisco  Story 
Starlift  1103) 

Strangers  On  A  Train  1101) 
Streetcar  Named  Desire,  A  1122) 
Tanks  Are  Coming.  The  189) 
Tomorrow  Is  Another  Day  (90) 
Where's  Charlie?  (T) 


Morgan-Neal 
Grant-Drake 
McCrea-DeCarlo 
Cagney-Mayo 
Walker-Roman 
Brando-Leigh 
S.  Cochran-P.  Carey 
Roman-Cochran 
Bolger-McLerie 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


UNIVERSAL-INTERNATIONAL 


1950-51   Features       Completed   (51)       In  Production  (3) 


IN  PRODUCTION 

TITLE — Running  Time 
World  In  His  Arms    The  (T) 

Oh  Money.  Money  (T)  

Hear  No  Evil 

Ma  and  Pa  Kettle  Go  To  Paris 

COMPLETED 

Apache  Drums  (T)  175)   

Battle  of  Apache  Pass  IT)  

Bend  of  the  River  IT)   

Briqht  Victory    (97)  . 

Bronco  Buster  IT)   

Cattle   Drive    IT)  177) 

Cave  of  the  Outlaws,  The  IT)  

Cimarron  Kid,  The  IT) 

Comin'  Round  the  Mountain  177) 

Fat  Man    The  177)   

Finders  Keepers    

Flame  of  Arabv  IT)   

Francis  Goes  to  the  Big  Town 


RELEASE  CHART 

—  1950-51  — 


Cast 
Peck-Blyth 
Colburn-Laurie 
Curtis-Sterling 
Main-Kilbride 


Grey-McNally 
Chandler-Lund  _ 
Stewart-Kennedy 

Dow-Kennedy   

Lund-Brady 

McCrea-Stockwell    .     _     Aug  128 

Smith-Carey   

Murphy-Y.  Duga 


Smart-London 
Ewell-Adams 
Chandler-O'Hara 
Donald  O'Connor 
Francis  Goes  to  the  Races  (88)   O'Connor-Laurie 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


NOVEMBER 


195  1 


27 


25c  per  Copy 


BULLETIN 

NOVEMBER  19,  1951 

Jce  Cxkikitct  £f?eaf?J: 

"WHY  NOT 
COMPETITION 
BETWEEN 
EXHIBITOR 
ORGANIZATIONS?" 

Page  3 
■ 

film*  jet-  IV 
Who  Will  Swallow  Whom? 

Exclusive  Feature.  Page  17 


#g  A.M.  Da^y  after  opening,  Fox  Theatre,  San  Franci 


It's  one  gold  strike 
after  another  thanks  to 

"ANNE  OF  THE  INDIES" 

Technicolor 


"DAVID  AND  BATHSHEBA" 

Technicolor 

"THE  DESERT  FOX" 
"THE  DAY  THE  EARTH  STOOD  STILL" 


"MEET  ME  AFTER  THE  SHOW" 

Technicolor 

"PEOPLE  WILL  TALK" 
"TAKE  CARE  OF  MY  LITTLE  GIRL" 

Technicolor 

"LET'S  MAKE  IT  LEGAL" 


MITZT 

°  A  r  »  0 R 


THERE'S  NO  BUSINESS  LIKE  20th  CENTURY-FOX  BUSIK 


BULLETIN 


JOE  EXHIBITOR  SPEAKS 


Vol.  19.  No.  24  November  19,  1951 

Pace  Three 


DEFINITION 

"An  acquaintance  is  a  person  whom 
we  know  well  enough  to  borrow  from, 
but  not  well  enough  to  lend  to." 

—AMBROSE  BIERCE 


REVIEWS  in  This  Issue 


Quo  Vadis   

_  _   5 

I  Want  Yor   

  6 

Honc  Ko.nc   

 _   6 

Fl-ICH  I    1<>  M Alt-. 

  6 

Elopement    8 

Stari.ift   8 

South  of  Caliente  

  8 

Golden  Girl   

.._  _  ..24 

The  Wooden  Horse   

 24 

JUNCLE  OF  CHANC   

 ........24 

A  Christmas  Carol   

   24 

Valley  of  Fire  

 25 

Hotel  Sahara   

 25 

Bride  of  the  Gorilla   

 25 

The  Big  Nicht   

 25 

FILM  BULLETIN  —  An  Inde- 
pendent Motion  Picture  Trade 
Paper  published  every  other 
Monday  by  Film  Bulletin  Com- 
pany. Mo  Wax,  Editor  and  Pub- 
lisher. BUSINESS  OFFICE;  35 
West  53rd  St.,  New  York,  19; 
Circle  6-9159.  David  A.  Bader, 
Business  Manager;  Leonard 
Coulter,  Editorial  Representative. 
PUBLICATION  —  EDITORIAL 
OFFICES:  1239  Vine  St.,  Phila- 
delphia 7,  Pa.,  RIttenhouse  6- 
7424;  Barney  Stein,  Managing 
Editor:  Jack  Taylor.  Publication 
Manager:  Robert  Heath,  Circu- 
lation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave., 
Pacific  Palisades,  Calif..  Hillside 
8183;  Jay  Allen,  Hollywood 
Editor.  Subscription  Rate:  ONE 
YEAR,  S3.00  in  the  United 
States;  Canda.  S4.00;  Europe. 
S5.00.  TWO  YEARS,  S5.00  in 
the  United  States;  Canada, 
$7.50;  Europe,  S9.00 


WHY  NOT  EG  M  PETITION  BETWEEN 
EXHIBITOR  ORGANIZATIONS? 


1951 


Mr.  Mo  Wax,  Editor 
HIM  BULLETIN 
Dear  Sir: 

"Unity"  is  one  of  the  most  adored  —  and  abused  terms  in  our  business.  Someone 
is  forever  pleading  for  unity  of  one  kind  or  another,  usually  on  the  ground  that  only 
by  working  as  brothers  can  we  prosper  and  protect  ourselves  from  attacks  by  Outsiders, 

I  am  not  one  to  dispute  the  value  of  cooperation,  but  it  seems  to  me  that  some 
kinds  of  unity  lead  to  stagnation  and  actually  invite  attacks  from  the  outside.  The 
major  film  companies,  and  their  affiliated  circuits.  ha\e  certainly  learned  that  the  kind 
of  "cooperation"  with  which  they  were  charged  bv  the  Department  of  Justice  did  them 
no  good  in  the  long  run.  It  brought  them  a  whopping  headache  in  the  courts  all  over 
the  land. 

Of  course,  it  would  be  foolish  to  deny  the  value  of  unity  such  as  is  offered  by 
COMPO.  There  are  areas  of  compatibility  which  we  would  be  damn  foolish  to  ignore, 
as  witness  the  "Movietime.  U.  S.  A."  drive  and  the  struggle  to  remove  the  burdensome 
'"war"  tax  on  movie  admissions.  Cooperation  by  every  element  in  the  industry  is  an 
essential  in  such  matters.  But  let's  stop  kidding  ourselves  about  how  far  this  unity- 
business  can  be  carried. 

There  are  levels  on  which  the  interests  of  independent  exhibitors  and  the  major 
theatre  circuits  do  not  run  parallel:  the  same  is  true  as  between  exhibitors  and  dis- 
tributors. But  I  have  particular  reference  at  the  moment  to  the  talk  about  uniting 
the  national  exhibitor  organizations.  Allied  and  TO  A. 

As  just  another  guy  in  the  ranks.  I  see  more  value  from  my  standpoint  in  having 
the  two  groups  competing  for  my  membership,  just  as  the  Democrat  and  Republican 
parties  compete  for  my  vote  every  few  years.  Being  an  independent  voter,  as  well  as 
exhibitor.  I  don't  follow  any  "party-line",  but  try  to  size  up  the  candidates  and  the 
issues  and  then  follow  the  way  my  judgment  dictates. 

In  the  affairs  of  this  industry  in  which  I  earn  my  livelihood,  I  would  like  the 
same  opportunity  to  judge  and  choose. 

Competition  between  the  two  exhibitor  organizations  can  be  a  healthy  thing.  We 
are  now  facing  a  question  of  whether  to  adopt  a  form  of  industry-wide  arbitration. 
The  two  groups  have  divergent  views  on  what  shape  an  arbitration  setup  should  take 
The  Allied  convention  proposed  a  plan  that  includes  film  rentals  as  part  of  the  arbi- 
tration setup.  Frankly.  I  hope  the  Allied  leadership  kicks  this  idea  out  l  and  I  believe 
it  will  I.  because  it  isn't  feasible  nor  would  it  be  acceptable  to  the  film  companies  or  to 
most  exhibitors.  I  wouldn't  want  my  film  rentals  arbitrated  by  anyone:  I  am  satisfied 
to  negotiate  them.  This  phase  of  the  Allied  plan  would  probably  sink  the  whole  arbi- 
tration idea  if  they  persist  in  fighting  for  it.  By  the  same  token.  I  wouldn't  want  the 
kind  of  arbitration  plan  that  will  satisfy  only  the  distributors  or  the  big  chains.  I  will 
be  interested  in  learning  what  the  TOA  plan  for  arbitration  is  and  it  is  my  conviction 
that,  between  what  Allied  proposes  and  what  TOA  proposes,  we  have  a  good  chance 
of  devising  a  practical,  workable,  useful  system  to  eliminate  the  bulk  of  the  causes  of 
litigation  in  our  business.  On  an  issue  of  this  sort,  certainly  Allied  and  TOA  should 
exchange  views  in  an  effort  to  coordinate  them  for  the  benefit  of  all  exhibitors. 

If  you  regard  these  thoughts  as  being  of  any  value  to  the  industry,  you  are 
welcome  to  print  them  in  your  FILM  Bl  LLETLX. 


Sincerelv. 


JOK  EXHIBITOR 


169,385,880 

national  magazine  ads  are 
right  now  telling  the  world*. 
No  three  words  ever  meant 

so  much  to  so  many  people.., 


. . .  soon  from  Samuel  Gold  wy  n ! 

Distributed  by  RKO  RADIO  PICTURES,  INC. 


'QUO  VADIS'  THE  SHOWMAN'S  DREAM;  ONLY  'BEN  HUR' 

CAN  BE  COMPARED  TO  THIS  MAGNIFICENT  SPECTACLE! 


Rates  •  •  •  •  in  all  situations 
MGM 

2  hours  51  minutes 

Robert  Taylor,  Deborah  Kerr,  Leo  Genn, 
Peter  Ustinov,  Buddy  Baer,  Patricia  Laffan, 
Marina  Berti,  Felix  Aylmer,  Nora  Swin- 
burne. Finlay  Currie,  Abraham  Sofaer, 
Ralph  Truman,  Norman  Wooland,  Rosalie 
Crutchley,  Peter  Miles,  Elspeth  March. 
Produced  by  Sam  Zimbalist 
Directed  by  Mervyn  LeRoy 

On  this  massive  Technicolor  production, 
M-G-M  spent  some  $7,000,000  and  several 
years  of  concentrated  effort.  How  does  it 
stack-up  as  a  money  spinner?  That  is  the 
all-important  topic  of  show  business  talk 
right  now,  and  the  answer  is  obvious.  As 
pure  spectacle  this  is  the  biggest  thing  since 
1924  and  "Ben  Hur."  It  is  vast;  it  has  tre- 
mendous sweep;  it  is  awe-inspiring.  Even 
as  a  curiosity  it  must  have  prodigious  draw- 
ing power.  Like  other  so-called  "epics" 
before  it,  "Quo  Vadis"  is  the  kind  of  pro- 
duction which  a  lot  of  people  will  feel  they 
cannot  afford  to  miss  for  fear  of  being  out- 
of-touch  with  the  times,  and  all  the  power 
of  Metro's  potent  exploitation  machine  is 
driving  to  convince  the  world  it  must  see 
"Quo  Vadis". 

Fortunately,  it  has  other  attractions,  too. 
The  New  York  critics  to  whom  it  was  un- 
veiled at  twin  Broadway  theatres  early  in 
November  have  made  it  a  topic  of  hot  con- 
troversy. Some  praised  it,  others  damned 
it  with  faint  praise,  but  not  one  was  pre- 
pared to  say  it  wouldn't  be  a  success.  Your 
FILM  BULLETIN  reviewer  unhesitatingly 
goes  on  record  with  the  opinion  that  this 
"Quo  Vadis"  is  a  magnificent  achievement, 
as  entertainment,  certainly  as  a  business 
proposition. 

The  making  of  this  vast  historical  canvas 
was  a  most  difficult  task,  for  anyone  who  has 


read  Hcnryk  Sienkicw  icz's  novel,  from 
which  the  film's  title  is  taken,  must  have  fell 
it  to  be  almost  unfilmable,  BO  wide  it >  scope, 
so  deep  is  its  tenderness,  so  horrifying  is 
its  lechery 

Some  critics  have  taken  M-G-M  to  task 
for  picturing  Nero  as  a  lascivious  clown, 
yet  history  shows  he  was  all  that,  lot  he 
was  the  man  who  really  did  burn  the  hternal 
City  to  the  ground  to  gratify  hi-  own  ego, 
so  that  he  could  rebuild  it  as  Neropolis. 
Peter  Ustinov,  the  English  actor,  who  take- 
the  part  in  the  film,  postures  in  a  manner 
closely  resembling  Charles  Laughton,  but  at 
least  he  gives  his  part  an  interpretive 
strength  which  makes  Robert  Taylor,  as 
Marcus  Vinicius,  the  lovelorn  Roman  com- 
mander, appear  to  be  almost  a  weakling. 
Taylor  isn't  actor  enough  to  stand  the  wear 
and  tear  of  a  film  of  this  size.  Deborah 
Kerr,  the  English  redhead,  was  not  a  very 
satisfactory  choice  for  the  role  of  Lygia, 
the  C  hristian  girl  with  whom  Marcus  falls 
in  love.  She  is  cold,  aloof.  The  author  of 
"Quo  Vadis"  was  at  great  pains  to  stress 
her  purity  and  C  hristian  devoutness,  but  he 
did  not  leave  her  without  a  spark  of  passion, 
as  the  film  implies. 

These  two  apart,  the  cast  is  excellent  in 
its  characterizations.  Leo  Genn  as  the  Em- 
peror's adviser  who  learns  to  hate  his  evil 
master,  has  an  easy,  convincing  polish.  Also 
English,  Patricia  Laffan,  Nero's  erotic  wife, 
develops  the  right  kind  of  lascivious  leer 
and  sadistic  frown  at  the  right  moment. 
Finlay  Currie,  is  less  convincing  as  Simon, 
called  Peter. 

In  a  picture  so  crowded  with  movement, 
drama  and  spectacle,  it  is  difficult  to  pick 
out  the  highspots.  The  most  memorable 
are  probably  not  those  which  I'hoducer 
Sam  Zimbalist  had  in  mind.  The  two  scenes 
obviously  marked  as  the  most  sensational 
are  those  which  show  the  Christians  being 
fed  to  the  lions  in  Nero's  circus,  and  the 


sea  Mi  tl.iiiu  -  which  enveloped  the  1  it y  <>i 
Rome  at  Nero's  whim.  The  fire  somehow  or 
other,  it  slightly  unreal,  though  it  consumed 

4000  gallons  of  fuel  oil,  -><km>  gallons  oi 

gasoline,  3000  gallons  of  alcohol  and  a  ton 
of  naphthalene. 

The  millions  who  will  see  this  outstanding 
Technicolor  picture  must  be  thrilled  by  the 
incredibly  fine  photography  of  Robert  Sur- 
tees  and  William  V.  Skall,  and  the  art  di- 
rection (costuming  and  settings)  of  William 
A.  Horning,  Cedric  Gibbons  and  Edward 
Carfagno.  Dr.  Miklos  Rozsa's  musical  score 
is  in  just  the  right  mood. 

Bui  the  average  moviegoer  will  probably 
remember  "Quo  Vadis"  best  for  its  sheer 
magnificence  of  production  and  for  these 
episodes:  the  arena  battle  between  the  giant 
Ursus  and  the  fighting  bull  from  Portugal, 
where,  barehanded,  L'rsus  breaks  the  ani- 
mal's back;  the  mad  stampede  of  the 
Christians  through  the  city's  sewers  in  a 
vain  attempt  to  escape  the  holocaust;  the 
chariot  pursuit  of  Robert  Taylor  who  fights 
off  his  opponents  with  a  whip;  the  tragic 
death  seen"  in  which  Nero  kills  himself  with 
a  dagger  guided  by  the  only  woman  who 
really  love.;  him. 

STORY:  It  would  be  futile  to  attempt  to 
summarise  the  story  of  "Quo  Vadis"  which, 
in  the  original,  was  an  extremely  long  book. 
All  that  need  be  said  about  it  here  is  that 
it  tells  how  Nero,  murderous  tyranni- 
cal Emperor  of  Rome,  slowly  slips  from  ec- 
centricity to  madness  and,  when  his  own 
head  is  threatened  by  a  half-crazed  popu- 
lace, blames  the  city's  tribulations  on  the 
Christians,  whom  he  seeks  to  destroy.  They 
are  saved  from  annihilation  by  their  simple 
devotion — the  same  kind  of  devotion  which 
makes  Robert  Taylor  fall  in  love  with 
Deborah  Kerr  and,  in  the  end,  brings  doom 
to  the  impious  Nero,  freedom  for  Rome  and, 
presumably,  a  I  appy  ending  for  the  young 
couple.  COULTER 


NOVEMBER    19,  1951 


1  WANT  YOU'  DISAPPOINTING  COLDWYN  SUCCESSOR  TO  BEST  YEARS' 

Rates  •  •  +  generally 


RKO  Radio  (Samuel  Goldwyn) 
102  minutes 

Dana  Andrews,  Dorothy  McGuire,  Farley 
Granger,  Peggy  Dow,  Robert  Keith,  Ray 
Collins,  Martin  Milner,  Jim  Backus,  Mildred 
Dunnock,  Marjorie  Crossland,  Walter  Bald- 
win, Walter  Sande,  Peggy  Maley. 
Directed  by  Mark  Robson. 

raken  on  its  own,  Samuel  Goldwyn's  pro- 
duction  >f  tlie  present-day  draft  and  its 
effect  on  \merican  families,  "I  Want  You," 
is  presentable  screen  entertainment,  which, 
while  it  resolves  nothing  and  winds  up  in 
gloom  and  bathos,  has  enough  high  spots 
and  deft  directorial  touches  to  keep  audi- 
ences satisfied.  The  fact,  however,  that  it 
has  been  heralded  as  a  successor  to  Gold- 
wyn's eminent  "The  Best  Years  of  Our 
Lives" — and  undoubtedly  will  be  sold  as 
such — must  put  it  on  a  higher  plane  for 
judgment.  There,  unfortunately  it  fails  to 
pass  muster.  True,  there  is  the  usual  Gold- 
wyn production  quality,  the  high  standard 
of  performances  and,  under  director  Mark 
Robson,  some  poignantly  effective  scenes. 
But  the  lack  of  a  definite  and  credible  story 
line  the  steady  progression  into  de- 
pression situations,  and,  most  of  all,  the 
consistent  petering-out  of  promising  se- 
quences, makes  'I  Want  You"  one  of  the 
most  disappointing  films  of  the  year.  A 
hurried  attempt  to  tack  on  a  "happy  ending" 


•  POOR  *      •  •  FAIR 

•  •  •  GOOD  •  •  •  •  TOPS 


only  serves  to  accentuate  the  frustration  on 
the  part  of  the  onlooker.  Returns  will  be 
good  enough  at  the  start  on  the  basis  of 
names,  theme,  and  publicity  but  attempts 
to  play  it  up  as  another  "Best  Years"  may 
boomerang  when  audiences  register  their 
disappointment. 

A  fine  cast  struggles  with — and  occasional- 
ly overcomes — the  drawbacks  in  the  screen- 
play by  Irwin  Shea.  Even  a  sterling  actress 
like  Dorothy  McGuire  however,  can't  quite 
come  through  the  corn  as  she  bravely  bids 
goodbye  to  her  army-bound  husband  with 
the  words,  "I  won't  cry".  Or  Dana  Andrews 
as  he  decides  to  leave  a  happy  family  and 
a  growing  business  to  re-enlist.  Or  Mildred 
Dunnock  and  Robert  Keith  as  the  resentful 
mother  and  boasting  father  of  the  family  as 
she  blows  up  the  myth  of  his  World  War 
1  heroism.  Farley  Granger  fails  to  arouse 
sympathy  for  his  hot-rod,  irritating,  young 
draftee,  although  he  has  a  couple  of  good 
scenes  with  Peggy  Dow.  None  of  the 
characters  reaches  full,  three-dimensional 
stature,  however,  remaining  prototypes  for 
the  most  part.  Director  Mark  Robson, 
whose    "Champion"'    and    "Home    of  the 


Brave"  were  ace  efforts,  has  managed  several 
bright  touches  in  a  film  that  might  have 
achieved  real  stature  with  realization  of  its 
oft-promised,  but  never-fulfilled  potential. 

STORY:  Dana  Andrews,  former  World 
War  II  engineering  officer  shares  a  happy 
existence  with  his  wife,  Dorothy  McGuire, 
their  two  children,  and  is  the  ke\r  man  in  his 
father's  (Robert  Keith)  booming  construc- 
tion business.  Young  brother,  Farley 
Granger,  deferred  from  the  draft  on  a  leg 
injury,  courts  Peggy  Dow,  daughter  of 
judge  Ray,  Collins,  who  dislikes  Granger. 
Andrews  refuses  to  ask  deferment  for  Martin 
Milner,  son  of  one  of  his  employes,  on  an 
"essential  basis"  and  when  the  Korean  war 
begins,  takes  the  same  position  for  Granger 
despite  his  mother's  (Mildred  Dunnock) 
urging.  When  Granger  is  drafted,  with 
Collins  sitting  on  the  board,  he  believes  he 
has  been  railroaded  because  of  his  interest 
in  Peggy.  She  refuses  when  he  asks  her  to 
marry  him.  In  the  army,  Granger  and 
Milner  meet  up  and  Granger  learns  the 
value  of  army  life.  Milner,  sent  overseas, 
is  reported  missing  and  Andrews  is  faced 
by  the  despairing  father.  He  also  receives 
a  plea  from  a  former  officer  friend  to  rejoin 
because  his  experience  is  sorely  needed  and 
decides  to  re-enlist.  Granger,  older  and 
settled,  returns  for  a  leave  and  he  and  Dow 
are  married.  BARN 


'HONG  KONG'  ACTIONFUL  PINE-THOMAS  TECHNICOLOR  MELLER 


Rates  •  •  • 


action  spots;  good 


Paramount 
92  minutes 

Ronald  Reagen,  Rhonda  Fleming,  Nigel 
Bruce,  Marvin  Miller,  Mary  Somerville, 
Lowell  Gilmore,  Claude  Allister,  Danny 
Chang. 

Directed  by  Lewis  R.  Foster 

"Hong  Kong",  Pine-Thomas  Technicolor 
melodrama,  is  a  strong  entry  in  Paramount's 
roster  of  action  shows,  a  fast-moving  saga 
of  Oriental  evil-doing  involving  topical  and 
timely  angles  of  war-torn  China.  There  is 
plenty  of  action  and  a  sure-fire  twist  in  the 
plot  involving  a  Chinese  youngster  who  is 


dualler  generally 

a  major  factor  in  diverting  the  hero's 
motives  into  honorable — and  sympathetic — 
channels.  It's  a  natural  for  the  action  spots 
and  should  register  well  as  a  top  dualler  in 
neighborhoods,  with  exploitation.  The  pro- 
duction abounds  in  effective  atmosphere  and 
the  several  stock  shot  sequences  are  woven 
most  adroitly  into  the  narrative.  Presence 
of  Ronald  Reagan  as  the  hero  of  the  ad- 
venture is  an  asset.  The  likeable  actor  makes 
the  most  of  his  role,  offering  a  most  con- 
vincing performance.  Lewis  R.  Foster's  di- 
rection is  fiuid  and  lively. 

Rhonda  Fleming,  as  a  Red  Cross  worker, 
is  attractive.  Nigel  Bruce  plays  a  brief  part 
well,  and  Marvin  Miller  is  highly  effective 


as  a  ruthless  art  dealer.  Danny  Chang  is 
an  appealing  Chinese  moppet. 

STORY:  Reagan,  an  ex-soldier,  stays  in 
the  Orient  to  get  on  the  surplus  property 
bandwagon  But  his  grandiose  scheme 
falters.  He  picks  up  a  little  boy,  Danny 
Chang,  discovers  the  lad  is  carrying  a  valu- 
able statue  He  plans  to  sell  it  illegally, 
make  off  with  the  money  and  just  lose  the 
boy.  But  his  better  nature  asserts  itself; 
he  battles  the  heavies  who  are  anxious  to 
gain  possession  of  the  heirloom.  Eventually 
the  boy  is  located  at  a  school  and  Reagan 
finds  marriage  with  Rhonda  Fleming  a 
happier  solution  to  his  problem.  HANNA 
(Hollywood) 


FLIGHT  TO  MARS'  EXPLOITABLE  SCIENCE-FICTION  FABLE 

Rates  •  •  +  in  action  spots;  good  dualler,  with  exploitation 

Monogram  From    an    entertainment    viewpoint,  this 

72  minutes 

Marguerite  Chapman,  Cameron  Mitchell, 
Arthur  Franz,  Virginia  Huston,  John  Litel, 
Richard  Gaines,  Morris  Ankrum,  Lucille 
Barkley,  Robert  H.  Barratt,  Edward  Earle, 
William  Forrest. 
Directed  by  Lesley  Selander 


melodrama  should  register 
minating  audiences.  It  makes 
iloitation  show,  absorbing  in 
unifications  and  pulchritudi- 
not-too-hard-to- 


space  ship  trip  to 


As  Monogram  sees  it  in  Cinecolor,  Mars 
is  a  planet  of  enormous  scientific  ingenuity, 
a  model  of  modern  living,  where  Amazonian 
women,  done  up  in  abbreviated  costumes, 
strut  the  ramps  of  their  subterranean  cities. 


science-hcti 
with  non-di 
for  a  good 
it>  technics 
nous  too.  The  script 
take  narrative  about 

Mars  into  which  is  woven  an  ordinary  plot 
about  skullduggery  of  Martians  who  intend 
to  invade  the  Earth.  Performances  are 
good,  and  the  direction  of  Lesley  Selander 
poses  the  melodrama  with  enough  verve, 
pace,  and  color  to  make  it  a  good  exploita- 
tion feature. 

Marguerite  Chapman,  handsome  in  her 
Martian  costume,  performs  with  conviction. 


Cameron  Mitchell  is  splendid  as  a  young 
scientist,  and  Arthur  Franz  portrays  a 
young  newspaperman  with  a  likeable  sense 
of  humor.  Supporting  mummers  are  okeh 
generally. 

STORY:  A  group  of  scientists  takes  off 
for  Mars  ard  lands  on  the  planet  safely  but 
their  craft  damaged.  They  enlist  the  co- 
operation of  the  Martians  in  repairing  the 
ship,  not  realizing  that  the  top  man  expects 
to  take  over  the  craft  and  use  it  as  the 
model  for  an  army  of  space  ships  that  will 
fly  to  the  earth,  invade  and  dominate  it. 
Marguerite  Chapman  and  her  father  repre- 
sent more  moderate  forces  of  the  planet.  And 
it  is  they  who  prevail  finally.  ANGEL 

FILM    BULL  E  T  I  X 


BE  THERE  WHEN  THESE  THREE  TALK 

Because  the  sensational  exposes  of  organ- 
ized crime  in  America  which  electrified  the 
nation  were  only  a  rehearsal  for  the  shock- 
ing revelations  you'll  see  in  the  picture  that 
begins  where  the  Senate  Crime  Committee 
left  off... 


* 


_  J,  WIDE,  DEEP  NAT'L  AD.  ACTION! 

Full  pages  in  the  big  Detective,  Westerns,  Sports  Magazines;  in  Sat.  Eve.  Post,  Collier's, 
look.  Esquire,  fan  magazines  ...  Big  space  in  American  Weekly,  Parade  and  other  Sunday 
Magazines  ...  to  a  TOTAL  CIRCULATION  OF  36,479,512. 


When  you  see 
"THE  RACKET"  you 
know  what  their 
real  names  are! 


y ENT  ENTERTAINING  WEBB  FAMILY  COMEDY 


Rates  •  •  •  —  in  family  houses,  less  elsewhere;  n.  g.  for  action  spots 


20th  Century-Fox 
81  minutes 

Clifton  Webb,  Anne  Francis,  Charles  Bick- 
ford,  William  Lundigan,  Reginald  Gardiner, 
Evelyn  Varden,  Margalo  Gilmore,  Tommy 
Rettig,  J.  Farrell  MacDonald.  Julia  Dean. 


Directed  by  Henry  Koster 

"Elopement"  is  bright,  cheery  family  fare 
with  a  clever  and  original  story  designed 
to  provoke  favorable  audience  response.  The 
dialogue  is  not  exactly  sparkling,  but  the 
unique  delivery  of  Clifton  Webb  and  smooth 
direction  of  Henry  Koster  contribute  size- 
ably  toward  compensating  for  this  short- 
coming. Webb  isn't  playing  Belvedere  in 
"Elopement,"  but  the  role  of  a  domineering 


father  isn't  far  removed  from  the  character. 
His  fans  will  enjoy  him  and  will  note,  too, 
the  most  pleasant  appearance  of  Anne 
Francis  in  her  first  feminine  lead.  Fresh 
and  vivacious,  with  acting  talent  to  back 
up  her  buoyant  personality,  Miss  Francis 
looms  as  among  the  more  likely  stars  of 
tomorrow.  This  should  go  over  very  well 
in  family  spots,  with  returns  diminishing  to 
a  low  poinr  in  action  houses. 

Webb  is  perfectly  at  home  as  the  witty, 
sarcastic  father.  Charles  Bickford  brings 
authority  to  his  role  of  the  other  parent, 
and  William  Lundigan  is  a  fine  choice  for 
the  spot  of  the  young  teacher.  Reginald 
Gardiner  grabs  laughs  with  his  performance 
of  Anne's  godfather  who  tries  to  help  the 
young    people.     Evelyn    Vardein,  Margalo 


Gilmore,  Tommy  Rettig  and  J.  Farrell 
MacDonald  are  others  who  stand  out  in  the 
first-rate  cast. 

STORY:  Webb  is  spotted  as  a  designing 
engineer  who  has  raised  his  daughter,  Anne 
Francis,  to  follow  in  his  footsteps.  When, 
on  the  day  of  her  graduation,  she  attempts 
to  elope  with  a  young  professor,  William 
Lundigan,  Webb  starts  off  in  pursuit,  hoping 
to  halt  the  marriage.  En  route  he  and  his 
wife  are  joined  by  the  parents  of  the  pro- 
spective bridegroom.  Story  here  evolves 
into  an  amusing  chase  and  clever  situation 
in  which  the  antagonistic  in-laws  are  bright 
together  while  the  young  lovers  have  their 
first  spat.  In  a  free-for-all  finale,  the  couple 
is  brought  together  through  the  intervention 
of  the  elders.  ANGEL 


STARLIFT'  ALL-STAR  MUSICAL  GOOD  MASS  ENTERTAINMENT 


Rates  •  •  •  —  on  name  value 


Warner  Bros. 
105  minutes 

Doris  Day,  Gordon  MacRae,  Virginia  Mayo, 
Gene  Nelson,  Janice  Rule,  Dick  Wesson, 
Ron  Haggerty,  Richard  Webb,  Hayden 
Rorke,  Howard  St.  John,  Guest  stars:  James 
Carney,  Gary  Cooper,  Virginia  Gibson,  Phil 
Harris,  Frank  Lovejoy,  Lucille  Norman, 
Louella  Parsons,  Randolph  Scott,  Jane 
Wyman,  Pa'rice  Wymore. 
Directed  hy  Roy  Del  Ruth 

As  all-star  pictures  go,  "Starlift"  ranks 
among  the  better  exhibits,  although  it  suffers 
from  the  usual  faults  of  such  extravaganzas 
— an  excuse  for  a  plot  on  which  to  hang 
disjointed  comedy  and  musical  numbers  and 
trying  its  level  best  to  divide  the  honors 
equally  so  that  none  of  the  headliners  is 
slighted,  \ctually  the  best  moments  in  the 
affair  are  those  provided  by  the  lesser  lights, 
comics  like  Noonan  and  Marshall  whose 
burlesque  of  a  television  chef  is  genuinely 
hysterical.    The    story   is   flimsy  romantic 


nonsense,  but  director  Roy  Del  Ruth  makes 
it  easy  to  take,  sees  that  the  plot  desn't 
get  in  the  way  of  the  musical  interpolations. 
The  production  makes  the  most  of  the  air- 
base  locale  without  going  overboard,  so 
"Starlift,"  if  not  spectacular,  is  pleasant 
enough  to  look  at.  It  adds  up  to  good, 
though  not  especially  exciting,  musical 
entertainment,  framed  for  mass  appeal.  And 
in  most  situations  it  should  pay  the  freight. 

Doris  Day  and  Gordon  MacRae,  singly 
and  as  a  vocal  duo,  perform  yeoman  work, 
while  Gene  Nelson's  dancing  is  another  high- 
light. Beyond  lending  their  names  for 
marquee  display,  James  Cagney,  Randolph 
Scott,  Gary  Cooper,  Jane  Wyman,  and  Phil 
Harris  contribute  very  little.  Lucille  Nor- 
man, attractively  photographed,  sings  well, 
and  Louella  Parsons  is  pleasant,  playing 
herself.  Virginia  Mayo  is  her  lucious  self, 
and  Janice  Rule  makes  her  warm  romantics 
count  in  the  ingenue  lead.  Dick  Wessons' 
brash  personality  counts  for  quite  a  few 
laughs,  and  Ron  Raggerty  plays  the  juvenile 


with  appropriate  naivete.  Richard  Webb, 
Hayden  Rorke,  and  Howard  St.  John  do 
well  in  their  lesser  roles. 

STORY:  Ron  Haggerty,  a  lonesome 
soldier,  discovers  a  one-time  school  chum 
now  a  movie  star,  Janice  Rule,  is  doing  a 
p.  a.  in  San  Francisco.  With  the  consider- 
able help  of  Dick  Wesson  he  contrives  to 
meet  the  hdy.  Wesson  passes  himself  and 
Ron  off  as  a  pair  of  soldiers  about  to  ship 
to  the  Korean  front  whereas  actually  they 
work  the  air  route  between  the  U.  S.  and 
Honolulu.  Louella  Parsons  plays  up  the 
duo  as  a  hot  romantic  item.  Janice  dis- 
covers that  Ron  is  no  hero  and  turns  on  him 
angrily.  Both  youngsters  keep  up  the  de- 
ception of  romance,  however,  in  order  to 
placate  the  press  and  public.  Out  of  it  all 
comes  the  project  that  brings  stars  to  Travis 
Air  Base  to  entertain  the  soldiers  as  they 
leave  for  the  front.  On  their  return,  Ron 
does  get  assigned  overseas,  and  there  is  a 
reconciliation  with  Janice  in  time  for  the 
fade-out.  JAMES 


SOUTH  OF  CALIENTE'  TOP-DRAWER  ROGERS  WESTERN 


Rates  •  ©  • 


in  small  towns  and  western  houses 


Republic 
67  minutes 

Roy  Rogers,  "Trigger",  Dale  Evans,  Pinky 
Lee,  Douglas  Fowley,  Ric  Roman,  Leonard 
Penn,  Willie  Best,  Lillian  Molieri,  Charlita 
Pat  Brady,  Frank  Richards. 
Directed  by  William  Witney. 

'•South  Of  Caliente,"  semi-final  Roy 
Rogers  Western  for  Republic,  is  top  grade 
sagebrush  affair.  The  story,  in  the  Rogers 
vein,  is  strictly  modern,  a  rip-roaring  ac- 
count of  present  day  horse  thievery.  Yarn 
is  woven  deftly  into  a  high  quality  physical 
production  and  the  narrative  is  spiced  with 


plenty  of  action  and  stunts.  William 
Witney's  direction  maintains  a  lively  pace 
throughout,  and  the  characters  come  across 
as  real  people  rather  than  celluloid  stereo- 
types. Where  Rogers'  films  register,  this 
should  mean  happy  audiences  and  a  corres- 
ponding boxoffice. 

Rogers  plays  his  role  with  engaging  di- 
rectness. Dale  Evans  is  a  charming  heroine 
animated  in  her  playing,  experienced  in  her 
vocalizing.  Pinky  Lee's  humorous  antics  are 
designed  to  please  the  youngsters.  Douglas 
Fowley  makes  the  most  of  his  fat  role  as 
the  top  heavy  while  Ric  Roman  and  Leonard 
Penn  register  as  his  subordinates. 


STORY:  Rogers,  operating  a  tr-nspor* 
tation  service  for  horses,  is  engaged  to  trans- 
port a  valuable  animal  owned  by  Dale  Evans 
While  crossing  the  border  into  Mexico,  the 
trailer  is  attacked.  The  horse  is  believed 
dead.  Rogers'  sharp  eye  detects  the  animal 
masked  by  a  coat  of  dye  as  it  is  being  re- 
turned to  the  U.  S.  Going  to  work,  with 
comic  Pinky  Lee  at  his  side  and  Dale  Evans 
filling  in  on  the  background,  Rogers  dis- 
covers and  foils  the  theft,  which  is  part  of 
Douglas  Fowley's  scheme  to  obtain  the 
horse  and  race  her  under  another  name 
while  pretending  to  be  Miss  Evans'  loyal 
friend  and  foreman.  ANGEL 


8 


FILM  BULLETIN 


THE  SALES  PLAN 
FOR  M-G-M's 

QUO  VADIS 

THE    GREATEST   MOTION    PICTURE   OF  ALL  TIME 


T 

JL  HE  unusual  position  in  which  we  find  ourselves  in  the  preparation  of  a 
merchandising  policy  for  this  great  picture  prompts  us  to  adopt  this  method  of 
acquainting  our  customers  with  the  problems  confronting  us. 

QUO  VADIS  has  been  produced  at  a  cost  in  excess  of  any  picture  ever  before 
made.  It  has  an  actual  production  cost  of  more  than  seven  million  dollars.  This  does 
not  include  print  cost  or  advertising  cost.  At  the  time  it  is  ready  for  a  pre-release 
market,  we  estimate  that  our  investment  will  be  some  millions  more.  So  costly  a 
production  is  indeed  unheard  of  in  the  history  of  this  industry.  It  is  clear  to  all  who 
understand  our  business  that  with  the  customary  methods  of  distribution,  and  at 
regular  admission  prices,  there  could  not  be  a  chance  for  us  to  recoup  our  invest- 
ment, much  less  to  earn  a  profit  or  produce  an  appropriate  profit  for  the  exhibitors. 

Inasmuch  as  no  picture  has  ever  developed  the  large  revenue  at  regular  prices 
which  it  would  be  necessary  to  achieve  in  order  to  pay  for  such  a  production,  we 
cannot  reasonably  expect  that  under  the  present  market  conditions  we  could  do 
so  now. 

In  view  of  the  restrictions  under  which  we  are  operating,  there  is  no  course  but 
to  pre-release  this  great  production  on  a  competitive  bidding  basis  for  first  run 
showings  in  suitable  theatres.  We  have  every  right  to  believe  we  have  a  most 
outstanding  picture.  In  fact,  as  has  been  stated  by  those  expert  showmen  who  have 
seen  this  production,  it  eclipses  anything  ever  produced. 

QUO  VADIS  will  be  trade  shown  in  theatres  and  not  in  projection  rooms.  We 
hope  and  expect  to  have  a  large  attendance  of  theatre  owners  at  all  trade  shows. 

We  are  fully  conscious  of  the  existing  Court  Decree  to  which  we  are  subject. 
We  cannot  and  will  not  have  anything  to  do  with  the  fixing  or  determination  of 
admission  prices;  they  will  be  decided  by  the  theatre  operators  and  no  one  else.  Our 
entire  selling  organization  understands  their  responsibilities  in  this  respect.  Should 
any  exhibitor  at  any  time  have  reason  to  believe  that  this  policy  is  not  followed,  we 
urge  upon  him  to  make  the  facts  known  to  the  Sales  Head  of  our  organization. 

In  New  York  City  and  Los  Angeles  we  have  arranged  for  special  simultaneous 
exhibitions  in  two  theatres  in  each  city — one  on  a  reserved  and  the  other  on  a  continu- 
ous policy.  We  intend  to  avail  ourselves  of  the  Loew's  Theatres  for  test  engagements, 
so  that  the  exhibitors  of  the  country  may  be  informed  of  the  public  reaction  to  this 
picture.  Because  of  the  unique  quality  of  the^ picture,  we  believe  that  this  informa- 
tion will  be  helpful  in  acquainting  exhibitors  throughout  the  country  with  its 
potentialities. 


For  the  immediate  future  we  intend  to  confine  the  pre-release  first  run  of 
QUO  VADIS  to  localities  of  approximately  100,000  population  or  more.  We  shall 
welcome  bids  from  those  exhibitors  located  in  these  situations  of  over  100,000 
population  who  desire  to  exhibit  QUO  VADIS  first  run  —  such  offers  to  include: 

A.  Name  of  the  theatre  and  operator. 

B.  Guarantee  (dollars)  to  distributor  as  its  minimum  share  for  entire  engagement. 

C.  Participating  terms. 

D.  Minimum  length  of  run  guaranteed. 

E.  A  holdover  control  figure  to  determine  the  continuance  of  the  engagement  beyond 
the  minimum  run  guaranteed. 


The  Illustration  For  One  Of  The  24-Sheet  Posters  That  Showmen  Will  Spread  Across  The  Nation 



F.  Admission  price  exhibitor  plans  to  charge  exclusive  of  any  admission  taxes. 

G.  We,  as  the  distributor,  will  handle  and  pay  for  all  advertising  for  pre-opening 
and  first  week  exclusive  of  lobby  displays,  marquee  and  outdoor  advertising.  Offer 
shall  state  the  amount  to  be  spent  by  exhibitor  for  second  and  following  weeks  of 
engagement  weekly. 

In  connection  with  the  above  offer,  the  following  conditions  apply: 

1.  QUO  VADIS  is  not  to  be  played  as  part  of  a  double  feature  program. 

2.  The  run  granted  will  be  specified;  no  specific  clearance  will  be  granted. 

3.  Our  right  to  reject  all  offers  is  reserved. 


The  sole  purpose  in  asking  for  admission  prices  which  the  exhibitor  intends  to 
charge  is  to  enable  us  to  evaluate  the  offers  received  and  thus  award  the  picture  on 
the  basis  of  the  best  bid.  Any  offer  which  contains  a  participation  in  the  gross  receipts 
requires  an  estimate  of  such  receipts  for  proper  appraisal.  This  estimate,  of  course, 
necessitates  a  knowledge  of  the  admission  prices  prevailing  during  the  engagement. 
The  failure  to  include  proposed  admission  prices  in  an  offer  will  not  disqualify  the 
bid,  but  their  inclusion  will  enable  us  better  to  evaluate  the  bids. 

As  rapidly  as  arrangements  are  completed  for  the  showing  of  the  picture  (which 
has  a  running  time  of  approximately  three  hours)  in  the  situations  described  above, 
additional  localities  will  be  selected,  probably  larger  in  number,  where  also  the  same 
procedure  will  be  followed.  After  these  have  been  completed,  other  localities  will  then 
be  selected  and  the  same  procedure  again  will  follow. 

At  some  point  during  the  course  of  the  playing-off  of  QUO  VADIS  in  these 
selected  communities,  after  sufficient  experience  has  been  had,  arrangements  will 
be  made  to  make  the  picture  available  for  second  run  showing  in  the  places  where 
it  has  already  played  first  run. 

In  the  smaller  communities,  it  is  likely  that  the  possibilities  will  be  exhausted 
following  the  second  run.  In  the  larger  situations,  a  city  will  be  divided  into  a  num- 
ber of  areas.  Theatres  located  within  each  area  will  have  an  opportunity  to  bid  for 
this  particular  run.  The  theatre  winning  the  bid  will  have  clearance  against  all 
other  theatres  in  that  particular  area.  Subsequently,  similar  provisions  will  be  made 
for  the  next  run  in  each  of  these  areas,  so  that  eventually  every  theatre  which  is 
interested  will  have  an  opportunity  to  present  this  picture. 

In  the  near  future  we  will  advise  theatre  owners  when  the  picture  will  be 
available  for  booking  and  when  bids  will  be  considered. 

LOEWS  INC. 


THE  PRINCIPAL  PLAYERS  IN  M-G-M's  "Quo  VaDIs" 


Deborah  Kerr  is  the  beautiful  Lygia, 
daughter  of  a  king,  beloved  hostage 
of  Rome  who  is  treated  as  a  daughter 
rather  than  a  captive. 


Peter  Ustinov,  Russian-born  British 
actor,  portrays  the  decadent  Em- 
peror Nero  whose  vanity  and  wick- 
edness are  appalling ! 


Robert  Taylor  is  Marcus  Vinicius, 
Rome's  finest  soldier,  faithful  to 
Nero  until  he  saw  that  the  mad 
emperor's  course  meant  ruin. 


iuddy  Baer  is  the  giant  Ursus, 
faithful  slave  and  servant  to  Lygia, 
who  conquers  giants  and  slays  a 
maddened  bull  in  her  defense. 


Marina  Berti,  Italian  actress  of 
rarest  beauty  is  Eunice,  slave  girl 
who  rejects  Robert  Taylor  to  stay 
with   Petronius  whom  she  loves. 


Petronius.  Nero": 


ictator  of  ele- 
British  Actor 
ly  reveals  the 
vanities  and  weakness  of  Nero. 


gance.  is  played  by 
Leo  Genn  who  subtl 


Peter  Miles  is  Nazarius.  the  or- 
phaned boy  through  whose  lips 
the  answer  to  Peter's  query  of 
the  Divine  Presence  "Quo  Vadis?" 


Finlay  Currie.  as  Peter,  brings  a 
beautiful  and  moving  story  of  sal- 
vation through  Christ  to  the  suf- 
fering people  in  their  dark  hour. 


Abraham  Sofaer.  as  the  Apostle 
Paul,  brings  the  message  of  Chris- 
tianity to  the  household  of  General 
Plautius,  protector  of  Lygia. 


M-G-M 

■l  QUOVADIS 

raj  Starring 

ROBERT  DEBORAH 

|i    TAYLOR  '  KERR 

LEO  GENN 

and 

PETER  USTINOV 

j  TECHNICOLOR 

Screen  Play  tv 

JOHN  LEE  MAHIN 
S.  N.  BEHRMAN  SONYA  LEV1EN 

Based  on  the  Novel  hy 
Henryk  Sienkiewic* 
Directed  tv 

MERVYN  LeROY 

Produced  ty 

SAM  ZIMBALIST 

A  Metro-Goldwyn-Mayer  Picture 


p(MMl(Mf^fMP(MflflMfMMMMJ^(i3JM^lilMfMMfMP 


^  >  S«W Soon,!  Tk^  SWSpa^Safi^ibfWe,  Sa/m>s 


News  and  Opinion 


(Continued  from  Page  19) 

censorship,  national  sales  policies  and  other 
national  problems. 

Solution  of  exhibitor-distributor  problems, 
he  said,  should  be  through  "arbitration  and 
similar  efforts  of  unified  industry-wide  self- 
regulation  rather  than  through  the  courts." 

He  also  stressed  TOA's  role,  before  and 
in  the  future,  in  fostering  a  national  com- 
petitive system  of  theatre  television,  and  to 
provide  theatre  TV  "for  all  towns  and  all 
theatres  -egardless  of  size." 

TOA  executive  director  Gael  Sullivan, 
speaking  before  the  same  groups,  Kansas- 
Missouri  Theatre  Owners,  and  MPTO  of 
St.  Louis,  said  the  industry  was  "definitely 
on  the  upbeat."  Despite  the  new  tax  bill, 
eight  billion  dollars  more  than  last  year  will 
be  spent  in  retail  trade. 

Republic,  Monogram  Set 
TV  Film  Production  Program 

Republic  and  Monogram  programs  for 
production  of  television  films  took  on  more 
concrete  form  as  presidents  of  both  com- 
panies revealed  details  following  announce- 
ments from  each  of  their  entry  into  TV 
production. 

Republic  president  Herbert  J.  Yates  dis- 
closed that  a  $1,000,000  budget  had  been  al- 
located for  retooling  the  North  Hollywood 
studios  to  accomodate  the  addition.-d  activity 
and  to  finance  production  of  the  first  group 
of  TV  films.  In  addition  to  Republic's  own 
video  production,  the  studio  will  be  avail- 
able on  a  rental  basis  to  outside  producers 
for  that  purpose. 

Monogram  president  Steve  Broidy  an- 
nounced formation  of  Interstate  Television 
Corporation,  a  wholly-owned  subsidiary,  to 
produce  films  solely  for  television.  G.  Ralph 
Rranton,  president  of  the  new  company,  re- 
vealed production  will  begin  November  26 
on  13  half-hour  features,  adapted  from  the 
"Raffles"  stories,  starring  George  Brent. 
Hranton  noted  that  this  was  the  first  of 
many  package  deals  scheduled  by  the  new 
company. 

Raw  Stock  Plentiful,  Golden 
Says,  As  Kodak  Lifts  Limits 

Film  manufacturers  have  so  much  stock 
that  "it's  limning  out  of  their  ears."  That 
was  the  report  of  National  Production  Au- 
thority Nathan  D.  Golden  after  a  trip  to 
Rochester  where  he  looked  over  operations 
of  Eastman  Kodak. 

Actually,  said  Golden,  "there  never  was  a 
raw  stock  or  film  shortage,"  but  the  possi- 
bility had  the  film  makers  so  wary  that  they 
increased  production  to  a  point  where  Kodak 
has  removed  all  limitations  on  purchases  and 
"as  now  even  inventorying  film,"  Golden 
added.  "Anybody  can  buy  now  anything 
he  wants.  We  have  helped  them  bring  along 
extra  production,  and  everything  is  going 
fine.  Both  military  and  civilian  users  are  all 
being  taken  care  of." 


DECCA'S  RACKMIL 

U,  Too 

Decca  Stock  Control  Buy 
Seen  Widening  U  TV  Program 

The  question  was  no  longer  "if";  it  was 
"when"  and  "what  then"  in  reference  to 
the  merger  of  Universal  Pictures  and  Decca 
Records.  This  was  assured  when  Decca 
president  Milton  R.  Rackmil  announced  the 
acquisition  of  271,900  shares  of  Universal 
common  stock  and  an  option  on  32,500  more, 
giving  Decca  a  controlling  interest  in  the 
film  company. 

Expansion  of  television  production, 
already  in  the  works  through  U's  subsidiary. 
United  World,  was  foreseen  by  many  in- 
dustryites  as  a  result  of  the  deal.  Decca 
contracts  with  many  outstanding  musical 
personalities  would  pave  the  way  for  talent 
in  TV  filming.  It  would  also  increase  pro- 
spects of  a  larger  number  of  musical  films 
from  U  for  theatre  consumption,  it  was 
thought. 

Immediately  following  Rackmil's  an- 
nouncement of  the  stock  buy,  U  president 
N.  J.  Rlumberg  assured  that  "there  will  he 
no  changes  in  our  executive  personnel.  The 
management  of  our  company  remains  intact 
in  New  York,  California  and  throughout  the 
world." 

About  half  of  the  stock  was  acquired  from 
production  chiefs  Leo  Spitz  and  William 
Goetz,  another  20,000  shares  from  Blum- 
berg's  holdings  and  the  balance  from  various 
other  independent  interests.  Total  price  was 
estimated  between  three  and  four  million 
dollars.  Boston  banker  Serge  Semenenko 
participated  in  the  financing. 

Merger  proposals  are  in  work  now.  These 
must  be  submitted  to  J.  Arthur  Rank,  whose 
million  shares  constitute  a  powerful  minority 
interest  which  could  prove  a  barrier  to  quick 
consummation  of  the  fusion.  Rank,  however, 
is  holding  off  any  commitment  on  the  deal 
until  he  can  see  the  plan  in  black  and  white. 


RKG  Films,  Theatres  Top 
Half  Million  In  Third  Quarter 

Both  RKO  divorcees  were  doing  very 
nicely,  thank  you,  on  their  own.  RKO  Pic- 
tures Corp.,  after  dropping  deeply  into  the 
red  for  the  initial  six  months  of  1951, 
zoomed  up  to  a  net  profit  of  $588,000  for 
t!  e  third  quarter.  RKO  Theatres  Corp.,  con- 
tinuing its  profitable  operation  this  year, 
beltered  each  of  the  preceding  quarters  with 
?"I)2,000  for  the  third  quarter. 

The  film  company's  profit,  however,  failed 
to  bring  the  nine-month  total  into  the  black, 
vvilh  operations  for  the  39  weeks  ended 
September  29,  1951,  still  resulting  in  a  net 
loss  of  $145,000.  All  figures  were  after  taxes 
and  other  charges. 

RKO  Theatres'  climb  to  a  $1,053,000  net 
for  the  39-week  period  showed  its  sharpest 
increase  in  the  third  quarter.  Receipts  from 
large-screen  television  events  from  several 
theatres  equipped  for  this  medium,  helped  to 
swell  the  third  quarter  take. 

Abbott  &  Costello  Sue  U 

For  $5,900,000;  Realart  Named 

Movie  comics  Abbott  and  Costello  weren't 
trying  to  be  funny  w-hen  they  entered  a 
$5,000,000  damage  suit  in]  Federal  Court 
against  Universal,  charging  fraud  and 
schemes  to  "withhold  sums  of  money,"  as 
well  as  allegedly  cutting  feature  films  into 
short  subjects  to  be  shown  in  "cheap  places 
of  entertainment  and  low  repute." 

The  suit  also  named  Realart  Productions 
as  a  defendant,  contending  that  the  reissue 
outfit  had  made  an  agreement  for  reissue 
of  A  &  C  1945-46  films  without  consent  of 
the  plaintiffs.  According  to  the  complaint, 
Realart  paid  U  $3,250,000  for  these  films, 
plus  35  per  cent  of  gross  receipts,  accruing 
from  the  pictures,  but  the  comedians  have 
received  no  accounting  of  this  operation. 

A  number  of  other  charges  were  levelled 
at  Universal,  including  alleged  improper 
entries  on  the  books  and  expenses  of  a  pent- 
house apartment  maintained  for  social  pur- 
poses by  a  Universal  executive. 


EL  OLDIES  FOR  PATHE? 

Pathe  Industries,  parent  company  of 
the  defunct  Eagle  Lion  Films,  was 
eyeing  reissue  of  a  batch  of  EL  oldies 
that  were  left  over  after  the  sale  to 
United  Artists,  and  to  which  Pathe 
retained  rights.  Pathe  president 
William  C.  MacMillen  said  that  the 
company  had  not  made  any  deal  for 
sale  of  films  to  television,  although 
he  did  not  deny  this  possibility  in  the 
future. 


20 


FILM  BULLETIN 


Who's  Going  to  Swallow  Whom? 


There's  always  something  seething  below 
the  surface  of  the  motion  picture  industry. 
This  inner  activity  is  the  reason  it  lias  sur- 
vived so  many  crises  in  the  part.  It  is  a 
hydra-headed  dragon  with  an  insatiable  ap- 
petite, and  an  uncanny  facility  for  digesting 
its  enemies. 

The  great  puzzle  of  the  moment  is  how 
it  is  going  to  digest  television.  That  it  will 
do  so  is  a  virtual  certainty.   But  how? 

We  all  know  that  the  movie  theatre  is 
going  to  be  a  vastly  different  thing  from 
that  of  1951  A.  D.  Thanks  to  big-screen 
equipment,   the  time   is   coming  when  the 


REPUBLIC'S  YATES 


cinema  will  do  for  America  what  the  pub 
has  done  for  England.  It  will,  in  most  parts 
of  the  country — though  not  necessarily  in 
the  mammoth  cities— be  the  focus  of  a  com- 
munity's social  life.  Big-screen  television 
will  add  something  vital  to  the  public's 
entertainment:  the  thrill  of  seeing  history 
in  the  making. 

But  what  is  going  to  happen  to  the  ex- 
hibitor if  film  production  interests  turn  to 
other  sources  of  revenue  for  their  products? 
What,  for  instance,  will  occur  if  and  when 
the  Hollywood  studios  are  turning  out  a 
steady  stream  of  television  films  unsuitable 
for  theatre  exhibition? 

It  is  a  legitimate  question,  and  a  very 

NOVEMBER    19,  1951 


£uinq  tc  Telefilm* 


CxctuJite  $L  BULLETIN  Jeatun 


By  Elsie  London 

serious  one.  At  the  moment,  Hollywood 
still  has  a  tight  enough  grip  on  its  star 
talent  to  prevent  the  television  networks 
from  luring  it  away.  But  the  business  posi- 
tion will  be  radically  changed  the  moment 
those  stars  become  feature  attractions  on 
telefilms,  and  can  no  longer  be  seen  ex- 
clusively in  the  theatre. 

That  is  what  is  going  to  happen,  despite 
Roy  Rogers'  recent  successful  action  in 
Hollywood  Federal  Court  for  an  injunction 
restraining  Republic  Pictures  from  selling 
his  old  films  for  commercial  TV  purpose-. 

Herbert  Yates,  president  of  Republic,  tol  l 
the  Court  during  the  Rogers  hearing  that  he 
has  been  mulling  for  some  time  the  conver- 
sion of  his  company's  studios  to  the  pro- 
duction of  television  films  exclusively.  Since 
then  he  lias  further  declared  his  intention 
of  appropriating  at  least  a  million  dollars 
for  TV  film-making.  Production  is  slated 
to  begin  tarly  in  1952. 

But,  lest  anyone  get  the  impression  that 
Republic  more  interested  in  TV  than  in 
serving  its  established  theatre  customers, 
Mr.  Yates  last  weekend  issued  a  statement 
assuring  the  trade  that  his  studio  is  "going 
ahead  with  full  steam"  on  the  production  of 
topflight  films  for  theatres.  "While  it  is 
true,"  he  said,  "that  we  shall  not  be  caught 
napping  on  any  market  which  can  return 
revenue  to  our  stockholders  or  any  media 
where  motion  pictures  are  presented,  our 
main  business  is — and  always  will  be — pro- 
viding  the  best  entertainment  we  know  how 
for  the  exhibitors  of  this  country  and  the 
rest  of  tin*  free  world." 

So,  while  he  undoubtedly  will  continue  to 
keep  one  eye  cocked  on  the  development  of 
the  video  market  for  films,  Republic's  Yates 
let  it  be  known  that  in  his  expert  opinion, 
"Motion  picture  theatres  are  the  first  and 
forc.nost  source  ot  amusement  and  enter- 


tainment t<  millions  <>f  people  all  over  the 
world  and  their  leadership  will  endure." 

Henry  R.  Iain's  Time  and  Life  empire 
has  succumbed.  The  March  of  Time  will 
henceforth  be  produced  solely  for  television 
projection,  and  the  v;rcat  Hank  Luce  himself 
wants  to  buy  into  one  or  more  of  the  net- 
works. 

Universal,  through  its  subsidiary  United 
World  Films,  with  James  Franey  at  .the  helm, 
has  already  started  producing  television  pic- 
tures, and  this  side  of  U's  activities  is  ex- 
pected to  be  accelerated  by  the  recently- 
forged  financial  link  between  I'niversal  and 


UNITED  WORLD'S  FRANEY 


the  Decca  Record  Company,  which  concern 
has  long  been  eyeing  the  television  field 
enviously. 

Film  producers  Edward  Small  and  Sol 
Lesser  have  named  George  Shupert,  former 
head  of  commercial  operations  for  Para- 
mount Television,  as  distribution  chief  of  a 
new  organ:zation  for  producing  and  distri- 
buting TV  films. 

Paramount  took  the  plunge  into  the  in- 
viting TV  waters  with  the  organization  of 
a  subsidiary.  Paramount  Television  Produc- 
tions, Inc..  of  which  parent  company  ex- 
ecutive Paul  Raibourn  is  president  and  Burt 

(Continued  on  Page  28) 

21 


GOLDEN  GIRL'  NEW  STAR  SCORES  IN  ROUTINE  MUSICAL 


Rates  9  •  +  generally 


20th  Century-Fox 
108  minutes 

Mitzi  Gaynor,  Dale  Robertson,  Dennis  Day, 
James  Barton,  Una  Merkel,  Raymond  Wal- 
burn,  Gene  Sheldon,  Carmen  D'Antonio. 
Directed  by  Lloyd  Bacon 

"Golden  Girl,"  a  hokey,  overlong  musical 
biography  of  Lotta  Crabtree,  one-time  darl- 
ing of  th?  Gold  Coast,  is  a  conventional 
Technicolor  musical  notable  chiefly  for  its 
unveiling  of  Mitzi  Gaynor  as  a  screen 
comer.  The  sad  fact  that  Lotta's  real  story 
is  a  thousand  times  more  dramatic  and  ex- 
iting than  that  conjured  by  Producer 
George  Jessel  will  be  recognizable  by  only 
he  few  who  realize  that  the  elements  of  a 


great  musical  have  been  sacrificed  for  those 
that  are  humdrum  and  routine.  "Golden 
Girl"  hews  close  to  formula,  Lotta's  story 
is  wildly  romanticized  and  her  single  love 
affair  with  a  Confederate  soldier  is  much  too 
obvious,  even  for  a  musical.  The  atmosphere 
of  the  Gold  Rush  is  only  partially  realized, 
and  the  songs  of  the  day  are  tossed  out  in 
favor  of  a  slew  of  new  ditties.  They're  art- 
fully delivered,  however,  by  Miss  Gaynor, 
who  plays  the  Crabtree  role  with  brashness 
and  frenzied  excitement.  She's  grand. 

"Golden  Girl's"  best  points  are  its  musical 
numbers — the  animation  of  Mitzi  Gaynor  as 
she  sings  and  dances  into  your  heart,  the 
silvery  tenor  voice  of  Dennis  Day,  and  the 
grand  hoofing  of  James  Barton  who  can  still 


tap  with  the  best  of  them. 

STORY:  Yarn  picks  up  the  Crabtree  story 
after  Pa,  James  Barton,  looses  the  family 
home  at  the  roulette  table.  Lotta  insists 
that  her  mother  allow  her  to  step  out  and 
become  an  entertainer.  With  Dennis  Day 
as  her  partner  they  travel  through  California, 
gradually  landing  in  San  Francisco  where 
Lotta  becomes  the  toast  of  the  town.  She 
has  a  love  affair,  closely  supervised  by  her 
mother,  with  a  Confederate  soldier.  Even 
after  he  has  been  shown  up  as  a  spy,  Lotta 
loves  him  and  cherishes  his  memory  until 
the  happy  day  when  the  Civil  War  is  over 
and  by  the  miracle  of  screen  writing,  the 
lad  turns  up  right  in  New  York  at  the 
finish  of  her  performance.  JAMES 


THE  WOODEN  HORSE'  SUSPENSEFUL  BRITISH  ESCAPE  DRAMA 


2ates  •  •  + 


art  houses;  satisfactory 


_<nader  (Wessex) 
98  minutes 

Leo  Genn,  David  Tomlinson,  Anthony  Steel, 
David  Greene,  Peter  Burton. 
Directed  by  Jack  Lee 

"The  Wooden  Horse"  is  a  typical  English 
suspense  drama,  carefully  produced,  expertly 
ilayed  by  ;>  talented  cast  and  authoritatively 
hrected  by  Jack  Lee.  Its  story  of  a  war- 
time incident  involving  the  clever  escape 
conjured  by  a  group  of  British  fliers  is  dated 
thus  precluding  success  to  an  appreciable 


clualler  generally 

degree  on  the  art  circuit.  However,  for  this 
type  house  and  as  a  dualler  in  the  average 
metropolitan  center,  "The  Wooden  Horse" 
is  above  average  in  entertainment  value. 

Leo  Genn,  who  scores  so  solidly  in  "Quo 
Vadis",  contributes  his  expected  fine  per- 
formance; David  Tomlinson  is  excellent  as 
his  pal  in  the  brave  adventure. 

STORY:  Escape  is  uppermost  in  the 
minds  of  :v  group  of  English  prisoners  who 
even  have  z  committee  in  their  camp  to  con- 
sider the  practicability  of  various  escape 
schemes.   One  group  comes  forward  with  a 


modern  counterpart  of  the  wooden  horse  of 
Troy.  The  men  build  a  gymnastic  horse, 
sufficiently  large  to  conceal  a  human.  His 
job  is  to  dig  a  tunnel  to  the  area  beyond 
the  barbed  wire  fence  while  his  comrades 
use  the  horse  as  a  muscle  builder.  The 
tedious  work  consumes  many  days  and  is 
threatened  frequently  with  discovery.  Even- 
tually three  men  flee.  The  narrative  from 
this  point  deals  with  the  adventures  of  two 
of  them  in  working  their  way  through  Ger- 
many into  Sweden,  then  to  Denmark. 
H ANNA  (Hollywood) 


JUNGLE  OF  CHANG'  INTERESTING  NOVELTY  DOCUMENTARY  PROGRAMMER 

Rates  •  •  —  as  dualler  with  exploitation 


RKO  Radio  (Svensk) 
57  minutes 

All-native  Cc  st  with  commentary  by  Leonard 
Bucknall  Eyre. 

Directed  by  Paul  Fejos  and  Gunnar  Skog- 
lund. 


"Jungle  of  Chang",  documentary  of  primi- 
tive existence  in  Northern  Siam,  is  an  in- 
teresting ;Mid  unusual  companion  piece  to 
"Jungle  Headhunters",  with  which  it  is 
scheduled  to  be  sold  as  a  dual  package  by 


RKO.  Although  there  is  an  amateurish 
quality  about  much  of  the  photography,  and 
the  native  performers  are  often  obviously 
self-conscious  in  front  of  the  cameras,  its 
tale  of  a  young  couple's  struggle  to  hack  a 
life  for  themselves  out  of  the  Siamese 
jungles  by  the  most  primitive  methods  holds 
interest  throughout  and  should  leave  a 
favorable  impression  on  audiences  generally 
except    those    looking    for  sensationalism. 

STORY:  Young  Po  Chai  and  Me  Ying, 
newly  married,  go  into  the  jungle  to  build 
a  home  and  raise  rice,  taking  with  them 


only  a  knife  and  an  axe,  some  seed  rice,  a 
dog,  a  goat  and  a  monkey.  Together  they 
construct  their  home,  cultivate  the  field, 
make  a  treadmill  to  draw  water  to  the  rice, 
as  they  fight  off  a  tiger,  who  kills  their  goat; 
a  panther  and  the  blazing  sun.  When  a 
drought  withers  the  crop,  Po  Chai  is  forced 
to  leave  Me  Ying  to  seek  work  riding  an 
elephant  in  the  teak  forests.  At  the  first 
sign  of  -ain,  Po  collects  his  pay,  buys  a 
water  buffalo  and  a  sarong  for  Me,  and 
returns  to  his  beloved  land  and  wife  to  start 
a  new  cycle  of  life.  BARN 


'A  CHRISTMAS  CAROL'  BRITISH  HORROR  VERSION  OF  DICKENS  CLASSIC 


Rates 


as  a  holiday  attraction  only 


United  Artists  (Renown) 
85  minutes 

Alastair  Sim,  Kathleen  Harrison,  Jack 
Warner,  Michael  Hordern,  Mervyn  Johns. 
Directed  by  Brian  Desmond  Hurst. 

Charles  Dickens'  "A  Christmas  Carol"  is 
given  a  too-literal  interpretation  in  this 
English-made  production  for  United  Artists 
release.  As  a  Yule  attraction,  it  probably 
will  warrant  interest  in  the  early  days  of  its 
run.  but  unfavorable  word-of-mouth  and 
critical  thumbing  soon  will  dissipate  its 
value.  Under  B  rian  Desmond's  production- 
direction,  narrative  rather  than  the  gentle, 
24 


wholesome  fable  that  has  become  a  Yule 
tradition.  The  backgrounds  have  a  frighten- 
ing, macabre  quality  about  them;  the  per- 
formances, to  a  man,  are  sinister.  The  total 
effect  is  such  that  parents  will  think  twice 
about  letting  youngsters  sit  through  it.  This 
version  of  "A  Christmas  Carol"  seems 
destined  for  little  better  than  dismal  returns 
except  as  a  holiday  special. 

Alastair  Sim,  as  Scrooge,  is  the  dominant 
element  of  "A  Christmas  Carol"  and  the 
other  actors,  taking  their  cue  from  his 
curtain-chewing  portrayal,  overact  so  zeal- 
ously there  are  times  you  feel  the  screen 
will  crack  under  the  weight  of  so  much  ham 


compressed  into  the  celluloid. 

STORY:  The  screen  adaptation  hews 
close  to  the  original  in  its  account  of  the 
miserly  Scrooge  who  on  a  particular  Christ- 
mas Eve  is  visited  by  the  ghosts — Christmas 
Past,  Present,  and  Future.  As  the  result  of 
this  horrible  insight  into  his  misdeeds  of  the 
past  and  the  promise  of  a  brighter  future  if 
he  changes  his  way,  Scrooge  experiences 
a  change  of  heart,  learns  to  celebrate 
Christmas  in  the  proper  spirit.  He  reconciles 
with  his  nephew,  assumes  a  fatherly  interest 
in  the  affairs  of  Bob  Cratchet,  his  employee, 
and  helps  heal  the  crippled  leg  of  Bob's 
son,  Tiny  Tim.  JAMES 

FILM  BULLETIN 


THE  BIG  NIGHT'  SORDID,  LOW-KEY  MELODRAMA 


Rates  •  +  as  dualler  in  metropolitan  ho 

United  Artists 
72  minutes 

John  Barrymore,  Jr.,  Preston  Foster,  Joan 
Loring,  Howard  St.  John,  Dorothy  Comin- 
gore,  Philip  Bourneuf,  Howland  Chamber- 
lin,  Emil  Meyer,  Myron  Healey,  Mauri  Lynn 
Directed  by  Joseph  Losey 

If  John  Barrymore,  Jr.  is  to  he  worthy 
of  his  name,  the  youngster  will  need  better 
pictures  and  more  likeable  roles  than  that 
he  undertakes  in  "The  Big  Night,"  a  grim, 
sordid  fable  of  a  boy's  tortured  emergence 
into  manhood.  The  story,  spanning  a  single 
night,  is  a  pseudo-art  effort  that  lacks  con- 
viction and  authority.  The  story  is  obtusely 
written,  the  premise  around  which  the  nar- 


uses,  slightly  better  for  art  spots 

rative  is  woven,  incredible.  The  low-budget 
production  shows  at  the  seams,  and  director 
Joseph  Losep  concentrates  so  much  on  at- 
mosphere and  characterization  that  momen- 
tum and  action  are  lost.  And,  one  might 
point  out,  the  atmosphere  and  characteriza- 
tions are  hardly  in  what  would  be  considered 
the  field  of  entertainment.  "  The  I'.in  Xiuht" 
may  find  some  response  in  the  art  houses, 
but  generally  it  is  strictly  dual  bill  fare  in 
metropolitan  spots. 

The  performances  are  all  low-key.  un- 
happy portraits  of  unhappy  people.  Young 
Barrymore  has  unmistakable  talent,  the  rare, 
good  looks  of  his  father.  He  simply  needs 
a  part  more  suited  to  his  yet  limited  acting 
range. 


STORY:  John  Barrymore,  Jr.,  young  and 
impressionable,  stands  bj  in  t!i<  bar  owned 
by  his  father,  Preston  Foster,  watching  the 
old  man  submit  to  a  flogging  administered 
by  Howard  St.  John.  The  youth  sets  out  to 
avenge  the  deed,  armed  with  a  revolver, 
learns  St.  John's  identity  as  a  newspaperman, 
catches  up  with  him  in  an  all  night  bar.  He 
wounds  the  man,  flees  believing  he  has  com- 
mitted murder.  It  is  then  he  learns  that  the 
father  submitted  to  the  flogging  after  an  in- 
discreel  affair  with  St.  John's  sister,  a  ro- 
mance that  climaxed  with  the  girl's  suicide. 
He  promises  to  take  John  into  his  confidence 
in  the  future,  and  of  course,  the  newspaper 
man  survives  quite  nicely.  JAMES 


BRIDE  OF  THE  GORILLA'  TRITE, 

Rates  •  •  -  as  dualler 


MILD  HORROR  PROGRAMMER 


Realart  (Broder) 
68  minutes 

Barbara  Payton,  Lon  Chaney,  Raymond 
Burr,  Tom  Conway,  Paul  Cavanaugh,  Giselle 
Werbisek,  Carol  Varga,  Paul  Maxey,  Woody 
Strode,  Martin  Garralaga,  Moyna  Macgill, 
Felippa  Rock. 
Directed  by  Curt  Siodmak 

"Bride  Of  the  Gorilla"  offers  front  page 
personality  Barbara  Payton  in  the  title  role. 
Beyond  this,  this  Jack  Broder  Realart  pro- 
duction holds  little  entertainment  value.  The 
storv  is  an  off-the-cuff  horror  varn,  done 


better  too  often  before  to  rate  any  special 
attention.  The  production  is  cheap  indeed, 
and  the  gorilla  character  played  by  Raymond 
Burr  isn't  even  given  the  benefit  of  special 
effects.  He's  about  as  frightening  as  a  baby 
monkey  .  The  performances  are  occasionally 
adequate  and  director  Curt  Siodmak,  work- 
ing from  his  own  script,  seems  incapable 
of  filling  the  piece  with  the  movement  and 
action  that  might  distract  attention  from 
the  inept  writing.  The  Payton  publicity  and 
horror  aspects  give  this  programmer  some 
exploitation  value,  but  otherwise  it's  just 
ordinarv  dual  bill  fodder. 


Barbara  Payton  performs  her  romantic 
antics  in  the  grand  manner  of  a  burlesque 
star  on  tour  in  legit.  Lon  Chaney  has  little 
to  do  as  an  ineffectual  policeman.  Raymond 
Burr  is  too  accomplished  an  actor  to  dis- 
sipate his  talents  on  nonsense  like  this. 

STORY:  Raymond  Burr  kills  Paul  Cava- 
naugh and  then  proceeds  to  marry  the 
widow,  Barbara  Payton.  Witch  woman  Gi- 
selle Werbisek  is  aware  of  the  deed,  puts 
a  curse  on  Burr  that  eventually  turns  him 
into  a  gorilla.  He  commits  a  series  of 
crimes,  climaxed  by  strangling  his  wife, 
before  he  is  put  out  of  his  misery.  ANGEL 


HOTEL  SAHARA'  DESERT  WAR 

Rates  •  •  +  with  exploitation 

United  Artists 
88  minutes 

Yvonne    DeCarlo,    Pe'er    Ustinov,  David 
Tomlinson. 

Directed  by  Ken  Annakin 


"Hotel  Sahara",  filmed  in  England,  is  a 
farce  comedy  with  exploitation  values  to 
the  exhibitor  centered  around  the  sex  appeal 
of  Yvonne  DeCarlo.  While  the  script  is  a 
lightweight  affair  that  spends  too  much  time 
in  getting  started,  and  too  much  time  in 
winding  up,  it  has  plenty  of  amusing 
moments,  as  well  as  the  DeCarlo  torso  to 


FARCE  HAS  B.  0.  ANGLES 

recommend  it.  Some  may  find  in  doubtful 
taste  the  idea  of  poking  fun  at  war  at  this 
particular  time,  but  it  is  good-natured,  in- 
offensive satire  that  should  gather  a  favor- 
able response  generally.  The  production, 
consisting  largely  of  a  desert  exterior  and 
one  or  two  inside  sets,  is  hardly  on  the 
lavish  side  Ken  Annakin's  direction  oc- 
casionally tends  to  drag  and  is  frequently 
confused  as  to  whether  a  scene  should  be 
played  straight  or  for  laughs.  These  are 
defects,  however,  that  will  be  apparent  only 
to  the  more  discriminating.  Exploitation 
aimed  at  the  masses,  should  boost  "Hotel 
Sahara"  grosses  to  better  proportions. 
Yvonne   DeCarlo  does  the  best  possible 


with  the  sultry  feminine  lead.  Peter  Ustinov, 
the  Nero  of  "Quo  Yadis,"  draws  a  few 
laughs  with  his  exaggerated  performance  as 
one  of  the  natives. 

STORY:  Yvonne  DeCarlo  is  a  worker  at 
a  hotel  in  North  Africa  during  the  war.  Her 
first  romartic  skirmish  is  with  the  British 
army,  next  with  Rommell's  men.  With  the 
arrival  of  the  French,  it  is  evident  that  an 
armistice  is  about  to  be  declared,  an  idea 
that  is  implemented  when  a  Yank  soldier 
appears  on  the  scene.  Primarily,  it  pokes 
fun  at  the  personality  traits  of  each  country's 
officers,  and  is  an  amusing  demonstration 
of  how  people  can  change  their  colors  as 
the  tide  of  battle  moves.  JAMES 


VALLEY  OF  FIRE'  BELOW-PAI 

Rates  •  •  in  small  towns  and  lesser  n 

Columbia 

62  minutes 

Gene  Autry,  Pat  Buttram,  Gail  Davis,  Russ 
Hayden,    Terry    Frost,    Harry  Laughter, 
Christine  Larson. 
Directed  by  John  English 

"Yalley  Of  Fire"  is  not  up  to  the  usual 
Gene  Autry  standard.  There's  nothing 
wrong  with  the  excellent  Cinecolor  pro- 
duction, Autry's  performance  or  the  playing 
of  the  rest  of  the  cast.    The  trouble  rests 


I  AUTRY  WESTERN 

abes 

with  the  script,  an  indifferent  story  of  poli- 
tical skulduggery  in  a  Western  outpost. 
Yarn  lacks  excitement  and  action;  neither 
the  best  efforts  of  director  John  English  nor 
the  work  of  the  players  is  able  to  do  much 
about  it.  The  Autry  fans  won't  be  too 
enthused. 

Autry  works  hard  to  make  the  hero  con- 
vincing, Pat  Buttram  registers  in  a  few 
laugh  sequences,  and  Gail  Davis  performs 
her  feminine  lead  with  considerable  grace. 
Russ  Hayden  is  okeh  as  a  bush  league 
heavy. 


STORY:  Autry  is  elected  mayor  of  a 
town  after  the  heavies  go  to  the  extreme 
of  stealing  the  ballot  boxes  in  order  to  pre- 
vent his  t?kinu  office.  Pat  Buttram  is  ap- 
pointed sheriff.  The  outlaws  harass  the  new 
administration  and  Autry  has  to  battle  them 
out  in  order  to  re-establish  law  and  order. 
A  side  plot  concerns  the  importation  of  a 
caravan  of  women  from  the  East  to  become 
brides  of  the  pioneers.  One  such  young  lady 
falls  for  Russ  Hayden  and  is  about  to  marry 
him  when  Autry  shows  the  fellow  up  for 
the  scoundrel  he  is.   HAXXA  (Hollywood) 


NOVEMBER    19,  1951 


25 


EXPLOITATION  PICTURE 


LANCASTER  IN  HOT  DESERT  FILM 

Star,  Foreign  Legion  Are  Angles 


LANCASTER  AND  LEGIONNAIRE 

The  "Beau  Geste"  Brand 


EVER  SINCE  Valentino  made  the  ladies  pant  in  "The  Shiek"  and  "The  Son  of 
the  Shiek",  pictures  of  desert  adventure  and  romance  have  built  up  a  huge  following. 
Among  these  films,  the  French  Foreign  Legion  has  done  yeoman  work,  with  some,  like 
"Beau  Geste",  reaping  a  bountiful  boxoffice  harvest.  Now,  Columbia  offers  "Ten  Tall 
Men"  in  Technicolor  to  the  list,  with  Burt  Lancaster,  one  of  the  foremost  action  favorites, 
as  the  star.  It  shapes  up  as  prime  exploitation  stuff. 

The  star,  of  course,  offers  a  selling  angle  that  will  undoubtedly  to  used  by  every 
theatreman  playing  the  picture — Lancaster's  marquee  draw  for  the  action  fans.  The 
title  and  theme,  however,  are  the  hidden  assets  that  can  make  the  difference,  that  can 
bring  out  the  full  potential  of  the  film,  lauded  generally  in  the  trade  as  a  lusty  romantic 
adventure  picture  that  will  appeal  to  those  who  like  their  drama  with  a  tongue-in-cheek 
approach,  as  well  as  those  who  like  it  straight. 

The  provocative  title,  which  refers  to  a  wmmmmMmmmMmMmMmmMMMMMMmmmmmmmmm^ 


STAR  BALLY 

Burt  Lancaster  is  a  potent  draw;  make  sure 
the  town  knows  he  is  coming  to  your  theatre. 
Some  important  displays  can  point  up  the  Lan- 
caster name.  Among  these  is  a  profile  on  the 
star  in  the  high-circulation  "This  Week"  Sunday 
supplement  with  art  from  "Ten  Tall  Men"  and 
highly  interesting  copy.  A  blow-up  of  the  article 
(July  22  issue)  will  have  the  patrons  stepping. 
Several  Lancaster  stills,  in  and  out  of  Legionnaire 
attire,  are  available  for  display  purposes.  You 
can  also  distribute  several  thousand  Burt  Lan- 
caster club  cards  (pictured  above,  available  on 
mat),  consecutively  numbered,  offering  free  ad- 
mission to  persons  holding  cards  whose  numbers 
are  posted  in  lobby. 

STUNTS 

Some  lulu's  have  been  concocted  by  Columbia's 
exploitcers  for  local  ballyhoo,  built  around  the 
title.  Such  ideas  as  a  local  "Tall  Men's  Club" 
to  be  sponsored  by  a  group  of  tall  girls  in  co- 
operation with  the  theatre,  so  that  the  Amazons 
can  meet  the  eligible  tall  bachelors  in  the  town. 
The  stunt  could  involve  college  and  high  school 
sororities,  Y's  and  other  women's  organizations, 
with  the  tall  girls  distributing  "Tall  Men's  Club" 
cards  both  at  and  away  from  the  theatre  in 
advance. 


ruse  used  by  the  Legionnaires  in  which 
ten  dummies  are  propped  up  to  look  like 
men  on  horseback  to  fool  the  Riffs,  offers 
•i  wealth  of  ideas,  delineated  clearly  and 
concisely  in  the  stimulating  press  book. 
Taking  its  cue  from  the  label,  the  exploita- 
tion section  outlines  "Ten  'Tall'  Stunts  for 
'Ten  Tall  Men'  that  should  excite  plenty 
of  comment  wherever  used.  In  addition, 
ad  -  publicity  -  exploitation  chief  Arthur 
Schmidt  s  staff  has  worked  up  a  brace  of 
theatre  angles  that  should  pay  off  with 
ingenuity  rather  than  expense  as  the  prime 
ingredient.  Suggestions  for  eye-catching 
displays,  how  to  use  the  trailer  and  stills 
to  hist  advantage,  how  to  sell  the  star, 
press  and  radio  angles,  provocative  publi- 
city and  ads,  are  all  there  in  both  quantity 
and  quality.  Properly  used,  they  can  make 
the  film  one  of  the  surprise  grossers  of 
the  year. 

NEWSPAPER  ADS 

At  right,  some  of  the  display  ads  for  newspaper 
and  herald  use.  Note  the  accent  on  star  Lan- 
caster, on  :he  title  and  on  the  line,  ".  .  .  that 
'Beau  Ceste'  brand  of  greatness!" 

26 


burt  Lancaster 
tenIailmei^ 


F  I  L  M    B  I'  I.  I.  I   r  I  \ 


TEN  TALL  MEN 

Producer  Hurt  Lancaster  I  Norma  Pro- 
ductions! and  star  Hurt  Lancaster  have 
been  singularly  compatible  ever  since  the 
discovery  of  "The  Killers"  has  put  a  sur- 
prisingly knowing  hand  to  the  making  of 
movies  behind  the  camera.  Producer  Lan- 
caster has  seen  to  it  that  star  Lancaster 
gets  roles  that  are  suited  to  his  talents.  He 
also  has  been  particularly  careful  in 
seeing  that  the  stories  are  angled  for  mass 
appeal.  In  his  Columbia  release  "Ten  Tall 
Men."  Lancaster  has  not  deviated  from 
this  formula,  which  has  paid  both  him 
and  exhibitors  handsomely. 

For  his  story,  he  has  selected  a  tale  bv 
James  W  arner  Bellah  and  Willis  Goldbeck 
(with  the  latter  also  handling  the  direc- 
tion i.  that  Ikis  much  of  the  "Beau  Geste" 
flavor.  It  lells  how  Lancaster  and  a  handful 
of  Foreign  Legionnaires  undertake  to  stop 
a  Riff  attack  on  the  desert  city  of  Tarfa. 
Seizing  an  opportunity.  Lancaster  kidnaps 
a  HiiT  princess,  played  by  rising  star  Jody 
Lawrance,  thereby  enhancing  the  Legion- 
naires' success,  and.  at  the  same  time, 
giving  the  screen  some  torrid  romantic 
sequences.  While  the  story  is  hardly  new 
to  the  screen,  the  hard-bitten  action,  desert 
romance,  terse  dialogue,  some  imaginative 
twists  and  Technicolor  all  enhance  the 
film's  entertainment  values  to  boost  it 
above  average  action  films. 

A  hand-picked  cast  includes  such  com- 
petents  as  Gilbert  Roland.  Kieron  Moore. 
George  Tobias.  John  Dehner.  Mike  Ma- 
zurki.  Ian  MacDonald  and  Mari  Blanchard. 

Harold  Hecht  produced  for  Norman  Pro- 
ductions from  a  screen  play  by  Roland 
Kibbee  and  Frank  Davis. 


EXPLOITATION 
PICTURE 


:f  the  izsMt 


At  right  buffeted  by  the  elements,  the  desert 
and  the  Riffs.  Burt  Lancaster  leads  his  ragged 
little  band  into  combat.    Below,  with  Jody 


WHO'S  GOING  TO  SWALLOW  WHOM? 


(Continued  from  Page  21) 

Balaban  (son  of  Barney)  is  director  of  pro- 
gramming. 

Monogram  has  launched  a  new  vidfilm 
unit,  says  president  Steve  Broidy,  headed  by 
G.  Ralph  I'iranton  and  Harold  Mirisch. 

Columbia's  Screen  Gems  is  busier  than 
most  of  us  know,  turning  out  television 
gems,  and  in  his  recent  annual  report  to 
stockholders  Columbia  president  Harry 
Cohn  stated  meaningly,  "Television  repre- 
sents a  challenge  which  can  only  result  in 
a  more  dynamic  film  industry." 

And  what  about  Louis  B.  Mayer?  He's 
been  kicking  the  television  ball  around,  ac- 
cording to  well-informed  Hollywood  sources. 
Everyone  in  Hollywood  is  talking  about 
television.  Everyone  is  trying  to  scramble  on 
the  bandwagon. 

L'nion  representatives  in  the  film  city  esti- 
mate that  more  than  50  cameramen  are  now 
employed  fulltime  in  TV.  The  Screen  Di- 
rectors' Guild  boasts  108  members  in  that 
branch  of  entertainment,  compared  with  only 
60  a  year  ago. 

Donn  Tatufn,  western  division  TV  Di- 
rector of  the  American  Broadcasting  Com- 
pany, wasn't  guessing  very  hard  when  he 
recently  said,  "A  very  substantial  part  of 
future  TV  programming  will  be  on  film." 
He  added  that  in  his  opinion,  if  the  trend 
continued,  there  would  be  fewer  theatres, 


U!  Wl 

PARAMOUNT'S  RAIBOURN 

fewer  pictures  and  lower  production  costs. 

Robert  L,  Lippert,  who  is  interested  in 
production,  distribution  and  exhibition,  is  on 
record  with  the  opinion  that  the  television 
public  is  tiring  of  warmed-up  movies,  and 
with  the  prediction  thai  they  will  before 
28 


long  be  supplanted  almost  entirely  by  films 
especially  made  for  home  viewers. 

None  of  the  production  company  execu- 
tives who  are  dabbling  in  the  new  medium 
will  allow  himself  to  be  quoted,  except  in 
the  vaguest  terms,  on  the  subject  of  tele- 
vision and  the  exhibitor.  He  will  not  even 
disclose  his  plans.  He  merely  breathes  pious 
sentiment  about  the  two  mass  media  being 
complementary  to  each  other,  et  cetera,  and 
so  on — an  J  on,  ad  nauseum. 

The  producer  is  being  cautious  for  a 
number  of  reasons,  not  the  least  important 
of  which  is  that  during  the  transition  stage 
he  must  depend  on  the  exhibitor  for  his 
bread  and  butter,  and  doesn't  want  to  arouse 
his  best  customer's  wrath.  Another  reason 
is  that  the  economics  of  the  new  industry 
are  extremely  chancy.   No  one  has  yet  been 


MONOGRAM'S  BROIDY 


able  to  prove,  even  on  paper,  that  television 
film  production  can  be  made  to  pay  year  in, 
year  out. 

There's  been  big  money  in  it  for  a  chosen 
few,  who  happened  to  be  in  the  right  spot 
at  the  right  moment.  Out  in  Los  Angeles, 
the  local  TV  stations  are  paying  big  prices 
for  old  pictures,  and  the  figure  is  running 
at  the  rale  of  about  $6,000,000  a  year  for 
seven  channels  in  that  area. 

K  I.AC-TV  spent  $202,000  on  a  batch  of 
pictures  from  Quality  Films,  and  paid  $16,000 
for  17  Korda  production.  ECTTV  bough)  a 
number  of  Republic  and  Edward  Small  offer- 
iiiKs  for  $350,000.  These  are  fairly  typical 
figures — as  of  this  moment.  Hut  when  the 
fortunate  opportunists  come  up  against 
well-organized  competition  from  firmly-es- 
tablished   film    producing    companies,  they 


n.ay  fare  less  happily.  Competition  for  the 
telefilm  market  looks  like  it's  becoming  so 
strong,  in  fact,  that  there  may  not  be  much 
money  in  it  for  anyone. 

That  realization  is  what  makes  the  pro- 
ducing groups  who  are  moving  into  the  new 


ROBERT  L.  LIPPERT 


field  so  reh.ctant  to  burn  their  boats  and  to 
tell  the  exhibitor  to  go  to  the  devil.  When 
the  fuss  and  frolic  has  died  down  they  may 
need  him  very  badly  indeed. 

Then  there's  the  question  of  subscription 
TV,  in  which  more  than  one  of  the  majors 
is  actively  interested.  In  a  brochure  re- 
cently issued  by  the  International  Telemeter 
Corporation  (half  of  whose  controlling  stock 
is  held  by  Paramount  Pictures)  the  view 
was  expressed  that  subscription  (or  coin- 
in-the-slot)  television  is  likely  to  be  more 
beneficial  to  the  motion  picture  industry 
than  is  big-screen  TV,  because  it  offers  no 
rival  attraction.  Presumably,  the  authors  of 
the  brochure  meant  that  it  is  better  to  keep 
films  as  the  basis  of  subscription  television 
rather  than  live  entertainment.  It  probably 
is — from  the  producer's  point  of  view. 

The  whole  business  is  so  shrouded  in 
speculation  that  at  present  no  one  can  do 
more  that  watch  these  revolutionary  pro- 
cesses with  the  greatest  attention.  But  some 
lime  in  'lie  not-loo-distant  future  the  ex- 
hibitor groups  will  have  to  call  for  a  show- 
down, and  demand  full,  free  and  frank 
discussion  of  this  vital  subject.  If  TV  is 
going  to  b<'  swallowed  by  the  film  industry, 
il  should  he  a  family  affair,  not  a  Tack  Spratt 
meal  with  the  producer  getting  all  the  lean, 
and  the  exhibitor  merely  the  fatty  scraps. 

FILM  BULLETIN 


Wammotk     Wu^L,    of    Wlirtk     &  Werrkn.nl! 

FUN  AND  FROLIC 
FRIZES  AND  PROFITS 
FOR  ALL 

VARIETY'S 
CARNIVAL- BAZAAR 

HOTEL  ASTOR  ROOF 

Come  and  See  the  Winners  of 
THE  1951  VARIETY  CLUB  WELFARE  AWARDS 

...  IT  MAY  BE  YOU' 

Door  Prizes  Every  Hour  on  the  Hour 

Colossal  Treasure  Chest 
CONTESTS    -    GAMES    -  EVENTS 
Music  and  Dancing 

Admission  by  Contribution  of  $2.00  to 

Thursday  -  November  29th  -  Doors  Open  7:30  p.  m. 
THE  VARIETY  CLUB  OF  NEW  YORK  -  TENT  No.  35 

The  Heart  of  Show  Business 


What  the  Newspaper  Critics  Sag  About  New  Films 


'QUO  VADIS'  A  BIG  Movie 
If  Not  A  GREAT  One-Critics 

"It's  not  the  best  picture  this  year,  but  i'.'s 
better  than  DeMille,  and  it's  better  thin  you 
would  normally  anticipate  in  an  epic 
spectacle." 

The  above  opinion  of  the  N.  Y.  Post's 
Archer  Winsten,  best  sums  up  the  lengthy 
critical  commentaries  with  which  New 
York's  newspaper  critics  greeted  Metro- 
Goldwyn-Mayer's  much-heralded,  "long- 
awaited"  Technicolor  "super-spectacle," 
"Quo  Vadis." 

Comparing  it  to  a  three-ringed  circus, 
Winstc-n  laments  the  fact  that  although  "So 
much  is  going  on  ...  so  little  involves 
deepest  interests  and  emotions."  As  a  whole, 
he  concludes,  "it  is  an  honorable,  rrulti- 
million-dcllared  effort  to  pack  everythnj 
merchandisable  into  one  outsized  bundle." 

A  little  more  enthusiastic,  Rose  Pelswick, 
of  the  Journal-American  writes:  "Unques- 
tionably rates  the  adjective  colossal  ...  A 
super-spectacle,  M  -  G  -  M's  long-awaited 
drama  of  ancient  Rome  is  impressive  on 
every  count."  She  agrees  that  "it'll  be  a  lon-^ 
time  before  any  movie  will  be  able  to  ma'ch 
this  one  Tor  sheer  size  and  spectacle." 

I  'escribing  it  as  "both  uncommonly  spec- 
tacular and  uncommonly  absurd,"  Otis  L. 
Guernsey,  jr.,  in  the  Herald-Tribune,  points 
out  that  "this  preposterous  melodrama  is 
likely  to  draw  larger  multitudes  than  are 
painted  on  its  backdrops."  He  finds  "nothing 
boring"  but  that  "it  is  only  a  fiasco." 

"Here  is  a  staggering  combination  of 
cinema  brilliance  and  sheer  banality,  of 
visual  excitement  and  verbal  boredom,"  says 
the  rime-'  l'.osley  Crowther,  whose  belief  it 
is  that  "it  was  made  for  those  who  like 
grandeur  and  noise — and  no  punctuation," 
and  "will  probably  be  a  vast  success." 

In  the  World-Telegram,  Alton  Cook  ap- 
pears to  have  been  most  impressed  with  the 
rastness  of  production.  "You  can  believe 
everything  you  read  in  the  advance  herald- 
ing about  the  mammoth  scale,"  he  writes  of 
a  picture  which  "leaves  an  impression  of 
warm,  unlimited  cash  poured  into  the 
camera's  maw." 

THE  DESERT  FOX' 

20th  CENTURY-FOX 

"Does  not  lack  in  the  kind  of  interest 
and  suspense  that  go  with  a  good,  high- 
level  conspiracy  yarn  .  .  .  Strange  film." — 
Crowther,  N.  Y.  Times. 

"A  one-man  show,  catering  to  the  sneak- 
ing feeling  that  Rommel  ought  to  have  been 
on  our  side."  —  Guernsey,  N.  Y.  Herald- 
Tribu  n  e. 

"Pretty  good  as  action  melodrama 

Apt  to  leave  an  American  audience  cool."  

Winsten,  N.  Y.  Post. 

"Sympathetic  attempt  at  understanding 
the  word  of  Field  Marshal  Erwin  Rommel 
.  .  .  Neither  a  glorification  nor  vilification 
of  the  Nazi."— Cook,  N.  Y.  World-Telegram. 

"An  absorbing,  documentary  .like  study 
.  .  .  Offers  a  sympathetic  appraisel  of  the 
resourceful  Afrika  Korps  leader."— Pelswick, 
N.  Y.  Journal-American. 

30 


"QUOT6S 

DETECTIVE  STORY" 

PARAMOUNT 

"Brisk,  absorbing  film  .  .  .  Shapes  up  as 
an  impeccable  mosaic  of  minor  melodrama 
.  .  .  Hard-grained  entertainment,  not  reveal- 
ing but  bruisingly  real." — Crowther,  N.  Y. 
Times. 

"An  adroit  stage-to-screen  transciption 
of  Sidney  Kingsley's  play  .  .  .  Though  not 
entirely  convincing  ...  a  very  clever  picture 
indeed." — Guernsey,  N.  Y.  Herald-Tribune. 

"More  than  ever  an  explosive  dramatic 
tornado  .  .  .  Hats  off  and  up  in  the  air  for 
a  masterpiece  of  movie  melodrama." — Cook, 
N.  Y.  World-Telegram. 

"Resembles  a  powerful,  complex  engine 
running  at  full  speed  .  .  .  It's  a  perfect  thing 
of  its  kind." — Winsten,  N.  Y.  Post. 

"One  of  the  top  pictures  of  the  year,  a 
hard-hitting,  enormously  thrilling  melo- 
drama that  should  keep  the  Mayfair  Theatre 
jammed  for  weeks  .  .  .  Superbly  produced 
and  directed." — Pelswick,  N.  Y.  Journal- 
American. 

ACROSS  THE  WIDE  MISSOURI' 

METRO-GOLDWYN-MAYER 

"A  disappointment  ...  A  hal'ing,  some- 
times verbose  Western." — A.  W.,  N.  Y. 
Times. 

"Means  of  homicide  are  in  some  cases 
terrifying  ...  A  different  and  well  turned 
Western." — Pihodna,  N.  Y.  Herald-Tribune. 

"Seems  to  move  in  slow  motion,  an  odd 
effect  for  an  outdoors  melodrama  ...  In 
spite  of  the  wonderful  scenery,  in  spite  of 
glittering  names  in  the  cast  ...  a  dull 
piece." — Creelman,  N.  Y.  World-Telegram. 

"What  turns  the  picture  into  hash  is 
someone's  totally  erroneous  notion  of  what 
a  wonderful  idea  it  would  be  to  have  round- 
house scuffling  in  Hollywood's  purest  slap- 
stick."—Winsten,  N.  Y.  Post. 

BEHAVE  YOURSELF 

RKO 

'A  farce  as  far  from  tears  as  burlesque 
.  .  .  Only  fitfully  bright  and  chucklesome." 
—A.  W.,  N.  Y.  Times. 

"Satire  on  gangster  pictures  .  .  .  Moves 
fast  and  comes  up  with  plenty  of  laughs  .  .  . 
No  weighty  problems  are  solved.  It's  just 
frank  nonsense." — Pihodna,  N.  Y.  Herald- 
Tribune. 

"Stays  very  close  to  the  Krasna  pattern." 
— Cook,  N.  Y.  World-Telegram. 

"Tedious  romp  in  which  wholesale  murder 
offers  the  bare  minimum  of  stimulating 
action  while  the  straining  comedy  gets  you 
to  feeling  tired.  Just  tired." — Winsten,  N.  Y. 
Post. 

"Wild-eyed  farce  .  .  .  Completely  wacky." 
—Pelswick,  N.  Y.  Journal-American. 

'DARLING,  HOW  COULD  YOU!' 

PARAMOUNT 

"Feeble,  sticky  and  laboriously  arch  little 
version   .   .    .    Lusterless   flapdoodle    .    .  . 


Pedestrian  charade  .  .  .  Paramount,  how 
could  you!"— H.  H.  T.,  N.  Y.  Times. 

"Unfortunate  screen  comedy." — Pihodna, 
N.  Y.  Herald-Tribune. 

"Comes  out  quite  as  heavy-footed  as  that 
new  title  .  .  .  Mild  little  tale." — Creelman, 
N.  Y.  World-Telegram. 

"Strictly  for  the  aged  whose  sense  and 
senses  have  mercifully  dimmed." — Winsten, 
N.  Y.  Post. 

"Chatty  little  comedy  of  Victorian 
customs  and  costumes." — Pelswick,  N.  Y. 
Journal- American. 

'NO  HIGHWAY  IN  THE  SKY' 

20th  CENTURY-FOX 

"Nothing  conspicuously  explosive  .  .  .  Am- 
bulating fable  .  .  .  Cumulative  sort  of  enter- 
tainment .  .  .  Contains  a  great  deal  of  dry 
amusement  and  a  little  something  about 
people  on  which  to  chew." — Crowther,  N.  Y. 
Times. 

"Quietly  amusing  and  occasionally  sus- 
penseful  comedy-drama  ...  At  least  un- 
usual and  at  best  wryly  funny  .  .  .  Offers  a 
fair  measure  of  entertainment." — Guernsey, 
N.  Y.  Herald-Tribune. 

"Has  an  intrinsically  suspenseful  story  .  .  . 
Qualifies  as  exciting  entertainment." — Win- 
sten, N.  Y.  Post. 

"James  Stewart  has  a  new  triumph  for 
his  fumbling  tenderness  and  humor  .  .  .  Very 
welcome  addition  to  the  list  of  the  year's 
better  pictures." — Cook,  N.  Y.  World-Tele- 
gram. 

"Smart  blend  of  American  and  British 
film  talents  .  .  .  Thoroughly  entertaining 
piece  that  offers  suspense  and  comedy  and 
some  delightfully  deft  dialogue.." — Pelswick, 
N.  Y.  Journal-American. 

THE  MOB' 

COLUMBIA 

"Crawford  extracts  as  much  tension  and 
suspense  as  possible  from  an  unpolished 
script  .  .  .  Bald  melodrama  .  .  .  Head  and 
shoulders  above  any  other  crime  films 
around  town." — O.  A.  G,  N.  Y.  Times. 

"Strikes  a  workable  balance  between  fact 
and  fiction  .  .  .  Exciting  and  tense  film 
which  may  be  forgiven  its  few  melodramatic 
lapses." — Pihodna,  N.  Y.  Herald-Tribune. 

"A  melodrama,  and  a  corker  .  .  .  Excite- 
ment and  comedy  combined  .  .  .  Headline 
story  turned  into  a  headline  picture."  — 
Creelman,  N.  Y.  World-Telegram. 

"Tightly  knit,  realistically  spoken  screen- 
play .  .  .  (director  Robert  Parrish)  does  so 
much  with  a  little  and  old  story  that  you'll 
be  amazed." — Winsten,  N.  Y.  Post. 

"Fast-paced  and  exciting  cops-and-robbers 
yarn  .  .  .  Loaded  with  action  .  .  .  Sets  and 
sustains  a  suspenseful  mood."  —  Pelswick, 
N.  Y.  Journal-American. 

FILM  BULLETIN 


INDEPENDENT  EXHIBITORS 

Of 

NEW  ENGLAND 
Plan  Now  To  Attend  The 

Convention 

Of 

INDEPENDENT  EXHIBITORS.  INC. 

COPLEY  PLAZA  HOTEL 
BOSTON,  MASSACHUSETTS 
December  4    19  51 

ONE  full  day  of  BUSINESS  MEETINGS  with  Luncheon  served  at  1:00  P.  M.  and 
an  evening  of  FUN  including  a  Cocktail  Party  and  a  Banquet  attended  by  Civic 
Leaders  —  Trade  Personalities  —  and  Stars. 

SEND  YOUR  RESERVATIONS  IN  NOW  TO 


Ray  Feeley  —  36  Melrose  Street  —  Boston  16,  Massachusetts 


Wttuk 

bade  wet 
Im  ike  most 

witk 

utdefieudetd 


PRODUCTIOn 
&  R€L€flS€ 


R€CORD 


COLUMBIA 


1950-51   Features       Completed   (48)       In  Production  (4) 
Serials  Completed    (  3)      In  Production  (0) 
 Westerns        Completed   (15)       In  Production  (I) 

RELEASE  CHART 

—  1950-5)  _ 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel  Nn  B«» 

Marrying  Kind,  The  _   Holliday-Harrison 

Harem  Girl,  The  .  Davis-Castle 

If  ramie  Moutains  Starrett-Burnett 

Mother.   The  You.ng-Smith 

COMPLETED 

Barefoot  Mailmen.  The  (SO   183)   R.  Cummings-T.  Moore      I J  —5 1 

!,q.G"sh,er-    Th»    1**1  Morns-Foster  7-51  7-30 

Boots  Malon,  _  Holden-Clements 

Brave  Bulls,  The  (107)   Ferrer-Quinn  5  51        321  5  7 

Brave  Warrior    Jon  Hall 

Brigand,    The    (T)  Dexter- Lawrence 

Captain  Blood,  Fugitive  Louis  Hayware 

Clouded  Yellow,  The  196]  Simmons-Howard   10-8 

Corky  of  Gasoline  Alley   S.  BeckeM-J.  Lydon  9-51 

China  Corsair  (78)  Hall-Farraday  _     4-51  4-18 

Congo  Bill    McGyire-Moere  _ 

Chain  of  Circumstance  (48)  M.  Feld-R.  Grayson  8-51  8-27 

Criminal  Lawyer  (73)      O' Brien-Wyatt  ...     10-51  9-10 

Cripple  Creek    Montgovery-Booth 

Dark  Page   Crawford-Derek  ___  

Death  Of  A  Salesman    March-Dunnock 

European   Edition     Glen  Ford   

Family  Secret,  The  (85)  Derek-Cobb  12-51 

Firefighters,  The  Williams-Reynolds  .  

First  Time,  The  Cummings-Hale  

Five  (931  S.  Douglas-W.  Phipps  10-51 

Four  Poster,  The      ._  .Harrison-Palmer   

Golden   Hawk  .   _   .  Fleminq-Hayden 

Harlem  Globetrotter*.  The   Gomez-Dandridge  11-51 

Hawk  ot   Wild   River.   The  _  Starrett-Burnett 

Her  First  Romance  (73)   O'Brien-Martin   .  5—5 1    .  .    5-21 

Her  Wonderful  Lie  Kiepura-Eggerth  

Hurricane  Island  IC)  Hall-Windsor   7-51 

Hills  of  Utah   149)  .  _  Autry-Buttram  .   .    9-5 1        354  9-24 

Jungle  Jim  in  the  Forbidden  Land  _Weissmuller-Ryan    ___  _ 

Jungle   Manhunt    (44)  Weissmuller-Ryan  10-51  I  1-5 

Jungle   Safari  Weissrmiller-Greene  

Lady  and  the  Bandit,  The  (78)    _      Hayward-Medina  9-51       _     -  9-10 

Lorna  Doone  (T)   Hale-Green*   4-51  

Magic  Carpet  190)  Ball-Aaar  10-8 

Magic  Face,  The   (89)  Adler-Kniqht  9-51 

Man  In  the  Saddle  IT)    187)  Scott-Leslie  12-51 

Mask  of  the  Avenger   (T)    (83)    Derek-Quinn  7-5 1        359  7-14 

Mob.  The  (87)    B.  Crawford-Buehler   10-51  9-24 

My  Six  Convicts  Beel-Mitchell 

Never  Trust  A  Gambler  (79)  Clark-O' Donnell     _  8-51        324  7-14 

Niqht  Stage  to  Galveston  _      _  _  Autry-Buttram 

Old  West,  The    ~  Autrv-Davis  .  

Pickup  180)  Haas-Michaels  8-51   7-30 

Purple  Heart  Diary     _    F.  Lanaford-T.  Romano  12-51 

Riders  of  the  Whistling  Pines   Autry-White  

Saturday's  Hero   (III)   Derek-Reed         _   ...     .      9-51    .    318.  8-27 

Silver   Canyon    (70)  Autry-Davis    _    7-14 

Sirocco  198)  Bogart-Loran   T-RI  6-18 

Smoky  Canyon  _..  _  _        Starrett-Burnette  ,  

Sniper.    The  _  Menjou-Franz       

Son  of  Dr.  Jekyll   178)  ......  Hayward-Knox  11-51  10-22 

Sound  Off  Mickey  Rooney  

Sunny  Side  of  the  Street  171)  Lane-Daniels  9-51 

Ten  Tall  Men  (T)   (97)  _  Lancaster-Lawrence  12-51 

Texas  Rangers  (C)   Geo.  Montgomery  4-51  _____ 

Thief  o1  Damascus.  The  ...     ._    ._       Henreid-Sutton  _  .   

Valentino    (T)    I03)  Parker-Dexter   4—5 1   3-24 

Valley  of  Fire  Aotry-Burnette  6-5 1  

War  Cry  (C)      ...    .  Montgomery-Long  

When  the  Redskins  Rode  (CI   178)     Hall-Casfla  5-51    4-18 

Whistle  at  Eaton  Falls,  The  190)  Bridges-Gish  8-51  8-13 


1950-51 


LIPPERT 


Completed   (30)       In  Production  (0) 


COMPLETED 

As  You  Were    

Bandit  Queen  

Blonde  Blackmail    

Danger  Zone   

FBI  Girl   

For  Men  Only  

G.  I.  Jane  142) 

Great  Adventure,  The  

Highly  Dangerous   

Kentucky  Jubilee  

Leave  It  To  the  Marines 

Little  Big  Horn   

Lost  Continent   

Mask  of  the  Dragon  

Kavaio    

Pier  23  _  _ 


Savage  Drums  >'70) 
Sky  High  _ 
Steel  Helmet.  The  . 
Stop  That  Cab  . 


Superman  and  The  Mole  Men  

tales  of  Robin  Hood    


NOVEMBER    19,  1951 


RELEASE  CHART 

—  1950-51  — 

 Tracy-Sawyer   

 Britton-Parker   

  Brent-Chapman  ..... 

 Beaumont-Travis   

 Romero-Totter  

 P.  Henreid  

 Porter-Neal  

 Price-Hawkins  

__  Clark-Lockwood   

 Colonna-Porter   

 S.  Melton-M.  Lynn 

 Ireland-Bridges   

 Romero-Brooke  _  _. 

 Travis-Ryan   

 Documentary 

 Beaumont-Savage  _ 

 Sabu-Baron  _   _  _ 

 S.  Meltor-M.  Lynn  . 

 Edwards-Brodie   

.Melton-Adrian   

Reeves-Coates    

.Clarke-Hatcher  _ 


-4-18. 

8-27 
-3-17- 

—  5—1 1_ 
4-22 
10-19 
_2-2_ 
.  3-3 l_ 


5012 
.  5021 
.5029  . 

5107. 

5005  . 
.5003- 

5004 
.5013. 

.5018. 
5001 
5024 

.5004 _ 


In  the  Release  Chart,  "Rel."  is  the  Nati  onal  Release  Date. 
"No."  is  the  release  Number.  "Rev."  is  the  issue  in  which  the 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  new  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cincolor,  (SO  Supercinecolor.  (TR)  Trucolor, 
(A)  Anscolor. 


Unknown  World 
Varieties  On  Parade 

 Kellogg-Naih 

 Rosa-Carroll  

10  24  5101 

Yes  Sir.  Mr.  Bones  154) 

 F.  Miller  . 

 7-20  _  5020.  

7-13      5019  9-24 

|  METRO- 

COLD  WYN 

-M  A YER| 

1950-51  Features 

Completed  (72) 

In  Production  (5) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time 
Hour  of  Thirteen.  The 
Lovely  To  Look  At  IT) 

Merry  Widow,  The  IT)   

Scaramouche 
Skirts  Ahoy 

COMPLETED 

Across  the  Wide  Missouri  IT)  (78) 
American  in  Paris  IT)  (113) 
Angels  in  the  Outfield  1102) 

Because  Your  Mine    

Belle  of  New  York   IT)  _ 

Bannerline  188 


Cast 
Lawford-Addams 
Grayson-Skelton 
Turner-Lamas 
S.  Granger-E.  Parker 
Williams-Blaine 


Callaway  Went  Thataway  181)  .  . 
Calling  Bulldog  Drummond  180) 

County   Line     .  ..  

Excuse  My  Dust  (T)    (82)    .  .  . 
Father's  Little  Dividend  182)  _ 

Go  For  Broke  192)   

Great  Caruso.  The  ITI  (1091   

Home  Town  Story  (41)   

Invitation  The 

It's  A  Big  Country  (89)   

Ivanhi-*  ITI 

Just  This  Once  ...  ... 

Kind  Lady  (78)  ...  . 

Law  and  the  Lady.  The  I  104)  ...... 

Light  Touch,  The  (110)  

Lone  Star  

Love  Is  Better  Than  Ever  181) 

Man  With  A  Cloak  188)   

Niqht  Into  Morning  184)   

Mr.  Imperium  (T)  (87)  

No  Questions  Asked  181)  

Pandora  and  the  Flying  Dutchman 

(T)  (123)   

People  Against  O  Hara  (102)  

Quo  Vadis  IT)  1171)   

I  Was  a  Stranger   

Red  Badqe  of  Courage  149) 

Rich,  Young  and  Pretty  [Tl   (951  _ 

Show  Boat  IT)  (.108)   

Singin'   In  The  Rain  IT)  

Soldier's  Three  192)   

Talk  About  a  Stranger   

Strictly  Dishonorable  195)   

Strip,    The  (85)  

Tall  Target.   The  178)   

Teresa  (I0S)   

Texas  Carnival   IT)  177)   

Too  Youno  To  Kiss  191) 

Unknown  Man.  The  (84)  


Gable-Hodiak 
Kelly-Caron 

Douglas-Leigh  

Lania-Whitmore  — 
Asteire-Vera-Ellen   .  _ 
Forrest-Braselle 
MacMurray-McGuire 
Pidgeon-Leiohton 
Pidgeon-Hodiak      .  _ 

Skelton-Forrest  

.Tracy-Taylor   

Johnson-Anderson 
Lenxe-Blyth 

Crisp-Reynolds   

McGuire-Johnson 

.All  Star  

R.  Taylor-E.  Taylor 
Leigh-Lawford 

Barrymore-Evans  

Garson-Wilding   

Grainger-Angeli 
Gable-Gardner     _  _ 

Taylor-Parks  

Cotten-Stanwyck 
Milland-Hodiak  __ 

Turner-Pima   

Sullivan-Dahl   

Mason-Gardner 

Tracy-O'Brien   

Taylor-Kerr   

Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
Gardner-Keel  ___ 
Kelly-O^Connor  _ 
Granger-Pilgeon  _ 
Murphy-Davis 
Pinza-Legih         .  . 

Rooney-Forrest   

Powell-Raymond 

Angeli-Erickson   

Williams-Skelton 
Ailyson-Johnson 
Pidqeon-Harding 
Tavlor-Dar 


Oct  208  10-22 
Nov  ?-24 
Sep        202  8  27 


Oct 
Dec 
Dec 


June  133  4-4 
Apr    .    124    .  2-24 

-May__  129  4-9 

Apr  .  127  .  4-U 
May        128  5-7 


July  134   7-2 

July  134  7-1* 

Dec  11-5 


Oct  207  10-22 

June  .130  .4-4 

Sep  203  4-4 

June  132  4-18 


Sep  204  8-27 
Aug  138  7-14 

_  July   .    135   .  7-2 


Apr. 


121 


Westward  the  Women  1118) 

When  In  Rome  Johnson-Douglas 

Wild  North  Country.   The   (A)      .  Granger-Corey 

Young  Man  in  a  Hurry  ,  Roman-Nype 


July—   

Aug  140 
Aug  139  8-13 
July  .  137  3-12 
Oct  205  9-24 
Nov  11-5 
.  July  10-22 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51   Features        Completed  (37) 
Westerns      Completed  (12) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Starlight   Canyon     ..  ...  .     .  Morris-Caruso 

COMPLETED 

According  to  Mrs.  Hoyle  (40)  _  .  Byington-Chandler 

Aladdin   and   His  Lamp    IC)    Medina-Sands   

Blazing  Bullets  Brown-Hall  

Lawless  Cowboys   Wilson-Knight  

Casa  Manana   173   Forbes-Herlihy  

Cavalry  Scout  (C)    (78)  Cameron-Long   

Counterfeit   DeFoe-King   

Crazy  Over  Horses   _Gorcey-Hall   

Elephant    Stampede  Sheffield 

Escape  to  Freedom  McDowall-Miller  — 

Father  Takes  The  Air  Walburn-Gray 

Flight  to  Mars  IC)   Chapman-Mitchell 

Fort  Osage   (C)   Cameron-Nigh   

Ghost  Chasers   149)  Gorcey-Hall   

Gypsy    Fury    (43)  Viveca-Lindfors  

Hold  That  Line   Gorcey-Hall   

Joe   Palookx  in  Triple  Cross  Kirkwood-Downs  ... 

Longhorn.  The   Elliott-Coates   

Lion  Hunters.  The  (47)  _  ...   ■  Sheffield-Whitfield  . 

Mexican  Silver  Wilson-Clyde   

Navy  Bound  Neal-Toomey   

Nevada  Badman  Wilson-Knight  

Oklahoma  Justice   Brown-Ellison   


In  Production  (  I  ) 
In  Production  (0) 


I  1-7 

4-  10  .5114 

5-  13  5101 


11-18  .5114  

10-  29  5110. 
_  1-52  

4-17  5124  

11-  ll    .  5103  .   

2-  10      5102  _ 
4-29    .5112  5-21 

3-  18  5192  7-14 

10-8 


5118 


9-14 
I  1-25 
3-25  5109 

"  2-25  Z  5120^ 
5-27  _5I52_ 
8-19  5144 


St>ge  From  Amarillo  

Rodeo  ICI  -   

Stagecoach  Driver    

Teras  Lawmen   

Trail  Dust  _  

Vengeance  Trail   

Vicious  Years.  The  (791 

Wagons  West  ICI   _ 

Wanted:  Dead  or  Alive  (5?) 

Whistling  Hills  

Wild  Horse  Prairie 
Witness,  The 

Yellow  Fin  

Yukon  Manhunt 


Elloitt 
Jane  Nigh 
Wilson-Knight 
Brown-Ellison 
Albright-Winters 
.Elliott-Stewart  ... 

Cook-Moore   

Cameron    

Wilson-Clyde 
Brown-Ellison 
Wilson-Knight 
Kirkwood-Gleason 

Morris-O'Flynn   

Grant-Davis 

ALLIED  ARTISTS 


12-31 
2-18 


Babe  Ruth  Story.  The    

....  Bendix-Trevor  

May 

Disc  Jockey    ... 

Simms-O'Shea  

8-23 

 21  

4-18 

Highwayman,  The  IC)  (83)   

Hendrix-Coburn 

9-8 

20 

8-27 

Let's   Go  Navy  148) 

.    H.  Hall-G.  Gorcey 

7-29 

5113 ..... 

8-27 

1  Was  An  American  Spy  (85) 

Dvorak-Evans  

...  4-15 

 .19... 

 5-21 

It  Happened  On  Fifth  Avenue  

DeFore-Storm   

....  May 

Insurance  Investigator  (60)  Denning-Lonq 

Lady    Possessed   Mason-Havoc 

Last  Musketeer.  The    Allen-Kay  . 

Lost  Planet  Airmen   IReedited  from 

"Kinq  of  the  Rocket  Men"  Coffin-Clarke  . 

Million  Dollar  Pursuit  (AO)  Edwards-Flagg 
Oklahoma  Annie  (C)  Canova-Russell 
Pals  of  the  Golden  West  Rogers-Evans 

Ouiet  Man,  The  (T)    Wayne-O  Hara 

Robinson-Vs.  Turpin   153)    Fight  Pictures 

Rodeo  Kind  &   The  Senorita   (67)      Allen-Kay  . 

Sea  Hornet.  The   184)   Cameron-Booth 

Secrets  of  Monte  Carlo   Douglas-Hall 

South  of   Caliente   Rogers-Evans 

Stormbound   Dowling-Checch 

Street  Bandits   Edwards-Clarke 

This  Is  Korea  (50)      _.  Docomentary 

Thunder  In  God's  Country    (67)  Allen   

Utah  Wagon  Trail  167)   Allen-Edwards 

Wens  r-argo  Gunmaster    Lane-Chapin 

Wild  Blue  Yonder   Corey-Ralston 

Woman  In  The  Dark  Fdwards-Elloitt 

Wyoming   Saddle   Pals      Chapin-Janssen 


  7-20 

506 1 

  7-15 

5053 

1  1-6 

10-22 

  6  20 

  10-15 

5030 
5151 

11-15 

5032 
5130 

8-10 

5127 

9-10 

  4-8 . 

5052 

  10-15 

5054 

Z.I  1-5 

  5-15 

5061 

PARAMOUNT 


RKO  RADIO 


1951-52  Features       Completed  (55)       In  Production   (3)      1950-51   Features       Completed  (59)       In  Production  (4) 


IN  PRODUCTION 

TITLE — Running  Time 
This  Is  Dynamite 

Los  Alamos  

Famous  (T)   


RELEASE  CHART 

—  1950-51  — 

Cast 

Holden-Smith   

Barry. Carke  

Crosby-Wyman 


COMPLETED 

Aaron  Slick  from  Punkin  Creek  (T)  Shore-Younq   

Anything  Can  Happen    Ferrer-Hunter   

Appointment  With  Danger  18?)   Ladd-Calvert   

Big  Carnival,  The  (112)  Douglas-Sterling 
Rev.  under  title:  Ace  in  the  Hole 


Big  Timber  IT)    

Carrie  .  .   

Crosswinds  ITI  (93) 

Darling.  How  Could  You  195) 

Dear  Brat  182)    

Detective   Story  1103) 

Flaming  Feather  ITI  

Greatest  Show  On  Earth  IT)  

Green    Gold  of  Nevada  ITI 
Here  Comes  the  Groom  (114) 
Hong  Kong  ITI 
Last  Outpost.  The  ITI  (89) 

Lemon  Drop  Kid,  The  (91)  

My  Favorite  Spy  (93) 
My  Son  John 

Passage  West  IT)    180)   _ 

Peking  Express  (85)   

Place  in  The  Sun,  A  (122)  . 
Rage  of  the  Vulture  The 
Red  Mountain  (T) 
Rhubarb  195) 
Sailor  Beware 

Samson  and  Delilah  (T)  (128) 

Shane  IT) 

Silver  City   IT)  (90) 
Somebody  Loves  Me 
Something  To  Live  For 
Son  of  Paleface  (T) 
Stooge.  The 

Submarine  Command  (89) 

That's  My  Boy  (98) 

The  Denver  &  Rio  Grande  IT) 

Trio  (91)  _ 

Warbonnet   (T)         ~  """ 

Warpath  195)  (T) 

When  Worlds  Collide  (82)  ITI 


Payne-Moorhead 

"Olivier-Jones    

Payne-Fleming   

Fontaine-Lund  _. 

Freeman-Arnold 
Douglas-Parker 
S.  Hayden-G.  Russell 

Stewart-Hutton  

Payne-Morrow   

Crosby-Wyman  

Reagan-Fleming 

Reagan-Fleming  ... 

Hope-Maxwell   

Hope-Lam*rr 

,  Hayes-Heflin   

Payne-O'Keefe 

Cotten-Calvet  

Clift-Winters 

Ladd-Kerr     ....  ...   

Ladd-Kennedy 
Milland-Sterling 
..Martin-Lewis 
Lamarr-Mature 
Ladd-Arthur 
DeCarlo-O'Brien 
Hutton-Meeker 
Fontaine-Milland 

Hope-Russell   ... 

Martin-Lewis  

Holden-Olson   

Martin-Lewis   

O'Brien-Hayden  

..Simmons-Rennie 

Heston-Hanson   

O'Brien-Jagger   

Derr-Rush      .  ..  . 


10-51 
11-51 
6-51 
11-51 


  9-51 

1-52 
5-51 
4—5 1 
12-51 

7-51 
...  8-51 
9-51 

1-52 
9-51 

~. 3-51 

12-51 
10  51  . 

10-51 


.  5104 ... 
5108 .... 
5021 ... 


5101 
5109 
5020 


5022 

5024 
5102 

5113 
5103 

5010 

5112 


8-13 
10-8 


6-4 

 7-2 

7-  30 

8-  13 

_____ 

10-8 


REPUBLIC 


1951-52  Features        Completed  (15) 
Serials  Completed   (  0) 
 Westerns       Completed   (  6) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production    (  I  ) 


IN  PRODUCTION 

TITLE — Running  Time 
Bal  Tabarin 

Leadville  Gun  Slingers 

COMPLETED 

Adventures  of  Captain  Fabian  (100) 

Arizona   Manhunt  160) 

Border  Saddlemates 

Buckaroo   Sheriff   of  Texas  (60) 

Bullfighter  and  the  Lady   (87)  . 

Captive  of  Billy  the  Kid 

Colorado  Sundown 

Dakota  Kid.  The  160) 

Desert   of  Lost  Men 

Don  Daredevil   Rides  Again 

Fabulous  Senorita,  The 

Fightinq  Coast  Guard  186) 

fliqht  from  Fury 

Fort  Dodqe  Stampede  160) 

Fuqitive   Lady    (78)  . 

Girl  From  Panama 

Havana  Rose  177) 

Honeychile     (Tr)  ... 

Hoodlum  Empire 

In  Old  Amarillo  (67) 


34 


RELEASE  CHART 

—  1950-51-52  — 


Cast 
Lawrence-China 

Rel. 

No. 

Rev. 

Lane-Riley 

E    Flynn-M.  Prelle 

10-6 

5101 

10-8 

Chapin-Janssen 

  9-15 

5068 

Allen-Kay 

Chapin-Janssen 

Stack-Page 

Lane-Edwards 

  5-1. 

  5-15 

5066 
5009 

IZs-7 

Rex  Allen  

Chapin-Janssen 

  7-1 

5067 

Lane  

Curtis-Towne 

11-19 
6-1 

S063 
5084 

Estelita-Clarke   

Donlevy-Tucker 
Edwards-Clark 

  6-1.. 

5010 

S-7 
6-18 

Lane-Kay  

8-24 

5062 

Paige-Barnes 
Estrelita-Clarke 

7  15 

501  1 

7-30 

Pogers-Rodriques 

C-inova-Foy  

5-15 
10-51 

5124 
5121 

9-24 

Do  kvy-Trevor      „  

Roger:  Edwards  _ 

  5-15 

5043 

6-* 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

Androdes  and  The  Lion  Simmons-Younq   

Biq  Sky.  The      Douglas-Martin  ... 

Clash  8y  Night  ..Douglas-Stanwyck 

Korean   Story,   The      Mitchum-Tallman  ... 

COMPLETED 

Alice  In  Wonderland  IT)  (75)   

Behave  Yourself  181)  ._  

Best  of  the  Badmen  (Tl  (84)  

Blue  Veil,  The  (114)    

Crack  Down        

One  False  Move  

Double   Dynamite  (80)  

Flvinq  Leathernecks  IT)  1102)   

Girl  in  Every  Port,  A     

Gun  Notches      

Gun  Thunder      -. 

Happy  Go  Lovely  (87)   

Half-Breed,  The   

Hard.  Fast  and  Beautiful  178) 

His  Kind  of  Woman  1120)   

Hot  Lead  160)  

I  Want  You  I  102) 

Jet  Pilot  (T)  1118)  

Jungle  of  Chang 

Jungle   Headhunters    (T)  (65)  

Kon-Tiki  (73)      

Las  Vegas  Story,  The    

Lilli  Marlene  172)    

Macao  .    —  

On  Dangerous  Ground     

Whip  Hand,  The  (82)  

My  Forbidden  Past  170)   

On  The  Loose  174)  

Overland  Telegraph  (60)  _ 

Pistol  Harvest  (60)  _   

Racket.  The  (88)  

Road  Agent  

Roadblock    173)       ...   ... 

Hustler's  Range    

Saddle  Legion  (60)   

Sealed  Cargo  (90)  

Slaughter  Trail   (C)  (76) 

Sons  of  the  Musketeers  (T)  

Target       

Texas  Triqqerman   

Thing,  The  (87)    

Tokyo  File  212   (84)   __   

Two  Tickets  to  Broadway  (T)  (106) 


Disney  Cartoon  

Winters-Granger  

Ryan-Trevor    

Wy  man-Carl  son    

Williams-Armstrong  ... 

Lupino-Ryan  „  

Sinatra-Russell    

Wayne-Ryan   

Marx-Wilson   

Holt-Martin  

HolV-Martin   ...._. 

D.    Niven-Vera  Ellen 

Young-Carter  .__  

Trevor-Forrest    

Russell-Mitchum 
Holt-Martin 

Andrews-McGuire   

Wayne-Leigh   

Travel  

Travel  

Travel  

Russell-Mature  

McDermott-Daniely 


7-51 
9-51 

292 
206 

.  7-14 
.9-24 

4-51 
10-51 

.174  .... 
263  . 

 5-7 

9-24 

10-51 
8-5 1 
12-51 


7-  51 
12-51 

.  6-51 

8-  51 


6-  51 
5-51 

I  1-51 

7-  51 


20th  CENTURY-FOX 


1951  Features 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

I  Don't  Care  Girl,  The  IT)  

Way  of  a  Gaucho  (T) 
Girl  Next  Door,  The  (T) 
Diplomatic  Courier 

COMPLETED 

Anne  of  the  Indes  (T)  (82)  

As  Young  As  You  Feel  177)  

Bells  On  Their  Toes    

David  and  Bethsheba  IT)  (123) 
Day  The  Earth  Stood  Still.  The  (92) 

Decision  Before  Dawn  (119)    

Desert  Fox.  The   (91)    , 

Down  Among  the  Sheltering  PalmsIT) 

Elooement  .   

S  Fingers    

Fixed  Bayonets 

Follow  the  Sun  (90)  

Fourteen  Hours  (91)   

Froqmen  (96)     

Girl  on  the  Bridge,  The  177) 
Golden  Girl  IT)  (1081 

Guy  Who  Came  Back.  The  (91)  

Half  Anqel   IT)  180) 


4-9 
9-24 


Rvan-Luoino 

11-51 

Reid-Tuttle     

Gardner-Mitchum 

 4-51  

 114... 

  4-9 

Evans-Earl  

 9-51  

.202  

8-13 

Holt-Martin  

•Holt-Martin 
Mitcnum-Scott 

 _.7-5l_. 

10-51 

'""205'"' 
210 

10-22 

Holt-Martin  

McGraw-Dixon 
-Holt-Martin   

204 

Holt-Martin  

117 

Andrews-Rains   

Donlevy-Grey   

Wilda-O'Hara    

ZT  5-51  I 
11-51 

_  118 

4-23 
10-22 

McGraw-White   

Holt-Martin 

:z.4p» 

......  S-7 

10-22 

Tobey-Sheridan   

Marly-Peyton  

Lpieth-Martin 

4-51 
...  5-51 
10-51 

174 
175 

Completed  (46)       In  Production  (21 


Cast 

Rel. 

No. 

Rev. 

..Gay  nor- Wayne 

Tierny-Calhoun 
Haver-Dailev 

Power-Neal 

Jordan-Paget 

1  1-51 

134 

10-22 

_  Woollev-Ritter 

_   4- 

51 

120 

7-30 

Crain-Lov   _    _    

Peck-Hayward 

8-27 

Rennie-Neal 
Merrill-Basehart 
.Mason-Young 

9- 

51 

129 

9-24 

10- 

51 

130 

10-8 

Lundigan-Greer  ... 

Webb-Francis 

Mason-Rennie 

... 

51 

 1 41  ! 

Basehart-O'Shea 

Ford-Baxter 

Douglas-Basehart 

Widmark-Andrews 

Haas-Michaels 

Day-Gaynor 

12- 

 5- 

 4- 

  .7- 

12- 

51 
-51 
-51 
-51 
-51 

112 

122 
139 

4-9 

3-26 

1 1- 

51 

136 

Douglas-Darnell  _ 

 7 

51 

118  . 

Young-Cotten 

 4 

-51 

1  16  . 

FILK  BULLETIN 


f  Can  Get  It  For  vou  Wholesale  (?l  I 
I'd  Climb  the   Highest  Mountain 

(Tl  (881  

I'll  Never  Forget  You  IT)  (90) 
Japanese  War  Bride  191 ) 

Journey  Into  Light  (87)    

Kangaroo  (T)    

Kefauver  Crime  Investigation 
Model  and  The  Marriage  Broker 
Let's  Make  It  Legal  (77) 
Love  Nest  1841 
Lydia  Bailey  (T) 


Meet  Me  After  The  Show  (T)  186) 
Millionaire  for  Christy  (91) 
Mr.  Belvedere  Rings  Ihe  Bell  188) 

No  Highway  In  The  Sky  

On  the  Riviera   IT)  190)   

People  Will  Talk    II 10) 
Phone  Call  From  A  Stranger 
Pride  of  St.  Louis 
Rawhide  6A 

Red  Skies  of  Montana  IT)   

Return  of  the  Texan 

Secret  of  Convict  Lake  183) 

Take  Care  of  My  Little  Girl  (T)  (93) 

Viva  Zapata 

Wait  Till  The  Sun  Shines  Nellie  (T) 

With  A  Song  In  My  Heart  (T)   

You're  in  the  Navy  Now   (93)  . 
Rev.  under  title:  U.S.S.  Teakettle 


Dailey-Hayward 

 4-51 

1  1  1 

4-9 

Haver-Lundigan 

_  ll-SI 

131 

Power-Blyth 

1 2—5  1 

142 

_ Yamaguchi-P.  Taylor 
Hayden-Lindfors 

1-52 
10  51 

132 

9  10 

O  Hara-Lawford 

News  Feature 

4-51 

J.  Crain-T.  Ritter 

Colbert-Carey 

Haver-Lundigan 

1-52 
1  1-51 
10-51 

133 
131 

1  1-5 
10-22 

-Robertson-Francis 
Grable-Carey 

8-51 

125 

8-13 

MacMurray-Parker 
Webb-Dru 
Stewart-Dietrich 
Kaye-Tierney 

9-51 
8  51 
10  51 
5-51 

127 
124 
121 

115  

8-13 
8  13 

4-23 

Grant-Crain 
Merrill-Winters 

9-51 

126 

9-10 

Dailev-Dru 

Power-Hayward 
-Widmark-Smith 

5-51 

113 

4-23 

Robertson-Boone 
Ford-Tierney 

8-51 

123 

Crain-Peters 

7-51 

119 

M.  Brando-J.  Peters 

Peters-Wavne 

Hayward-Calhoun 

Cooper-Albert 

4-51 

1  10 

3-12 

Golden  Mvd,    The  IT)   

Her*  Come  The  Nelsons   

Hollywood   Story  1761 

Iron  Man  It2)   

Katie  Did  It  1811 

Lady  from  Teias  IT)  1781 

Lady  Pays  Off.  The 

Lavender  Hill   Mob  The 

Little  Egypt  IT)  182) 

Ma  and  Pa  Kettle  at  the  Fair 

Ma  and  Pa  KeMIe  Back  on  the  Farm 

Mark  of  the  Renegade  IT)  181) 

Meet  Danny  Wilson 

Pool  of  London 

Prince  Who  Was  A  Thief.    ITI  IB5I 

Raging  Tide.  The  1921 

Reunion  In  Reno  179) 

Smuggler  s  Island   IT)  I7S) 

Son  of  Ali  Baba  IT) 

Steel  Town  IT) 

Strange  Door    The  1801 

Thunder  On  the  Hill  185) 

Treasure  of  Lost  Canyon.  The  IT) 

Up  Front  192)   

Weekend  With  Father   

You  Never  Can  Tell 


Blythe-Ferrer 

Oizie  and  Harriet 

Conte-Adems 

Keyes-Chandler 

Blyth-Steveni 

Hull-Duff 

Darnell. McNally 

Guinnesi-Hollowey 

Fleming-Stevens 

Mein-Kilbride 

Main- Kilbride 

Montalban-Charisse 

Sinatra-Winters 

Coheano-Shaw 

Curtis- Laurie 

Winters-Conte 

Stevens-Dow 

Keyes-Chandler 

Curtis-Laurie 

Sheridan-Lund 

Laughton-Kerloff 

Colbert-Blyth 

W    Powell-J  Adams 

Wayne. Ewell 

Neal-Heflin 

Powell-Dow 


134  . 

124  

5  21 

130 

7  16 

122 

5-21 

136 

10-8 

202  , 

Ma 

131 

8-27 

117 

4-9 

128 

8-13 

July 
Nov 
Oct 
May 


203 
135 
121 


6  18 

10-22 
10-8 
5-2 


WARNER  BROTHERS 


UNITED  ARTISTS 


1950-51   Features        Completed   (51)       In  Production  (0) 
RELEASE  CHART 

—  1950-51  — 

Sii 


COMPLETED 

A  Christmas  Carol   186)  _  

African  Oueen  (T)    _ 

Another  Man's  Poison   

Badman's  Gold  (56) 
Big  Night.  The  175) 
Chicago  Calling  174) 
Circle  of  Danger  186) 

Cloudburst  183)  

Cyrano  De  Bergerac  (112) 

Fabiola  194)  

First  Legion  186) 
Fort  Definance  181) 
Four  In  A  Jeep  197) 

Gold  Raiders  (56)   

Green  Glove.  The     

He  Ran  All  the  Way  177)   

High  Noon 

Hoodlum.   The  (63)  

Hotel  Sahara  187) 
Lady  Says  No.  The  ISO) 
Long  Dark  Hall.  The   186)  . 
Man  From  Planet  X  (70)  __ 

Man  With  My  Face  (75)   _ 

Mister  Drake's  Duck  (81) 
Mr.  Peek-A-Boo  174) 
My  Outlaw  Brother   (82)  _ 
Naughty  Arlette  186)      ..  _ 

New   Mexico   IA)  (76)   

Obsessed  177)    

Odette  11051    

Oliver  Twist  1 105)     _ 

One    Big  Affair 
Pardon  My  French  181) 
Prowler.  The  192) 
Queen  For  A  Dav  1 107) 
Scarf,  The  (86) 
River,  The  IT)  1991 
Saturday   Island  (T) 
Skipalong  Rosenbloom  (72) 
So  Long  at  the  Fair  185)  .  _ 

St.  Benny,  the  Dip  180)  

Thev  Were  Not  Divided   

Three  Steps  North  185)   

Tom  Brown's  Schooldays  193) 
Try  and  Get  Me  190) 

Formerly:  Sound  of  Fury 
Two  Gals  and  a  Guy  (70) 
Underworld  Story 

Volcano  (110)  

Well.  The  (85) 

When  I  Gi„w  Up  (90)  


Bogart-Hepburn   

-Davis-Merrill   

Carpenter- Lock  wood 
J.  Barrymore-P.  Foster 

Duryea-Anderson   

Milland-Roc   

_  Preston-Sellars   

Ferrer-Powers   

Michele  Morgan  

Boyer-Bettger  

D.  Clark-B.  Johnson 

Lindfors-Meeker   

O'Brien-Ryan 
Ford-Brooks 

Garfield-Winters    _  .. 

Cooper-Kelly 

Tierney-Roberts 

DeCarlo-Ustinov  _ 

Caulfield-Niven 

Harrison-Palmer   _ 

Clark-Field 

Nelson-Matthews 

Fairbanks-Donlan 

Greenwood -Bourvil 

Rooney-Hendrix 

Tettering-Williams 

Ayres-Marshall 

Harrar-Fitigerald 

Neagle-Howard   _  _ 

Newton-Guinness  .  ... 

O'Keefe-Keyes 

Oberon-Henreid 

Heflin-Keyes      ...  .... 

Avery-McGavin 

Ireland-McCam  bridge 
..American-Indian 

Linda  Darnell   

Baer-Coogan 
.  Simmons-Bogarde 
..  Roch-Haymes 

Underdown-Clanton 

Bridges-Padavoni 

Davies-Newton 

Lovejoy-Ryan 

Paige-Alda 
Duryea-Storm 
Magnani-Brazzi 
Rober-Kelly 
Preston-Scott 


3-22 
8-3 
7-20 


11-20 


Kr. 

4-  1   ....  Lev  

5-  11      Sirk     _  . 

1 1-9  

8-  24  .  .  ..  

9-  14   11-5 


7-16 
6-18 


7-13  Reb 


.10-15   Jar. 

11-14-   _ 

4-10 

4-27  _  Cor 


1950-5  1   Features        Completed  (34) 


eduction  (5) 


IN  PRODUCTION 

TITLE — Running  Time 
Crimson  Pirate,  The  IT) 
Mara  Mary 
Retreat.  Hell 
She's  Working  Her  Way 

Through  College  IT)  .  _ 
This  Woman  Is  Dangerous 

COMPLETED 

About  Face  IT)   

Along  the  Great  Divide  (88) 

Big  Trees,   The  IT)   

Bugles  in  the  Afternoon  IT) 
Carson  City 


RELEASE  CHART 

—  1950-51  — 

Cast 
B  Lancaster 
Flynn-Roman 


Close  To  My  Heart  (901 
Come  Fill  the  Cup  1113) 

Captain  Horatio  Hornblower  (T)  M7Peck-Mayo 


Loveioy-Carlson 


MacRae-Bracken 
Douglas-Mayo 
Cochran-Aldon 
R.  Milland-H.  Carter 
Scort-Massey 

Milland-Tierney  11-3 
Cagney-P.  Thaxter  10-20 


Distant  Drums  IT) 
Force  of  Arms  I  100) 
Fort  Worth  IT)  (80) 


Goodbye.  My  Fancy  1 107) 
1  Was  A  Communist  (83) 
'II  See  You  In  My  Dreams 

nside  Walls  of  Folsom  Prison   187)  Brian-Cochran 


Cooper-Alden 
Holden-Olson 
Scott-Brian 
Crawford-Young 
Loveioy-Hart 
Day-Thomas 


8-11 

9  15 
7-14 
5-19 

5-5 


102 
028 
024 
023 


Jack  and  The  Beanstalk  

Lion  and  the  Horse,  The 

Jim  Thorpe    Ail-American  1105) 

Lullaby  of  Broadway  IT)  (92)  .  . 

North  of  the  Rio  Grande  

On  Moonlight  Bay  (T)  (95)   

Only  The  Valiant  I  105) 


Abbott-Costello 
Cochran-Teal 
Lancaster-Bickford 
Day-Nelson 
McCrea-Mayo 
MacRae-Day 
Peck-Payton 


Painting  Clouds  with  S'hine  (T)   187)  Mayo-Morgan 


Raton  Pass  184) 

Room  For  One  More   

San  Francisco  Story 
Starlift  (103) 

Strangers  On  A  Train   1 101) 
Streetcar  Named  Desire,  A  (122) 


Morgan-Neal 
Grant-Drake 
McCrea-DeCarlo 
Cagney-Mayo 
Walker-Roman 
Brando-Leigh 

S.  Cochran-P.  Carey  11-17 


12-1 

6-30 
9-29 


Roman-Cochran 
Bolger-McLerie 


9-22 


J27 
104 

101 
103 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat  l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


UNIVERSAL-INTERNATIONAL 


1950-51  Fea- 


ures 


Completed   (51)       In  Production  (3) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 

World  In  His  Arms,  The  (T)   _..  Peck-Blyth 

Has  Anbody  Seen  My  Gal    Colburn-Laurie 

Hear  No  Evil    Curtis-Sterling 

Ma  and  Pa  Kettle  Go  To  Paris  Main-Kilbride 

COMPLETED 

Apache  Drums  IT)   175)  Grey-McNally 

Battle  at  Apache  Pass  IT) 

Bend  of  the  River  IT)   

Briqht  Victory  (97)  

Bronco  Buster  IT) 
Cattle   Drive   (T)    177)  .... 
Cave  of  Outlaws.  The  (T)  (76) 

Cimarron  Kid,  The  (T)  

Comin'  Round  the  Mountain  (77) 

Fat  Man.  The  (771   

Finders  Keepers  

Flame  of  Araby  (Tl  

Francis  Goes  to  the  Big  Town  Donald  O'Connor 

Francis  Goes  to  the  Races  188)  O'Connor-Laurie 

NOVEMBER    19,  1951' 


Stewart-Kennedy   

Dow-Kennedy    

Lued-Brady  

McCrea-Stockwell  _  _  Aug 
Smith-Carey  Nov 

...A.  Murphy-Y.  Dugay   

..Abbott  &  Costello-Shay  -.  July. 

Smart-London      ...   May 

_Ewell-Adams  

Chandler-O'Hara  .  


 July 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


The  Portrayal...  The  Cast... 

The  Drama  of  the  "Year/ 


JERRY  WALD  and 
NORMAN  KRASNA 
present 


Magnificent  jane  wyman 
once  again  deeply 
touches  your  heart . .  . 
as  she  did  in  the 
ever-to-be-remembered 
Johnny  Belinda  .  .  .  this 
time  as  the  woman 
Louise,  another  truly 
great  role  that  only 
jane  could  portray. 


Jane  wyman 

THE  BLUE  VEIL 


co-starring 


CHARLES  HON  •  JOAN  BLONDELL  •  RICHARD  CARLSON  •  AGNES  MOOREI 
TAYLOR  •  AUDREY  TOTTER  •  CYRIL  CUSACK  •  EVERETT  SLOANE  •  NATALIE  111 


Produced  by  JERRY  WALD  and  NORMAN  KRASNA    •    Directed  by  CURTIS  BERNHARDT 
Associate  Producer  RAYMOND  HAKIM    •    Screenplay  by  NORMAN  CORWIN    •    Story  by  FRANCOIS  CAMPA1 


FOUR- COLOR  PAGES  IN  WOMEN'S  MAGAZINES  PLUS  TOP  WEEKLIES! 

Maximum  penetration  where  it  counts  most  in  selling  seats!  ...  National  advertising  campaign  to  31,893,457 
CIRCULATION,  including  Woman's  Home  Companion,  Good  Housekeeping,  McCall's,  Parents ...  Life,  Look,  Saturday 
Evening  Post,  Collier's ...  Fan  magazines  and  MacLean's  (Canada). 


DECEMBER  3.  1951 


SHALL  WE 


TALK  ABOUT 
ARBITRATING 
FILM  RENTALS? 

jfc  9t  Practical? 

JeaAiUe? 
.  .  .  heritable? 


•     •  • 


THE  GIANT 

TRl 


i 


► 


i 


THERE'S  NO  BUSINESS  H 


"  THEM  ALL  ■ 


TESTED  ...and  PROVED  I 


5QU0  VADIS" 
TRADE  SHOWS 

THEATRE  SCREENINGS  DEC.  10  TO  DEC.  1 

Invitations  have  been  mailed  to  exhibitors.  If  yours  has  not  arrived,  come 
anyhow.  No  one  should  miss  this  most  important  trade  show  of  our  time. 


DOING  133%  OF  "GWTW" 
BUSINESS  IN  FIRST  8  SPOTS! 

The  public  has  spoken.  All  first  dates  are  history-making!  Imagine!  National 
average  is  133%  of  "GWTW"!  When  you Ve  got  the  goods  the  people  will 
cheerfully  pay.  Here  are  the  cities  which  prove  in  their  first  5  days  (at 
press  time)  that  "Quo  Vadis"  is  the  Greatest  Entertainment  of  All  Time: 

PITTSBURGH,  SAN  FRANCISCO,  ATLANTA,  CLEVELAND, 
MEMPHIS,  ST.  LOUIS.  And  in  its  3rd  week  in  NEW  YORK  it 
beats  "GWTW"  at  the  Astor  by  17%  and  at  the  Capitol  by  48%. 


BULLETIN 

EDITOR! 

Vol.  19,  No.  25  December  3,  1951 

Pace  Five 


KNOWLEDGE 

"It  is  possible  to  spell  a  word  correct* 
ly  by  chance,  or  because  someone 
prompts  you.  but  you  are  a  scholar 
only  if  you  spell  it  correctly  because 
you  know  how.  "—ARISTOTLE 


REVIEWS  in  This  Issue 


Westward  The  Women     7 

Callaway  Went  Thataway   7 

Weekend  With  Father   _   8 

Flame  Of  Araby   _    _.  _   8 

honeychile   8 


FILM  BULLETIN  —  An  Inde- 
pendent Motion  Picture  Trade 
Paper  published  every  other 
Monday  by  Film  Bulletin  Com- 
pany. Mo  Wax,  Editor  and  Pub- 
lisher. BUSINESS  OFFICE:  35 
West  53rd  St.,  New  York,  19; 
Circle  6-9159.  David  A.  Bader, 
Business  Manager;  Leonard 
Coulter,  Editorial  Representative. 
PUBLICATION  —  EDITORIAL 
OFFICES:  1239  Vine  St.,  Phila- 
delphia 7,  Pa.,  RIttenhouse  6- 
7424;  Barney  Stein,  Managing 
Editor:  Jack  Taylor.  Publication 
Manager:  Robert  Heath,  Circu- 
lation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave., 
Pacific  Palisades.  Calif.,  Hillside 
8183;  Jay  Allen,  Hollywood 
Editor.  Subscription  Rate:  ONE 
YEAR,  $3.00  in  the  United 
States;  Canda.  $4.00;  Europe. 
$5.00.  TWO  YEARS,  $5.00  in 
the  United  States;  Canada, 
$7.50;  Europe,  $9.00 


A  III.    FILM  RENTALS 
A   SUBJECT   I'llll  ARBITRATION? 

The  whole  subject  of  creating  a  system  of  arbitration  for  our  industry  will  come 
in  for  considerable  discussion  through  the  next  few  months.  The  more  fully  and  freely 
this  problem  is  sifted,  the  more  likely  is  realization  of  the  hope  that  an  adequate, 
workable,  form  of  arbitration  will  be  devised  to  serve  as  a  ha|)|>v  substitute  for  the 
widespread,  costly  Litigation  that  now  besets  this  business. 

Principal  among  the  issues  to  be  decided  is  whether  film  rentals  can  and  should 
be  included  in  an  arbitration  plan.  On  this  question  there  are  widely  divergent  views. 

FILM  IU  LLETIN.  in  the  last  i->ue.  published  a  letter  from  a  regular  contributor, 
Joe  Exhibitor,  in  which  he  expressed  the  view  that  it  is  not  practical  to  include  film 
rentals  in  an  arbitration  setup,  and  he  urged  Allied  States  Association  to  change  its 
position  on  this  issue.  The  following  letter,  from  a  prominent  industryite  who  prefers 
to  remain  anonymous,  disputes  Mr.  Exhibitor's  opinion  and  supports  Allied's  view. 

Dallas,  Texas 
November  27,  1951 

Mr.  Joe  Exhibitor 
c/o  Mo  Wax.  Editor 
FILM  BULLETIN 
Philadelphia.  Pennsylvania 

Dear  Joe: 

I  note  vour  letter  of  November  13  in  the  November  19  issue  of  FILM 
BULLETIN. 

I  want  to  comment  on  one  phase  of  vour  letter  and  that  regarding  in- 
dustry-wide arbitration.  You  state: 

"The  Allied  convention  proposed  a  plan  that  includes 
film  rentals  as  part  of  the  arbitration  setup.  Frankly.  I 
hope  the  Allied  leadership  kicks  this  idea  out  land  I 
believe  it  will),  because  it  isn't  feasible  nor  would  it  be 
acceptable  to  the  film  companies  '»r  to  most  exhibitors." 

It  is  quite  evident  from  your  comments  that  you  are  not  familiar  with 
legal  phase  of  arbitration.  Some  fifteen  or  twenty  years  ago  the  Supreme 
Court  of  the  United  States  laid  down  the  dictum  that  compulsory  arbitra- 
tion was  illegal:  only  voluntary  arbitration  in  every  case  was  given  ap- 
proval by  the  court. 

Your  statement  that  such  arbitration  of  film  rentals  would  not  be 
acceptable  to  the  film  companies  may  very  possibly  be  true.  However,  one 
can  never  tell  until  he  tries,  and  perhaps  there  may  be  a  quid  pro  quo  that 
might  possibly  make  the  whole  thing  acceptable.  However,  let's  not 
speculate  on  that  but  revert  to  your  objection  as  an  exhibitor. 

In  the  remote  contingency,  let  us  say.  that  the  plan  is  accepted  by  the 
film  companies,  they  would  enter  into  a  legal  contract,  binding  themselves 
but  not  anyone  else,  because  obviously  neither  you  nor  any  other  exhibitor 
could  be  bound  by  it  unless  you  agreed  to  it.  That  being  so.  you  who  state 
that  vou  don't  want  your  film  rental  arbitrated  by  anyone,  could  go  along 
in  vour  merry  way  and  negotiate  them  yourself  without  resorting  to  the 
remedv.  which  would  be  available  if  you  needed  it.  However.  I  know  of 
thousands  of  exhibitors  over  this  country  who  today  would  be  tickled  to 
death  if  they  had  the  opportunity  to  present  their  figures  and  a  reasonable 
attitude  before  an  impartial  arbitrator  to  review  them  who  had  the  power 
to  either  accept  or  reject  them. 

In  this  way.  as  you  see.  you  could  "eat  your  cake  and  have  it  too." 
Can  vou  find  any  fault  in  that? 


Very  truly  yours. 

A  Friendlv  Allied  Organi 


Man 


What  do  vou  think  about  this?  Is  it  feasible  and  desirable  to  make  film  rentals 
part  of  an  industry-wide  arbitration  system? 


\n  eyeful  •••an  earful... 

an  armful  of  the  BIG  TOWN! 


TO  B 


TECHN^COUg 


Grab  your  gal!  Grab  your  guy!  Grab  yourself 
two  tickets  to  the  Broadway  hit  that's  got  everything! 

Torchy  songs  . . .  sizzling  dances  .  .  .  high-voltage  loving  . . . 
and  a  laugh  for  every  light  on  the  Great  White  Way! 


f 


V 


36,522,738  HOWES  REACHED  BY  FOUR-COLOR  NAT'L.  ADS!  Full  pages  in  Sat.  Eve.  Post,  Look,  Collier's ...  Cosmopolitan,  Redbook,  Holiday...! 

Week  and  Parade  Sunday  magazines  (62  cities) ...  Hit  Parader,  Song  Hits,  Popular  Songs  ...  Fan  magazines  and  New  Liberty  (Canada) . . .  total  circulation  36,522,7 


♦WESTWARD  THE  WOMEN'  TOPFLIGHT  WESTERN  FOR  EVERYONE 

Rates  •  •  •  generally  with  exploitation 


Met  ro-Goldwyn- Mayer 
118  minutes 

Robert  Taylor,  Denise  Darcel,  Hope  Emer- 
son,   John    Mclntire,    Henry  Nakamura, 
Lenore   Lonergan,   Marilyn   Erskine,  Julie 
Bishop,  Renata  Vanni,  Beverly  Dennis. 
Directed  by  William  A.  Wellman 

"Westward  the  Women"  is  a  big-time, 
highly  dramatic,  and  exciting  Western,  pos- 
sibly to  be  classed  by  some  in  the  league 
with  "Stage  Coach"  and  "Cimarron,"  pretty 
good  cinematic  company.  Produced  by  Dore 
Scharv  with  an  eye  for  spectacle  value  and 
warm  storv  values,  the  original  screenplay 
is  a  superlative  job  of  movie  writing.  The 
dialogue  <s  rich  and  pungent;  the  characters, 
real  and  interesting.  The  story  idea  is  dif- 
ferent, and  unlike  most  deluxe  horse  operas, 
calculated  to  appeal  to  women.  William  A. 
Wellman,  a  director  who  knows  the  frontiers 
as  intuitively  as  the  late  Daniel  Boone — 
and  how  best  to  put  it  on  celluloid — directs 
"Westward  the  Women"  with  a  strong, 
vigorous  hand.  The  absence  of  artifice  is 
refreshing,  and  here  is  one  time  audiences 
cannot  complain  about  leading  ladies  scam- 
pering across  the  plains  with  perfect  West- 
more  hair-dos.   And  there  is  not  obtrusive 


mood  music  to  warn  you  how  to  react  at 
given  dramatic  points  in  the  script.  "West- 
ward the  Women"  shapes  up  as  the  most 
satisfying  outdoor  film  in  the  deluxe  class 
to  emerge  from  Hollywood  this  year.  It 
should  reap  rich  reward  at  the  boxoffice, 
once  it  gets  a  good  start  via  exploitation. 
Word-of-mouth  advertising  will  add  impetus 
and  the  reviews  cannot  fail  to  be  favorable. 
Here  is  an  attraction  that  is  not  limited  to 
any  particular  type  of  theatre.  It  has 
enough  of  everything  for  everyone. 


The  film  is  studded  with  good  perform- 
ances, notably  that  of  Robert  Taylor  who 
plays  the  tough  man  of  the  plains  in  a  most 
believable  manner.  Denise  Darcel  is  tantali- 
/inu'  as  a  voluptuous  French  girl,  ami  Hope 
Fmcrson  wraps  tip  her  spot  of  a  rugged 
New  Kngland  widow  to  perfection.  John 
Mclntire  is  fine  as  the  pioneer-owner  of  the 
valley.  The  other  women  are  first  rate  in 
parts  to  match  their  individual  talents. 

STORY:  Yarn  spots  Robert  Taylor  as 
the  tough,  surly  boss  of  a  wagon  train 
travelling  from  Chicago  to  California  with 
a  group  of  women  who  arc  to  become  the 
wives  of  pioneers  settled  in  a  beautiful, 
fertile  C  alifornia  valley.  Taylor  doubts  that 
the  women  will  get  through,  but  their  sta- 
mina is  extraordinary.  Even  when  his 
handlers  desert  and  there  are  only  three  men 
left  to  guide  them,  the  women  fight  on, 
battling  the  elements  and  the  Indians  with 
the  assurance  and  gallantry  of  oldtimers. 
Ultimately  they  reach  their  destination,  and 
here  script,  director,  and  performers  achieve 
a  milestone  in  outdoor  celluoid.  The  climax 
comes  naturally,  realistically — without  the 
usual  last  minute  fight.  The  women  meet 
their  men,  their  future  husbands,  in  a  se- 
quence notable  for  its  dignity,  taste  and 
emotion.    HAN'XA  (Hollywood) 


'CALLAWAY  WENT  THATAWAY'  HILARIOUS  SPOOF  ON  TV  WESTERNS 


Rates  •  •  •  generally 

Metro-Goldwyn-Mayer 
81  minutes 

Fred  MacMurray,  Dorothy  McGuire,  Ho- 
ward Keel,  Jesse  White,  Fay  Roope,  Natalie 
Schafer,  Douglas  Kennedy,  Elisabeth 
Fraser,  Johnny  Indrisano,  Stan  Freberg, 
Don  Haggerty. 

Produced  and  directed  by  Norman  Panama 
and  Melvin  Frank. 


As  its  title  implies,  "Callaway  Went  That- 
away"  is  a  farcical  satire  on  the  oldtime 
westerns  which  have  become  the  backbone 
of  telev  ision  programming.  \\  hat  should 
establish  this  Metro  comedy  as  a  boxoffice 
winner  is  the  fact  that  adults  will  be  tickled 
pink  over  the  obvious  spoof  on  the  Hopa- 
long  Cassidy  phenomenon  which  the  advent 
of  TV  created,  while  the  film  still  has 
enough  western  flavor  and  movement  to 
make  it  a  good  attraction  for  the  youngsters. 
This  combination,  plus  the  clever  scripting 
of  Norman  Panama  and  Melvin  Frank — 
whose  snappy  dialogue  comes  through  parti- 
cularly well  in  Fred  MacMurray's  lines  — 
will  provide  exhibitors  with  an  entertainment 
that  should  pay  off  handsomely  at  the  ticket 


window.  Of  added  interest  are  the  "surprise" 
guest  appearances  of  Clark  Gable,  Esther 
Williams  and  Elizabeth  Taylor,  all  of  whom 
make  the  Hollywood  setting  seem  more 
authentic.  Satisfied  moviegoers,  who  will 
still  be  chuckling  as  they  leave  the  theatre, 
will  talk  laughingly  and  lovingly  about 
"Callawav  Went  Thataway,"  to  give  it  that 
valuable  word-of-mouth  boost. 

The  casting  of  Howard  Keel  in  the  dual 
role  of  the  old  and  new  Callaway  saddles 
the  singing  star  of  "Annie  Get  Your  Gun" 
with  a  burden  which  he  carries  fairly  well. 
MacMurray  and  Dorothy  McGuire  wear  the 
farcical  situations  as  comfortably  as  an  old 
shoe,  both  having  had  plenty  of  experience 
in  such  roles.  In  addition  to  handling  the 
screenplay,  Panama  and  Frank  also  are 
credited  with  the  production  and  direction 
of  the  picture.  They  have  done  a  fine  job 
in  all  three  departments. 

STORY:  The  problem  of  finding  the  old- 
time  cowboy  movie  star,  Smoky  Callaway, 
whose  revived  pictures  have  made  him  the 


•  POOR  •  •  FAIR 

•  •  •  GOOD         •  •  •  •  TOPS 


top  name  in  the  video  and  advertising  world, 
confronts  advertising  agents  Fred  Mac- 
Murray  and  Dorothy  McGuire.  Via  fan 
letter,  they  discover  a  young  cowpoke 
(Howard  Keel)  who  bears  a  remarkable 
likeness  to  the  missing  oldtimer.  Keel  is 
persuaded  to  double  for  the  real  Callaway 
on  a  promotion  tour,  with  plans  to  use  him 
later  for  endorsements  and  new  TV  films. 
While  Miss  McGuire  is  on  tour  with  the 
substitute  Callaway,  Jesse  White,  ex-press 
agent  for  Callaway,  finds  the  original  (also 
Howard  Keel)  in  a  bar  in  Mexico,  persuades 
him  to  return  to  the  States,  where  together 
they  stand  to  clean  up  a  small  fortune. 
MacMurrav  and  Miss  McGuire  are  now  con- 
fronted with  the  problem  of  handling  two 
Callaways.  The  real  Callaway,  an  obnoxious 
character  who  can't  stay  off  the  bottle,  tells 
his  stand-in,  a  nice  guy  who  wants  to  do  all 
he  can  for  his  young  fans,  that  he  can  go 
back  to  his  ranch.  After  a  bruising  fist-fight, 
in  which  Keel  the  good  guy  knocks  out  Keel 
the  bad  guy,  the  former  sets  up  a  trust  fund 
for  underprivileged  kids,  taking  all  profit 
out  of  the  situation  for  the  original  Calla- 
way. The  latter  goes  back  to  Mexico,  his 
double  continues  as  the  cowboy  idol,  with 
the  happy  ending  finding  him  engaged  to 
Miss  McGuire.  JACKSON 


DECEMBER   3  „  1951 


7 


'WEEK-END'  WITH  FATHER'  FAMILY  PICTURE  WITH  LAUGHS 

Rates  •  •  •  -  in  family  houses 

Universal 
83  minutes 

Van  Heflin,  Patricia  Neal,  Gigi  Perreau, 
Virginia   Field,   Richard   Denning,  Jimmy 
Hunt,  Janine  Perreau,  Tommy  Rettig,  Gary 
Pagett,  Frances  Williams,  Elvia  Allman. 
Produced  by  Ted  Richmond 
Directed  by  Douglas  Sirk 


Universal  which  has  progressively  evi- 
denced the  happy  knack  of  turning  out 
pleasant  family  comedies  dealing  with  twists 
to  everyday  situations,  has  another  good 
bet  in  "Weekend  With  Father".  The  rather 
lightweight  story  concerns  a  widow  with 
two  boys  and  a  widower  with  two  girls, 
who  meet  at  the  rail  terminus  as  they  are 
seeing  their  kids  off  to  summer  camp,  and 
end  up  there  with  them  to  become  involved 
in  a  series  of  hilarious  complications.  Ted 
Richmond's  production  is  thoroughly  work- 
manlike and  gives  Director  Douglas  Sirk 
every  opportunity  to  exploit  the  film's  possi- 
bilities and  make  it  good,  clean,  wholesome 
fun  with  plenty  of  movement  and  life,  a 
dash  of  romance  and  a  whole  jugful  of  zest- 
ful  clowning.  It  should  make  a  happy  at- 
traction for  the  family  trade.  The  dialogue 
has  plenty  of  snappy  repartee: 

"Love  is  like  soup.  You  have  to  do  a 
little  spooning  before  you  can  find  what's  in 
it." 


"I'd  like  to  come  home  some  night  and 
find  someone  I  love  waiting  for  me."  "So 
would  I,  and  I've  been  married  for  20 
years" ) 

"Usually,  all  that  father  gets  on  Father's 
Day  is  the  bill  for  Mother's  Day." 

The  cast  is  fine.  Van  Heflin  ploughs  man- 
fully through  a  part  which  presents  him  as 
an  armchair  athlete  with  a  fondness  for 
bragging  about  his  prowess  and  a  total  in- 


ability to  make  good  his  boasts.  Patricia 
Neal  is  equally  good  as  the  widow  who  is 
so  anxious  to  marry  again  that  she  covers 
up  for  Heflin  through  thick  and  thin.  The 
boys'  camp  instructor,  a  health  food  faddist 
with  bulging  muscles  and  few  brains,  is 
turned  into  a  plump  role  by  Richard  Den- 
ning. Stellar  performances  are  turned  in  by 
the  four  children  in  the  picture,  Jimmy 
Hunt  and  Tommy  Rettig  and  Gigi  Perreau 
and  Janine  Perreau. 

STORY:  Widower  Van  Heflin  is  seeing 
his  two  daughters  off  to  summer  camp  when 
he  meets  Patricia  Neal,  widow,  whose  two 
boys  are  off  to  a  neighboring  camp.  A 
romance  develops  between  them  and  they 
decide  to  visit  the  children  and  break  the 
news  of  their  engagement.  A  blonde  tele- 
vision star,  Virginia  Field,  has  her  hooks 
in  Heflin.  She  also  arrives  at  the  camp 
where,  to  Heflin's  and  Neal's  dismay,  their 
children  apparently  detest  each  other,  and 
take  a  fancy  to  the  TV  blonde.  The  mis- 
understandings which  follow  aren't  made 
easier  by  the  camp's  muscle-bound  instruc- 
tor, who  tries  to  woo  the  widow  by  making 
Heflin  look  foolish  on  the  athletic  field.  In 
time,  however,  the  four  children  discover 
unsuspected  virtues  in  each  other,  and  in 
their  prospective  parents,  and  finally  suc- 
ceed in  patching  the  situation  up. 

COULTER 


FLAME  OF  ARABY'  GOOD  TECHNICOLOR  DESERT  OPERA  FOR  ACTION  FANS 

Rates  •  •  +  in  action  houses 


car 


Universal-International 
77  minutes 

Maureen  O'Hara,  Jeff  Chandler,  Maxwell 
Reed,  Susan  Cabot,  Lon  Chaney,  Buddy 
Baer,  Richard  Egan,  Royal  Dano. 
Directed  by  Charles  Lamont 

"Flame  of  Araby"  offers  heaving  bosoms 
in  Technicolor,  exotic  atmosphere  and  der- 
ring-do in  a  combination  that  should  well 
satisfy  the  fans  of  make-believe  land.  Sport- 
ing some  lush  scenery,  costuming  and 
horses,  the  Leonard  Goldstein  production 
fills  the  bill  for  hokum,  aided  and  abetted  by 
Charles  Lamont's  direction  which  keeps  the 
action  moving  at  a  good  pace.  Production 
qualities  and  Lamont's  tongue-in-cheek  sur- 
mount the  strictly  formula  plot.  Children — 
of  all  ages — will  be  entertained,  whether  they 


STactory  dualler  generally 

take  it  seriously  or  not.  The  more  discrimi- 
nating will  have  to  be  in  a  light  mood  to 
swallow  some  of  the  outrageously  trite  se- 
quences. 


As  a  rugged,  hard-riding  hero  of  the  sands 
land,  Jeff  Chandler  is  effective  though  wast- 
ed in  a  role  that  offers  him  little  opportunity 
other  than  to  bare  his  well-proportioned 
chest.  Maureen  O'Hara  poses  in  one  flimsy 
net  costume  after  another  to  make  a  colorful 
and  seductive  attraction,  and  Susan  Cabot 
is  a  vivacious  addition  scoring  in  an  undul- 
ating dance  sequence.  Buddy  Baer  and  Lon 
Chaney  are  the  heavies  and  their  combined 
poundage  should  be  enough  to  hold  down 
that  department  for  any  picture  of  this  type. 

STORY:  A  Bedouin,  Jeff  Chandler,  the 
son  of  a  shiek,  goes  out  to  hunt  wild  horses 


and  runs  across  a  wild  stallion  that  is  the 
fastest  horse  in  Araby.  He  rescues  a  prin- 
cess, Maureen  O'Hara,  from  a  stampeding 
herd  and  she  offers  to  reward  him  if  he  will 
come  to  her  father's  castle.  When  the  prin- 
cess' father  dies,  her  guardian  makes  ar- 
rangements to  marry  her  off  to  one  of  the 
leaders  of  a  villainous  group  of  cuthroats 
headed  by  Buddy  Baer  and  Lon  Chaney. 
She  tricks  them  into  agreeing  that  the  win- 
ner of  the  annual  Grand  Tayifa  race  hereto- 
fore always  one  of  the  leader  brothers,  could 
be  her  husband.  Meanwhile  the  Bedouin  has 
captured  the  fleet  steed  and  is  in  love  with 
the  princess.  When  the  day  of  the  race 
comes,  Chandler  gives  everyone  else  a  half- 
lap  head  start  and  still  manages  to  make 
off  with  the  race  and  the  princess. 

WEBBER 


HONEYCHILE'  GOOD  CANOVA  TRUCOLOR  COMEDY  FOR  HER  FANS 

Rates  •  •  +  for  rurals  and  lesser  nabes 


Republic 
89  minutes 

Judy  Canova,  Eddie  Foy,  Jr.,  Alan  Hale,  Jr., 
Walter  Catlett,  Claire  Carleton. 
Directed  by  R.  G.  Springsteen] 

Pot  the  corn  belt  where  Judy  Canova 
carries  a  loyal  and  enthusiastic  following, 
"Honcychilc,,"  her  first  movie  in  several 
years,  has  the  elements  of  a  moneymaker. 
Herbert  Yates  has  given  the  presentation 
first  class  production  trimmings  in  the  new- 
ly improved  Trucolor,  which  shows  to  good 
advantage.    The  screenplay  is  strictly  for 


laughs,  with  plenty  of  pratfalls,  chases  and 
the  like  to  keep  the  action  lively.  More 
musical  specialties  would  have  given  the 
show  a  better  rounded  tone,  but  as  it  stands, 
the  piece  is  good  entertainment  for  its  parti- 
cular public.  Well  played  by  Miss  Canova 
and  an  above  average  supporting  cast,  di- 
rected with  verve  and  animation  by  R.  G. 
Springsteen. 

Judy  is  her  likeable,  amusing  self,  al- 
though Eddie  Foy,  Jr.  works  hard  for  the 
laughs  he  gets.  Alan  Hale,  Jr.  registers  in 
an  unsympathetic  part. 

STORY:  Judy  Canova's  song  is  published 


by  a  New  York  firm  and  is  on  its  way 
toward  becoming  a  hit  when  the  owner, 
Walter  Catlett,  discovers  another  writer's 
name  is  attached  to  the  tune  and  that  the 
rights  had  not  been  bought  from  the  hill 
billy  composer.  He  sends  Eddie  Foy,  Jr. 
out  West  to  get  Judy's  name  on  a  contract. 
But  it  isn't  as  easy  as  imagined.  Judy  has 
dedicated  the  song  to  boy  friend  Alan  Hale, 
Jr.,  doubts  the  good  taste  of  using  it  for 
commercial  gain.  Ultimately,  Foy  gets  his 
way  but  not  before  an  assortment  of  comic 
interludes  have  been  called  into  play. 

HANNA  (Hollywood) 

FILM  BULLETli: 


Sehin4  the  £ceneJ  ctf  Oiltn  Production 


STUDIO  SIZ6-UPS 


COLUMBIA 

Six  Films  Rolling  Brings 
Production  Near  Peak  Level 

Speculation  in  New  York  financial  circles 
during  the  past  month  that  Columbia  prexy 
Harry  Cohn  will  retire  because  of  ill  health, 
has  registered  no  effect  on  the  stepped  up 
production  pace  which  has  been  underway 
at  the  Gower  Street  studio  for  the  past  60 
days.  December  will  find  the  company  oper- 
ating at  a  near-peak  level  for  the  year,  with 


STANLEY  KRAMER 


six  productions  before  the  cameras. 

Broderick  Crawford  reported  back  to  the 
lot,  following  his  highly  successful  three- 
month  swing  around  the  country  to  plug 
"The  Mob,"  and  started  work  on  November 
27,  in  "The  Sabre  and  the  Arrow,"  a  Buddy 
Adler  production,  under  the  direction  of 
Andre  de  Toth.  On  the  same  day,  producer 
Colbert  Clark  and  director  Ray  Nazarro 
launched  the  latest  Charles  Starrett-Smiley 
Burnette  sagebrusher,  "Rough,  Tough 
West."  This  week,  Sam  Katzman  tees  off 
on  "A  Yank  In  Indo-China,"  an  original 
script  by  Sam  Newman,  directed  by  Wally 
Grissel.  Casting  on  the  later  was  not  avail- 
able as  we  went  to  press. 

Three  more  features  will  be  coming  up 
later  in  December.  One  of  these  is  the  Rita 
Hayworth  comeback  picture,  as  yet  untitled, 
set  to  roll  cn  the  17th,  with  Glenn  Ford  co- 
starred,  and  Yincent  Sherman  directing.  The 
other  two  are  "European  Edition,"  a  Jerry 
Bresler  production  still  to  be  cast,  and 
"Stairway  to  the  Stars"  (Frankie  Laine  - 
Billy  Daniels),  with  Richard  Quine  megging 


Cxchuiiie  $L  BULLETIN  %ttm 


By  J  n  Allek 

for  producer  Jonie  Taps. 

Only  one  picture,  "Apache  Country" 
(Gene  Autry  -  Pal  Huttram)  was  before  the 
cameras  at  Thanksgiving  time,  following  the 
mid-November  wind-up  of  "The  Marrying 
Kind"  (Judy  Holliday),  "The  Harem  Girl" 
(Joan  Davis -Peggy  Castle),  "The  Mother" 
(Loretta  Young-Kent  Smith)  and  the  Smiley 
Burnett  -  Charles  Starrett  oater,  "Laramie 
Mountains."  However,  despite  the  momen- 
tary production  respite,  the  studio  was  oper- 
ating at  capacity  in  cleaning  up  pre-pro- 
duction details  for  the  heavy  December  slate. 

The  Stanley  Kramer  company,  Columbia's 
ace  independent  production  unit,  will  have 
no  new  pictures  before  the  cameras  during 
December,  although  pre-production  rehear- 
sals are  slated  to  get  underway  on  "The 
Library,"  for  which  Kramer  has  signed 
Mary  Pickford  to  play  the  starring  role. 

.Rehearsals  are  also  expected  to  get  under- 
way on  another  inde  film  coming  up  for 
Columbia  release — Frank  Seltzer's  "Kansas 
City  Story,"  which  Joe  Newman  will  direct. 
This  one  will  roll  on  January  3,  in  an  at- 
tempt to  get  the  finished  product  into  re- 
lease during  the  heat  of  the  forthcoming 
election  campaign.  It  is  understood  that  the 
script  plays  heavily  upon  the  old  Pendergast 
political  machine  in  the  Missouri  city. 

LIPPERT  PRODUCTIONS 

Lippert  Starts  'Big  Push' 
To  Turn  Out  'A'  Quality  Films 

Within  the  past  few  months,  Robert  L. 
Lippert  has  acquired  ownership  of  24  ex- 
changes in  a  broad  stride  toward  becoming 
a  national  distributor  in  his  own  right.  He 
expects  to  add  at  least  six  more  branches 
within  the  next  year  in  order  to  gain  overall 
control  of  distribution  of  his  product. 

Sensing  the  need  for  topflight  product  if 
his  company  is  to  survive,  the  dynamic 
Lippert  is  going  into  a  "big  push"  to  turn 
out  major  quality  features. 

Present  p'ans  call  for  a  slate  of  approxi- 
mately 16  "A"  type  attraction  for  next  year. 
A  policy  of  intensive  sales  promotion  on 
each  individual  picture  will  be  put  into  effect, 
under  the  revised  format. 

Lippert  is  convinced  that  his  company  can 
draw  sufficient  revenue  to  warrant  the  pro- 
duction of  topflight  product.  He  can  point, 
for  example,  to  "The  Steel  Helmet."  which 
has  grossed  upward  of  $1,100,000,  to  date. 


On  26  Linpcrt  releases,  Killings  up  to  July 
31  reportedly  exceeded  $4,600,000,  giving  the 
company  n  comfortable  re>erve  for  use  in 
assisting  in  the  financing  of  independent 
units. 

<  )ne  mag  which  Lippert  ha-  run  up 
against  furtherance  of  his  plans  is  the 
threatened  cancellation  of  the  Screen  Actors 
Guild  contract,  growing  out  of  the  com- 
pany's sale  of  a  group  of  pictures  for  tele- 
vision. The  Guild  has  agreed  to  put  off  any 
action  on  the  matter  for  90  days,  in  return 
for  Lippert's  agreement  that  no  more  thea- 
trical pict'ires  produced  after  August  1,  1948, 


ROBERT  L.  LIPPERT 


will  be  so'.d  for  TV  use. 

Six  releases  have  been  announced  by  the 
organization  for  the  next  two  months. 
"Superman  and  the  Mole  Men,"  starring 
George  Reeves,  has  just  gone  into  release. 
"The  Great  Adventure,"  (Dennis  Price), 
filmed  in  Africa,  will  be  released  December 
7.  "Tales  of  Robin  Hood"  ( Robert  Clarke  - 
Mary  Hatcher),  has  been  set  for  December 
21  release.  "For  Men  Only",  starring  Paul 
Henreid,  who  also  produced  and  directed, 
will  be  released  January  11.  "Man  Bait," 
produced  by  Intercontinental  Pictures  in 
England  and  starring  George  Brent  and 
Marguerite  Chapman,  will  be  released  Janu- 
started  work  in  "Stolen  Faces,"  independent 
ary  18. 

Paul  Henreid  and  Lizabeth  Scott  have 
film  production  for  Intercontinental,  at  Ex- 
clusive Film  Studios  in  London.  It  is  being 
produced  by  Anthony  Hinds  and  directed 
by  Terrence  Fisher.  The  only  other  picture 
set  for  a  Lippert  release,  which  is  surrently 

(Continued  on  Page  12) 


DECEMBER    3,  1951 


9 


Short  Subjects 


BY  BARN 


TWO  MORE  ENTRIES  in  the  annual 
"Oscar"  derby  are  being  hastily  groomed 
for  the  race  to  qualify  for  Academy  Award 
competition.  United  Artist's  distribution 
topper,  William  J.  Heineman,  revealed  plans 
for  a  special  pre-release  premiere  for  John 
Huston's  "The  African  Queen"  during 
Christmas  Week  in  Los  Angeles,  thereby 
whipping  the  Humphrey  Bogart-Katharine 
Hepburn  starrer  home  in  time  to  beat  the 
January  1  deadline;  while  Columbia  and  the 
Stanley  Kramer  Company  have  booked 
"Death  of  a  Salesman"  to  run  at  the  Warner 
Theatre  in  Beverly  Hills,  starting  December 
20.  The  Columbia  challenger  will  play  the 
required  public  engagement  of  one  week 
before  New  Year's  Day  even  though  it  will 
have  to  be  shown  with  a  separate  sound 
tarck. 

THE  EVER-ALERT  tub-thumpers  of 
'  United  Artists,  under  the  guidance  of 
Max  Youngstein,  scored  handsomely  by 
tying  in  the  UA  release,  "Tom  Brown's 


UA'S  YOUNGSTEIN 

Exploiteers  Score  Again 


School  Days,"  with  the  Tom  Brown  rugby 
match  held  at  the  Yale  Bowl  last  weekend 
for  the  benefit  of  the  Elks  Cerebral  Palsy 
Fund.  Teams  representing  Yale  and  Prince- 
ton played  the  game  on  a  playing  field  con- 
verted into  the  likeness  of  a  rugby  field,  with 
the  winner  coming  away  with  the  "Tom 
Brown  Trophy,"  donated  by  United  Artists. 

HOLLYWOOD  HAS  EARNED  an  en- 
couraging pat  on  the  back  by  the  Legion 
of  I  Hcency,  as  that  watchdog  of  American 
morals,  in  its  annual  report  to  the  Catholic 
Bishops  of  the  U.  S.,  noted  with  approval 
an  increase  in  wholesome  and  moral  themes 
in  American  films.  Simultaneously,  the 
concern  shown  in  the  Legion  report  over 
so-called  objectionable  foreign  films  lends 
some  promise  that  producers  of  foreign  pic- 
tures will  become  subject  to  the  same  haras- 
sing measures  which  havi  prodded  Holly- 
wood to  toe  the  line  and  adopt  its  self- 
regulatory  production  code     The  Legion's 


fears  were  aroused  by  the  announced  inten- 
tion of  foreign  producers  to  avoid  the  code 
system,  which  the  report  credits  with  having 
thrown  up  a  strong  front  against  "immoral 
and  indecent"  films. 

I  EST  THEY  hurt  the  rather  delicate  feel- 
ings  of  Hollywood's  celluloid  bronc- 
busters,  Metro  has  added  a  p.  s.  to  its  spoof 
on  video  westerns,  "Callaway  Went  That- 
away,"  explaining  that  "this  picture  was 
made  in  the  spirit  of  fun  and  was  meant  in 
no  way  to  detract  from  the  wholesome  in- 
fluence, civicmindedness  and  the  many 
charitable  contributions  of  Western  idols 
of  our  American  youth,  or  to  be  a  portrayal 
of  any  of  them." 

MANHATTAN  ISLAND  WAS  returned 
to  the  Indians  temporarily  —  at  the 
Globe  Theatre,  at  least,  where  sacred  Indian 
war  dances  were  performed  by  Chief  Crazy 
Bull,  grandson  of  Sitting  Bull,  and  one  of 
his  braves,  as  part  of  the  ballyhoo  for  the 
opening  of  Paramount's  "Warpath."  Also 
on  display  in  the  lobby  were  genuine  Sioux 
Indian  articles,  all  kids  were  invited  to  at- 
tend, decked  out  in  Indian  or  cowboy  cos- 
tumes, with  the  25  most  striking  outfits 
winning  passes  to  see  "Warpath." 

A  BLEND  OF  youthful  enthusiasm  and 
mature  experience  is  the  remedy  for  the 
industry's  ills  prescribed  by  Gael  Sullivan, 
who  is  talking  up  the  need  for  new  faces, 
new  blood  and  new  ideas  for  TOA.  Sullivan 
is  proposing  an  expansion  of  the  organi- 
zation to  encourage,  through  associate  mem- 
berships, a  more  active  participation  of  man- 
agers, assistants  and  other  service  personnel. 
The  go-getting  TOA  exec  also  suggested 
the  development  of  training  schools  for  ex- 
hibitor personnel  and  sessions  at  local  con- 
ventions for  swapping  information  between 
veteran  showmen  and  the  young  managers 
and  their  assistants. 

ALL  THE  HOOPLA  and  hullabaloo  that 
usually  accompanies  a  circus  parade  can 
be  expected  from  Jerry  Pickman's  ad-ex- 
ploiteers,  Cecil  B.  DeMille's  long  awaited 
circus  spectacle  in  Technicolor,  "The  Great- 
est Show  on  Earth,"  bows  to  the  bright 
lights,  din  and  glamor  of  its  world  premiere 
at  New  York's  Radio  City  Music  Hall  early 
in  January.  The  Paramount  boxofficerS,  led 
by  Pickman,  are  set  to  kick  off  an  all-out 
ballyhoo  campaign  of  three-ring-circus  pro- 
portions to  build  up  the  film  for  its  unveiling 
as  the  initial  1952  attraction  at  the  Music 
Hall. 

UII  DOUBT  that  they  are  pulling  a  fast 
one  on  Barney  Balaban,  as  intimated  by 
Broadway  columnist  Leonard  Lyons,  but  it 
makes  good  anecdote,  anyway.  Lyons  tells 
of  some  of  Paramount's  home  office  staffers 
sporting  Pittsburgh  Pirates  caps  around  the 
office,  the  caps  being  gifts  from  Bing 
Crosby,  who  owns  a  piece  of  the  Pirates. 
When  Bing  asked  them  what  the  boss 
thought  about  it,  the  staffers  replied  ac- 
cording to  Lyons,  "He  believes  it's  some 


sort  of  promotion  stunt — that  the  'P'  stands 
for  'Paramount.'  " 

jJOT  CONTENT  WITH  her  activities 

movies  and  on  the  Broadway  stage, 
Ginger  Rogers  has  decided  to  extend  her 
talents  to  the  talent-consuming  TV  screen 
early  next  year.  Ginger,  whose  play,  "Love 
and  Let  Love,"  folded  last  week  after  an 
abbreviated  run  on  Broadway,  signed  with 
CBS-TV  for  an  estimated  five  years  and  is 
expected  to  appear  on  a  weekly  half-hour 
show  as  star  and  mistress  of  ceremonies. 
We're  not  certain  what  TV  has  to  offer  her, 
but  it's  easy  enough  to  see  what  Ginger  can 
do  for  television. 

AF  MEN  AND  THINGS:  Robert  (Pat) 
O'Brian,  moved  up  to  the  office  of 
western  representative  of  United  Artists'  TV 
department.  O'Brian,  formerly  in  charge  of 
the  company's  southern  territory,  will  direct 
UA's  mid-western  video  operations  from 
Chicago  .  .  .  Robert  M.  Weitman,  United 


GAEL  SULLIVAN 

'ants  New  Blood  For  TOA 


Paramount  v.  p.  and  managing  director  of | 
New  York's  Paramount,  was  awarded 
placque  for  his  25  years  service  at  the  thea- 
tre at  a  luncheon  commemorating  its  25th I 
anniversary  .  .  .  The  industry  mourns  thel 
loss  of  two  prominent  members — Detroit! 
exhibitor  James  C.  Ritter,  one  of  thel 
founders  and  third  president  of  National! 
Allied,  and  United  Artists'  Kansas  Cityl 
branch  manager,  William  Truog.  Ralph| 
Amacher,  former  San  Francisco  sales  man- 
ager for  UA,  has  been  named  to  fill  thel 
Kansas  City  vacancy  .  .  .  Veteran  foreign! 
representative  Max  Mendel  is  RKO  Radio's| 
new  general  manager  in  Germany  .  .  .  Ex- 
hibitor Ernest  H.  Warren,  owner-manager! 
of  the  Warren  in  Whitman,  Mass.,  has  been! 
appointed  zone  manager  of  Hallmark's! 
Boston-New  Haven  film  exchanges,  replao*| 
ing  Larry  Craig,  who  recently  resigned 
Maurice  Bergman  is  set  as  the  main  speakerl 
at  the  annual  dinner  of  the  Public  Relations} 
Club  in  Philadelphia  on  December  7. 


10 


FILM  BULLETI 


'ECIAL 
KICE  FOR 
IBITORS . . 


THE  BOOKING  OF  THE  WEEK 


VALLEY  or  FIRE 


than  ever  top  star 
West!  "Mayor" 
a  new  twist 
iporting  a  wagon* 
brides  to  tame 
fomanless  West! 
ied  cattle  stam- 
taloon  in  bandit 
Outlaws  kidnap 
cargo  in  wild  cov- 
ragon  chase! 


DESIGNED 
TO  HIGHLIGHT 
CURRENT  AND 
CHOICE  PRODUCT 


COLUMBIA 
PICTURES 


GENE  AUTRY 

World's  Greatest  Cowboy 
and  CHAMPION  World's  Wonder  Horse 

VALLEY 
or  FIRE 


STUDIO  size-ups 

(Continued  from  Page  9) 

before  the  cameras  is  "Outlaw  Women" 
(Marie  Windsor  -  Richard  Rober).  It  is 
being  filmed  in  Cinecolor,  with  Sam  New- 
field  directing  for  Producer  Ron  Ormond. 

METRO-COLDWYN-MAYER 

Freed  Top  Producer  at  MGM; 
Will  Can  5  Musicals  By  1952 

Arthur  Freed  appears  to  be  the  man  of 
the  hour  at  MGM,  what  with  the  great 
success  of  his  two  recent  musical  hits,  "An 
American  In  Paris,"  and  "Showboat."  By 
year's  end,  he  will  have  produced  a  total  of 
five  Technicolor  musicals,  and  already,  four 
more  multi-million  dollar  tunefilms  have 
been  put  on  his  slate  for  1952. 

First  of  the  Freed  produced  musicals  to 
go  before  the  cameras  in  the  new  year  will 
be  "Huckleberry  Finn"  (Danny  Kaye  -  Gene 
Kelly).  Slates  to  follow  are:  "I  Love  Louisa" 
(Fred  Astaire);  "Brigadoon"  (Kathryn 
Grayson  -  Howard  Keel)  and  "The  Romberg 
Story,"  based  on  the  life  of  the  late  Sigmund 
Romberg. 

Production  on  the  Culver  City  lot  has 
slackened  off  slightly  during  the  past  couple 
of  weeks,  due  to  the  heavy  backlog  of  films 
completed  earlier  in  the  year.  It  is  not  ex- 
pected to  shift  back  into  high  gear  until 
early  in  January,  when  four  new  pictures 
are  tentatively  scheduled  to  roll.  At  this 
writing,  four  pictures  are  shooting,  as  com- 
pared with  the  eight  or  nine  which  were 
usually  shooting  simultaneously  during  most 
of  the  time  since  late  summer.  One  more 
will  get  the  green  light  during  December. 

The  most  recent  starters  are:  "The  Girl 
In  White"  (June  Allyson-Arthur  Kennedy), 
which  rolled  on  November  1,  and  "Glory 
Alley"  (Leslie  Caron-Ralph  Meeker-Gilbert 
Roland),  which  went  before  the  cameras 
on  November  15.  Both  of  these  are  rather 
modest  budgeters  for  this  lot.  John  Sturges 
is  directing  "Girl"  for  producer  Armand 
Deutsch,  while  Raoul  Walsh  is  directing 
"Alley"  for  producer  Nicholas  Nayfeck. 

"Because  You're  Mine"  (Mario  Lanza), 
Technicolor,  is  the  only  other  picture  set 
for  December  filming,  and  even  it  may  be 
pushed  back  again,  pending  a  further  loss  of 
weight  by  the  star.  Aaron  Hall  will  direct 
the  big  musical,  for  producer  Joseph  Paster- 
nak. 

MONOGRAM — AA 

Mirisch  Ups  '52  Program, 
Accent  On  Quality  Pictures 

Monogram  is  boosting  its  1952  production 
slate  to  48  pictures,  an  increase  of  six  over 
the  current  year.  Moreover,  budgets  will  be 
upped  approximately  one-fourth  and  at  least 
50  percent  more  of  the  pictures  will  be  color 
productions.  Allied  Artists  likewise  will 
boost  its  .'.late  from  tour  pictures  made  this 
year  to  six  in  1952. 

Walter  Mirisch,  the  company's  new  ex- 

12 


ecutive  producer,  in  making  the  announce- 
ment to  the  Hollywood  trade  press,  stated 
that  his  organization  is  setting  forth  on  a 
new  policy  of  higher  quality  presentations. 
The  new  format  calls  for  doubling  the  cost 
of  pictures  which  formerly  were  budgeted 
at  $100,000.  The  average  cost,  per  picture, 
on  Monogram's  top  product  will  be  around 
$250,000,  as  compared  with  an  average  of 
$175,000  for  1951.  The  1952  blueprint  also 
will  eliminate  some  of  the  lower  priced 
fillers,  replacing  them  with  considerably 
more  costly  films. 

The  company  is  now  further  ahead  on  the 
new  season's  program  that  at  any  time  in 
the  past,  with  15  pictures — or  approximately 
30  per  cent  of  the  new  slate — already  com- 
pleted. In  addition,  one  film  currently  is  in 
production  and  eight  finished  screenplays 
are  awaiting  production.  The  entire  1952 
slate  is  expected  to  be  in  the  cans  by  next 
May  1. 

The  only  picture  started  (and  completed) 
in  the  past  month  is  "The  Man  From  Black 
Hills"  (Johnny  Mack  Brown-Jimmy  Ellison) 
— which  closed  out  Monogram's  western 
schedule  for  the  year. 

The  one  picture  in  front  of  the  cameras  at 
the  present  time   is  "Jet  Job,"  a  Stanley 


WALTER  MIRISCH 


Clements  starrer,  being  produced  by  Ben 
Schwalb. 

Recently  completed  product  includes: 
"Hold  That  Line"  (Leo  Gorcey  -  Huntz 
Hall),  directed  by  William  Beaudine  for 
producer  Jerry  Thomas;  "Stage  From  Ama- 
rillo"  (Whip  Wilson)  produced  by  vincent 
Fennelley  producing,  directed  by  Lewis 
Collins;  and  "Waco"  (Bill  Elliott),  also  pro- 
duced and  directed  by  the  team  of  Fennelley 
and  Collins. 

The  only  productions  definitely  set  to  roll 
in  the  immediate  future  are  "Wild  Stallion," 
in  Cinecolor,  and  "African  Treasure," 
seventh  in  the  Bomba  series,  starring  pro- 
ducer Mirisch,  but  no  producer  or  director 
have  been  announced  for  "Stallion,"  as  of 
this  writing. 

Interstate  Telev'f  on  Corp.,  the  Monjgram 
subsidiary  formed  during  the  past  month  for 
the  purpose  of  producing  television  films, 
gets    rolling   with    a    series   of  30-minute 


feature  starring  George  Raft  in  the  role  of 
Raffles.  Negotiations  are  also  underway  to 
sign  Ethel  Barrymore  for  a  series. 

PARAMOUNT 

Studio  Embarks  On  Biggest 
Splurge  Since  War  Boom  Days 

Paramount  is  about  to  embark  on  a  six- 
month  production  splurge  that  will  surpass 
any  similar  period  since  the  war  boom  days, 
at  least  in  number  of  films  turned  out.  With 
two  pictures  currently  before  the  cameras, 
and  two  more  slated  to  roll  this  month,  the 
studio  moves  into  high  gear  around  the  first 
of  the  year  with  15  films  schedule  to  start 
during  the  first  five  months  of  1952. 

One  interesting  facet  of  the  six-month 
production  slate,  is  the  complete  absence  of 
heavy  dramas,  which  have  played  such  an 
important  part  in  Paramount's  production 
during  1951.  Adventure  stories  and  musicals 
will  form  the  bulk  of  the  product,  with  six, 
of  the  former  and  five  of  the  latter  on  the 
slate. 

The  long-range  program  calls  for  four! 
features  to  hit  the  starting  line  in  January, 
three  each  in  February,  March  and  April, 
and  two  in  May.  Four  of  the  total  15  will  bel 
contributed  by  affiliated  independent  pro- 
ducers. Two  will  come  from  the  Pine-| 
Thomas  unit,  and  one  each  from  Nat  Holtl 
and  George  Pal.  Eight  of  the  15  will  be  inj 
Technicolor. 

Early  1952  will  also  witness  a  big  releasing! 
splurge,  as  the  company  sets  about  liquidat- 
ing its  unprecedented  backlog  of  20  com-|j 
pleted  pictures.  January,  February  ancj 
March  will  see  the  release  of  seven  features^ 
topped  by  Cecil  B.  DeMille's  "The  GreatesJ 
Show  On  Earth,"  coming  out  in  January! 
and  including  the  following:  George  Stevens}! 
"Something  to  Live  For"  (Ray  Milland  jj 
Joan  Fontaine  -  Teresa  Wright);  Hal  Walli: 
new  Martin  and  Lewis  comedy,  "Sailofl 
Beware";  Leo  McCarey's  "My  Son  Johnfl 
(Helen  Hayes-Robert  Walker-Van  Heflin)jj 
Perlberg-Seaton's  "Anything  Can  Happenlj 
(Jose  Ferrer  -  Kim  Hunter) ;  Hal  Walli.', 
"Red  Mountain"  (Alan  Ladd  -  Lizabetllj 
Scott);  Pine-Thomas'  "Hong-Kong"  (Rhon 
da  Fleming  -  Ronald  Reagan);  and  Nail 
Holt's  Technicolor  "Denver  and  Rifl 
Grande"  (Sterling  Hayden  -  Edmonll 
O'Brien). 

The  two  pictures  now  before  the  camerajl 
are:  "This  Is  Dynamite"  (William  Holdenl 
Edmond  O'Brien-Alexis  Smith),  directed  b  J 
William  Dieterle,  produced  by  Irving  Ashet| 
and  "Famous"  (Bing  Crosby-Jane  Wymarrjj 
Ethel  Barrymore),  Technicolor  musical  dll 
rected  by  Elliot  Nugent  and  produced  b)  M 
Pat  Duggan. 

Coming  up  later  this  month  are:  Hal 
Wallis'  "Jumpin  Jacks."  Martin  and  LewM 
comedy  slated  to  roll  on  December  10,  dll 
rector  to  be  announced  later;  "Botany  Bay)  I 
(Alan  Ladd-James  Mason)  rolling  on  D«J  i 
cember  17,  Joseph  Sistrom  producing,  Joh 
Farrow  directing;  and  "The  Military  Polical 
man,"  (Bob  Hope-Marilyn  Maxwell-MickejB 
Rooney)  a  comedy  set  to  go  on  Deccmb< 
12,  with  George  Marshall  megging  for  pr<H 
ducer  Harry  Tugend. 

FILM  BULLETIN:! 


r  STUDIO  SIZ6-UPS 

I  Only  one  feature  wound  during  the  past 
■  month,  and  that  was  a  minor  item  titled 
H"Los  Alamos"  (Gene  Bary  and  Lydia 
I  Clarke)  directed  by  Jerry  Hopper  and  pro- 
Iduced  by  Joseph  Sistrom. 

REPUBLIC 

Theatre  Market  First  Love; 
Yates  Sets  $15  Million  Budget 

Some  of  the  statements  that  have  ema- 
nated from  this  company  in  recent  months 
tended  to  create  the  impression  that  the 
I  Republic  studio  would  soon  be  devoting  it- 
self exclusively  to  the  production  of  films 
for  television.  This  reporter  heard  more  than 
one  exhibitor  express  that  view,  based  on 
remarks  coming  from  company  executives. 

Well,  apparently  prexy  Herbert  J.  Yates 
has  taken  cognizance  of  what  was  being 
said,  if  one  may  judge  by  the  tone  of  the 
statement  he  issued  last  week.  Mr.  Yates 
wants  the  world  in  general  (and  exhibitors 
in  particular)  to  know  that  the  theatre 
market  is  still  his  first  love — while  he  keeps 
one  eye  peeled  on  the  developing  TV  field. 

Announcing  a  budget  of  over  $15,000,000 
for  production  during  the  next  12  months. 
Yates  reclared,  "motion  picture  theatres  are 
the  first  and  foremost  source  of  amusement 
and  entertainment  to  millions  of  people  all 
over  the  wt  rid  and  their  leadership  will  en- 
dure.*' 

Stating  that  his  company  intends  "to  com- 
pete with  the  biggest  (studios)  on  the 
talent  market,*'  the  Republic  boss  pointed 
to  such  pictures  as  John  Ford's  "The  Quiet 
Man"  (John  Wayne-Maureen  O'Hara-Barry 
Fitzgerald-Victor  McLaglen);  "Hoodlum 
Empire"  (Brian  Donlevy-Claire  Trevor-For- 
rest Tucker);  "The  Adventures  of  Captain 
Fabian"  ( Errol  Flynn-Micheline  Prelle), 
"Lady  Possessed"  (James  Mason-June 
Havoc);  "Wild  Blue  Yonder"  (Wendell 
Corey-Vera  Ralston-Forrest  Tucker-Phil 
Harris). 

Among  the  "great  properties"  ready  for 
production  Yates  named  John  Wayne's  "The 
Alamo",  Garland  Roark's  "Fair  Wind  to 
Java"  (equel  to  "Wake  of  the  Red  Witch"), 
Luke  Short's  "Ride  the  Man  Down";  two 
service  stories;  "Citizen  Soldier"  and  "Flight 
Nurse". 

For  the  immediate  future,  the  studio  has 
scheduled  six  pictures  to  face  the  cameras 
during  December.  The  hypoed  schedule  was 
launched  on  November  23,  with  the  start 
of  home  lot  shooting  on  "Bal  Tabarin," 
which  has  been  filming  in  Paris  for  nearly 
six  weeks.  "Minnesota,"  directed  by  associ- 
ate producer  Joseph  Kane  got  underway 
three  days  later,  with  a  cast  headed  by  Jay 
C  Flippen.  This  week  (December  3),  "Gobs 
and  Gals"  is  due  to  get  underway,  with  R. 
G.  Springsteen  directing  for  associate  pro- 
ducer Sidney  Picker,  and  the  pantomime  and 
dance  team  of  the  Bernhard  Brothers  in  the 
starred  spot.  "Song  of  Youth",  the  Stephen 
Foster  biopic  starring  Bill  Shirley  rolls 
around  December  10  with  associate  producer 

DECEMBER   3,    19  5  1 


Alan  Dwan  directing.  This  group  will  be 
followed  into  production  by  two  western 
features,  one  to  star  Rex  Allen  and  the  other 
to  topline  Rocky  Lane. 

"Gobs  and  Gals"  and  "Song  of  Youth" 
mark  another  innovation  for  the  valley 
studio — a  strong  entry  into  the  top  budget 
musical  field.  With  "Bal  Tabarin"  already 
nearing  completion,  this  will  make  three  of 
the  musihlms  in  work  during  December,  and 
a  fourth,  "The  Fabulous  Senorita"  set  for 
filming  shortly  after  the  first  of  the  year. 

Completed  within  the  past  month  were: 
"Leadville  Gunslinger"  (Rocky  Laine- Elaine 
Riley)  and  "Border  Saddlemates"  (Rex 
Allen-Mary  Ellen  Kay).  "Gunslinger"  m 
produced  and  directed  by  Harry  Keller,  on 
an  18  day  sh.. oting  schedule,  and  "Saddle- 
mates,"  with  a  similar  schedule,  was  pro- 
duced by  Edward  J.  White  and  directed  by 
William  Witney. 

RKO 

RKO  Will  Stress  'Big'  Ones; 
To  Cut  Down  On  Low  Budgeters 

Because  of  the  recent  boxoffice  success 
of  some  of  its  more  important  productions, 
RKO  has  announced  its  plans  to  cut  down 


low-budget  production  and  concentrate  on 
the  "big"  J  ictures.  The  decision  was  reached 
during  a  four-day  meeting  in  Hollywood, 
between  top  studio  executives  and  board 
members.  However,  it  is  unlikely  that  the 
Tim  Holt  westerns,  produced  on  very 
modest  budgets,  will  be  dropped  from  future 
schedules. 

The  answer  to  the  big  question  of  whether 
Wald  and  Krasna  will  continue  their  affili- 
ation with  RKO  after  January  1,  on  the 
basis  of  some  confidential  information,  is — 
"Yes".  Wald  and  Krasna  are  apparently 
satisfied  that  they  will  have  full  autonomy 
on  all  of  their  future  production.  Most  of 
their  discontent  has  stemmed  from  the  in- 
accesability  of  Howard  Hughes,  and  the 
resultant  delays  on  even  the  most  minor  pro- 
duction problems.  Undoubtedly  this  has  a 
strong  bearing  on  the  fact  that  they  have 


finished  only  two  of  the  twelve  pictures 
which  their  contract  originally  called  for 
during  the  firal  fear,  which  ended  October 
31. 

As  to  RKO's  own  expanded  production 
program,  Hughes  is  known  to  have  lined  up 
a  total  of  some  15  commitments  with  outside 
Itara,  An  all-out  survey  of  the  story  market 
is  now  underway  by  the  studio,  in  order  to 
uncover  suitable  properties  in  which  to  cast 
these  outside  stars. 

Included  in  the  list  of  stars  committed  for 
one  or  more  pictures  are:  Ava  Gardner, 
Merle  ( iberon,  Car>  Grant,  Man  Young, 
Victor  Mature  and  John  Wayne. 

At  the  present  time,  only  three  pictures 
are  shooting  at  RKO,  although  a  fourth 
is  slated  to  go  into  production  later  in  the 
month,  "The  Korean  Story"  (Robert  Mit- 
chum-Anne  Blyth)  and  "(  lash  By  Night" 
the  Wald-Krasna  entry  starring  Barbara 
Stanwyck  and  Paul  Douglas,  both  of  which 
were  started  prior  to  the  last  Size-Ups  re- 
port on  the  studio,  are  still  in  production. 
In  addition,  "Sword  of  Venus"  was  placed 
before  the  cameras  on  November  28,  with 
a  cast  headed  by  Harold  <  larke  and  Rente 
De  Marco.  The  latter  is  an  American  Pic- 
tures production,  directed  by  Harold  Daniels 
for  producers  Jack  Pollexfen  and  Aubrey 
\\  isberg,  and  associate  producer  Albert  Zug- 
smith. 

<  )n  December  20,  Wald  and  Krasna  are 
slated  to  ;ee  off  with  filming  on  "This  Man 
U  Mine"  (Robert  Mitchum  -  Susan  Hay- 
ward),  the  latter  star  on  loan-out  from  20th 
<.  entury-Foz.   Nicholas  Ray  will  direct. 

20th  CENTURY  FOX 

Production  Of  Low-Cost 
Films  To  Continue— Zanuck 

In  contrast  to  other  studios'  claims  of 
strictly  \V  production,  20th Fox  production 
boss  Darryl  F.  Zanuck  frankly  declared  that 
his  company  will  not  abandon  all  low-budget 
production.  Zanuck  stated  that  Fox  will 
continue  to  try  to  meet  the  story  market; 
that  production  will  be  geared  to  the  ex- 
penditures necessary  on  the  individual  pro- 
jects. He  felt  that  it  was  not  possible  for 
major  studio  plants  to  scale  down  its 
number  of  productions  yearly  to  a  dozen  or 
so  Class  AA  features  and  still  meet  the 
demands  of  the  theatre  market. 

It  the  workshop  of  one  S.  Claus  at  the 
North  Pole,  is  any  busier  these  December 
days  than  the  Fox  studio  in  Westwood,  the 
little  man  with  the  long  white  beard  must 
really  be  working  overtime.  No  less  than 
10  pictures  will  be  shooting  simultaneously 
around  the  middle  of  the  month,  unless  a 
couple  of  features  which  are  now  nearing 
completion,  manage  to  come  in  under  their 
allotted  deadline. 

"Way  Of  A  Gaucho,"  (Gene  Tierney-Rory 
Calhoun)  Technicolor  million  dollar  adven- 
ture picture,  has  been  shooting  since  October 
15,  with  Jacques  Tourneur  and  Phillip 
Dunne  producing;  "The  Girl  Next  Door" 
(June  Haver-Dan  Dailey-Dennis  Day), 
Technicolor  musical,  has  been  in  work  since 

(Continued  on  Page  20) 
13 


6XHIBITORS  fORUm 

Opinions  Culled  from  Organization  Bulletins 

ALLIED  UNITS  REPORT  ON  NATIONAL  CONVENTION 


Allied  of  Indiana 

We  believe  as  time  goes  on  that  the  film 
clinics  will  more  and  more  become  the  real 
meat  of  conventions.  Functioning  as  a 
committee  for  their  particular  type  situ- 
ations, the  film  clinics  can  get  right  down 
to  specifics  with  every  exhibitor  having  full 
opportunity  to  have  his  say.  This  idea  of 
the  small  group  meetings  is  only  a  year  old 
and  with  additional  experience  in  their  ope- 
ration we  are  sure  that  they  can  be  made 
even  better. 

The  film  clinics  recommended  three  reso- 
lutions to  the  general  convention  which  were 
approved  by  the  entire  organization  with 
some  slight  ammendment.  In  substance 
these  were: 

1.  That  after  a  film  company  blind  checks 
a  flat  rental  picture  the  distributor  should 
immediately  advise  the  exhibitor  that  such 
a  check  has  been  made.  This  is  for  the 
reason  that  such  checks  become  a  yardstick 
for  the  determination  of  future  flat  rentals 
but  without  an  accompanying  explanation 
of  the  gross  these  dollars  and  cents  figures 
by  themselves  may  become  a  very  inequit- 
able measure.  A  theatre  may  use  156  or  208 
pictures  in  a  year  and  out  of  that  number 
some  few  may  especially  lend  themselves  to 
exploitation  or  local  sponsorship.  Dollar 
figures  without  an  explanation  of  the  sur- 
rounding circumstances  unjustly  penalize  an 
exhibitor  :'n  future  deals. 

2.  "Clearance  by  subterfuge"  was  pro- 
tested. In  the  clinics,  instances  were  cited 
where  a  theatre  that  normally  played  on 
the  same  run  or  a  day  availability  with  a 
number  of  other  theatres  was  forced  to  a 
subsequent  run  or  a  later  availability  be- 
cause the  distributor  claimed  that  he  did 
not  have  sufficient  prints  to  serve  all  ac- 
counts. The  abuses  of  this  excuse  and  the 
resulting  "clearance  by  subterfuge"  is  ob- 
vious. It  is  demanded  of  the  distributors 
that  their  print  quotas  be  sufficient  to 
honestly  serve  theatres  on  the  run  and  avail- 
ability to  which  the  theatres  are  entitled. 

3.  The  distributors  are  implored  to  face 
the  facts  as  they  exist  today  regarding  box 
office  conditions,  particularly  as  applied  to 
distress  situations,  and  acknowledge  these 
facts  in  the  pricing  of  film  and  the  making 
of  adjustments. 

ITO  of  Ohio 

ILLEGAL  FIXING  OF  ADMISSION 
PRICES.  While  limited  in  wording  to  a 
single  picture  (Fox's  "David  and  Bath- 
sheba"),  it  nevertheless  is  Allied's  firm  pur- 
pose at  all  times  to  insist  upon  the  exhi- 
bitors right  to  determine  the  admission 
prices  to  be  charged  by  their  theatres  and 
to  oppose  all  attempts  by  the  distributors  to 
fix  admission  prices  by  any  device  whatso- 
ever. 

The  eight  major  film  companies  have  been 
enjoined  by  the  court  in  the  clearest  terms 
14 


from  playing  any  part  in  the  fixing  of  ad- 
mission prices.  The  right  of  the  exhibitors 
in  the  exercise  of  a  free  discretion  to  deter- 
mine their  own  admission  prices  has  been 
recognized  by  the  courts.  Thus  in  approving 
admission  prices  as  a  factor  in  determining 
the  reasonableness  of  clearance,  the  courts 
have  specified  "The  admission  prices  of  the 
theatres  involved,  as  set  by  the  exhibitors." 

We  remind  you  of  the  clear  state  of  the 
law  on  this  subject  so  that  you  will  resist 
any  and  .ill  attempts  by  the  distributors  to 
induce  or  force  you  to  raise  your  admission 
prices  for  particular  pictures. 

However,  we  cannot  present  to  the  au- 
thorities facts  relating  to  one  case  out  of 
hundreds  in  order  to  establish  a  violation  of 
the  decree  on  which  to  proceed.  Abram  F. 
Myers  cannot  run  around  Washington  with 
a  briefcase  full  of  rumors. 

Therefore,  in  order  to  make  good  on  this 
resolution,  and  to  prevent  further  violations 
in  thef  uture,  we  urge  all  exhibitors  who 
were  induced  or  even  asked  to  raise  ad- 
mission prices  on  "D.  &  B."  to  write  down 
the  facts  and  forward  them  to  this  office. 

In  view  of  Fox's  indirect  approach  to 
price-fixing  in  this  case,  by  means  of  the 
so-called  "pre-release,"  any  conversation  be- 
tween the  distributor's  representative  and  an 
exhibitor  bearing  on  admission  prices,  should 
be  reported. 

FILM  RENTALS.  The  convention  noted 
that  the  general  sales  managers  shrugged 
off  exhibitor  complaints  regarding  high  film 
rentals.  The  resolution  put  the  matter  in 
its  true  light.  "Film  rentals,"  the  resolution 
declared,  "have  now  climbed  to  such  an 
extent  that  together  with  inescapable  in- 
creases in  overhead  and  operating  costs,  the 
inevitable  results  are  shrinking  profits,  in 
many  cases  theatre  losses,  with  exhibitors 
using  up  reserves  and  depleting  capital."  In 
the  light  of  these  facts  the  resolution  de- 
nounces as  morally  wrong  the  distributors' 
plea  that  they  must  maintain  dividend  pay- 
ments, especially  when,  at  the  same  time, 
they  are  "maintaining  extravagant  salary 
scales  in  the  upper  echelons — scales  that 
are  without  equal  in  any  other  industry." 

ARBITRATION.  This  resolution  was  a 
flat  declaration  in  favor  of  arbitration — the 
first  in  Allied's  history.  The  arbitration  con- 
templated by  this  resolution  is  not,  however, 
the  restricted,  ineffective  sort  of  arbitration 
we  had  under  the  1940  consent  decree.  What 
Allied  proposes  is  all-inclusive  arbitration — 
a  forum  for  the  peaceful  settlement,  without 
litigation  or  internal  disruption,  of  all  dis- 
putes of  every  kind  arising  between  exhi- 
bitors and  distributors.  The  resolution  lists 
the  following:  (a)  Clearance  and  prints;  (b) 
C  ompetitive  bidding;  (c)  Film  rentals;  (d) 
Forcing  of  pictures;  (e)  Illegal  setting  of 
admission  prices;  (f)  Runs;  (g)  Any  other 


important  problems  affecting  the  operation 
of  the  motion  picture  industry. 

This  bold  Allied  proposal  is  a  challenge 
to  the  good  faith  of  those  who  have  so  elo-J 
quently  and  persistently  preached  "unity" 
for  the  motion  picture  business.  What  Allied) 
proposes  is  that  when  an  exhibitor  and  a 
distributor  reach  an  impass  in  any  manner! 
of  dispute,  instead  of  allowing  the  trouble 
to  fester  or  resorting  to  litigation,  they| 
submit  their  problem  to  a  tribunal  of  three, 
consisting  of  one  arbitrator  with  motion  pic-| 
ture  experience  chosen  by  each  party  and  a 
third  neutral  arbitrator  chosen  by  two  namedi 
by  the  parties. 

The  Board  authorized  the  President  to 
name  a  special  committee  to  work  with  thej 
General  Counsel  in  preparing  the  plan  for 
submission  to  the  distributors,  in  submitting 
it,  and  in  conducting  any  negotiations  that) 
may  ensue.  It  is  inevitable  that  when,  and! 
if,  this  proposal  reaches  the  negotiating! 
stage  (the  answer  to  this  resting  with  the 
distributors),  the  discussion  will  cover  al 
wide  range  and  will  include  all  manner  on 
proposals  advanced  by  both  sides.  The  ex-J 
hibitors  and  leaders  who  have  sent  in  ideas! 
for  a  solution  of  the  film  pricing  problem! 
and  other  problems,  may  be  sure  that  their! 
proposals  will  be  discussed.  This  may  well! 
develop  into  that  general  conference  on  in-l 
dustry  problems  that  some  leaders  have  ad-J 
vocated — all  depending  on  the  distributors! 
of  course.  In  any  case,  Allied  is  again  carry-! 
ing  the  ball  in  an  earnest,  bona  fide  effortl 
to  achieve  a  constructive  result. 

Gulf  States  Allied 

From  a  business  and  an  accomplishmentjj 
point  of  view  the  New  York  Convention! 
hit  a  new  high.  The  meetings  were  well  at-I 
tended  and  the  film  clinics  were  probably 
the  best  ever  had.  Out  of  the  film  clinics!] 
came  resolutions  which  were  accepted  b}j] 
the  Convention  at  large  and  aproved  by  the 
board  at  a  post-convention  board  meeting.  I 

Probably  the  most  important  was  the  con-t  j 
demnation  of  20th  Century  Fox  for  their  al-j 
leged  price-fixing  tactics  with  the  picture  I 
"David  and  Bathsheba."  More  should  bejl 
heard  from  this  later.  Paramount  and]] 
Warner  Brothers  were  not  represented  all 
the  meeting  of  Sales  Managers  Panel  tcfl 
answer  the  various  queries  and  blasts  madel 
by  the  grass-root  exhibitors  and  the  Con-j 
vention  as  a  whole,  and  it  was  the  general)  I 
consensus  that  both  of  these  companies  had)  I 
little  or  no  excuse  for  not  being  there  excepM 
— While  there  was  some  agitation  regarding^ 
Warner's  policy  on  film  rental  and  advancedjj 
admission  prices  for  "Streetcar"  it  waal 
generally  felt  that  the  performance  of  thdj 
picture  would  take  care  of  these  two  prob-fl 
lems.  In  other  words,  to  those  who  have! 
not  already  obligated  themselves  we  should! 
use  the  old  axion  "Caveat  Emptor''  — I 
means:  'Let  the  buyer  beware'.  Also  a  word! 
of  friendly  advice — we  critics  don't  usuallw 
buy  tickets. 


FILM.    B  U  L  L  E  T  I 


MGM'S  'TOO  YOUNG  TO  KISS' 
iRAWSN.Y.  REVIEWER'S  BARBS 

m  The  kid  gloves  were  off  as  the  New  York 
■ewspaper  critics  punimeled  Metro's  roman- 
lc  farce,  "Too  Young  To  Kiss,"  with  penned 
■isdain,  agreeing  generally  that  the  film  is 
jghtwcigiU  and  immature.  Their  major  com- 
laint  is  that  the  plot  has  been  worked  over 
m>  often  in  the  past  to  be  of  more  than 
Irdinary  interest. 

I  Bosley  Crowther,  in  the  Times,  finds  it 
meager  cause  for  thanksgiving,"  summing 
hp  'a  chuckle-headed  little  item  ...  a 
flight  exercise  in  frivolity  (that)  is  virtually 

In  a  par  with  the  status  described  in  that 
tie,  which  is  immature,  indeed." 

I  To  the  World-Telegram's  Alton  Cook,  it 

ft  one  of  those  "farcial  masquerades"  which, 
under  a  variety  of  titles,  you  have  seen 
1 .  .  so  often  you  must  already  know  exactly 
vhether  vou  want  to  run  through  it  again." 
1  "Flimsily  conceived  and  heavily  executed" 

1  the  Herald-Tribune's  Otis  L.  Cuernsey's 
. mumm  on  an  "idea  which,  doubtful  to 
egin  with,  comes  apart  under  the  strain  of 
esperate  pretense." 

I  In  the  Post.  Archer  Winsten  labels  it 
a  mild  comedy  romance  of  the  kind  that 
ets  called  'summer  fare'  in  the  summer, 
jot-boiler'  by  those  who  analyze  the  cre- 

:  tive  fury,  and  'harmless'  by  people  whose 

dime  is  of  no  value."  After  running  through 
he  plot,  lie  asks,  "If  that  isn't  boring,  what 

I  Much  more  gentle  is  Rose  Pelswick,  in 
Hie  Journal-American,  who  describes  it  as 

frivolous    farce"    and    "a    light,  romantic 

/himsy." 

ANNE  OF  THE  INDIES' 

lOth  CENTURY-FOX 

I  "There  is  little  honest  piracy  in  its  foot- 
Ige  .  .  .  Showy  foolishness  .  .  .  Will  tax 
Iven  the  bloodthirsty  romanticism  of  little 
loys." — Guernsey,  X.  Y.  Herald-Tribune. 
]  "Certainly  does  not  measure  up  to 
peorge's  (Jessel)  standards  of  wit  .  .  .  Sea 
lattles  not  particularly  impressive  or  spec- 
jacular  ones." — Cook,  X.  Y.  World-Telegram 
I  "There  may  have  been  sillier  sounding 
lirate  pictures  .  .  .  but  none  has  been  as 
lesoundingly  pretentious  as  this  one  .  .  . 
Bilge  lavendar  water." — Winsten,  N.Y.  Post. 
[Eyewash  of  the  most  completely  florid  and 
lynthetic  sort.  Piracy  more  bold  and  de- 
predatory than  that  in  this  picture  occurs  at 
lostume  balls." — Crowther,  N.  Y.  Times. 
I  "Swashbuckling  type  role  hitherto  re- 
served for  male  stalwarts  .  .  .  All  this  and 
['ecnhicolor  too." — Pelswick.  X.  Y.  Journal- 
kmerican. 

FIXED  BAYONETS' 

bth  CENTURY-FOX 

I  "Recounted  with  affected  realism  and 
lather  obvious  theatricality  .  .  .  Plainly 
Itudio-filmed  .  .  .  Quite  a  heroic  show.  As 
tribute  to  our  men  in  Korea,  it  is  some- 
Ihing  less  than  inspired." — Crowther,  N.  Y. 

"Screen  formula  for  presenting  the  hard 
bets  of  war  at  the  platoon  level  is  followed 
|nce  again  .  .  .  used  with  average  discrimi- 
nation and   to   about   average   effect."  — 


"QUOT6S"  ,, 

Guernsey,  X.  Y.  Herald-Tribune. 

"Tiny  departure  from  the  routine  war 
thriller  is  not  sufficient  to  cause  great  ex- 
citement .  .  .  Mostly  just  fighting,  more 
fighting,  and  then  some  more." — Winsten, 
X.  V.  Post. 

"A  grimly  realistic  success — a  convincing 
experience  .  .  .  One  feels  older,  wiser  and 
more  dedicated  to  an  ideal  after  seeing 
'I'ixed  Bayonets.' "—Cook,  X.  V.  World- 
Telegram. 

"Stirring  salute  .  .  .  One  of  the  most 
realistic  war  pictures  yet  made  .  .  .  Saga  of 
heroism  md  heartbreak,  a  tense  and  harrow- 
ing account  .  .  .  Grimly  vivid."— Pelswick, 
X.  Y.  Journal-American. 

THE  CLOUDED  YELLOW 

COLUMBIA 

"  Taut  chase  thriller  .  .  .  Well  paced  and 
clever  drama  of  pursuit  .  .  .  Satisfying  in- 
terlude of  tension  and  movement." — Guern- 
sey, N.  Y.  Herald-Tribune. 

"One  of  those  top-drawer  melodramas, 
charged  with  mystery  and  atmosphere  .  .  . 
First-rate  job  of  fast  film-making  in  a  crisp, 
naturalistic  style."— Crowther,  X.  Y.  Times. 

"A  British  picture  which  is  rather  murky 
itself  .  .  .  Does  wangle  itself  a  murder,  a 
far-flung  flight,  and  a  hot  pursuit,  all  of 
them  accomplished  with  zest,  realism  and 
excitement." — Winsten,  X.  Y.  Post. 

"Xeat  and  crisp  little  bundle  of  excitement 
from  Britain."— Cook,  X.  Y.  World-Tele- 
gram. 

"Good  chase  drama  .  .  .  Suspensefully 
spun  out."— Pelswick,  X.  V.  Journal-Ameri- 
can. 

'LET'S  MAKE  IT  LEGAL' 

20th  CENTURY-FOX 

"Bright  little  comedy  .  .  .  Trim  package 
.  .  .  Some  sparkling,  sensible  dialogue." — 
H.  H.  T.,  X.  Y.  Times. 

"A  marital  ring-around-the  rosy  played  in 
a  suave  but  dispirited  style  .  .  .  Slick  con- 
trivance of  facetiousness  and  mock  anger." 
— O.  L.  G,  jr.,  X.  Y.  Herald-Tribune. 

"Another  of  the  trifles  of  light  farce  with 
which  Claudette  Colbert  has  artfully  whiled 
away  much  of  her  career." — Cook,  N.  Y. 
World-Telegram. 

"Players  are  fairly  devil-may-care  about 
the  whole  business,  which  is  a  commendable 
attitude."— A.  W.,  X.  Y.  Post. 

"Lightly  diverting  entertainment  thanks 
to  a  smart  cast  and  a  breezy  pace." — Pels- 
wick, N.  Y.  Journal-American. 

"TEN  TALL  MEN' 

COLUM  BIA 

"Desert  fantasy  .  .  .  Realism  was  never 
the  purpose  .  .  .  Basic  ingredients  are  vio- 
lence and  censor-proof  sex  .  .  .  Sensible 
dialogue  and  business  would  be  little  more 
than  an  unwelcome  distraction." — Winsten, 
N.  Y.  Post. 

"Sand-opera  movie  which  makes  a  swipe 
at  humor  .  .  .  About  as  implausible  a  screen 
adventure  yarn  as  you  will  see  in  years  .  .  . 
Just  a  good  excuse  for  horse-riding  and 


the  Newspaper  Critics  Say  About  New  Films 

shooting."— Pihodna,  X.  V.  Herald-Tribune. 

"Action  ili. tin. i  .  .  .  Xoisy  picture  ...  A 
fandango  of  shenanigans  on  the  desert  sands 
what  would  curl  the  waxed  mustaches  of 
Sir  IVrcivil  Christopher  Wren."— Crowther, 
N.  Y.  Times. 

"Might  be  compared  to  a  comic  book  . 
is  slightly  comic."— Cook,  N.   Y.  World- 
Telegram. 

THE  UNKNOWN  MAN" 

M-G-Af 

"Conventional  and  not  particularly  au- 
thentic curtsy  toward  American  legal  jus- 
tice."—H.  H.  T.,  N.  Y.  Times. 

"Promising  crime  story  loses  its  way  in 
an  artificial  maze  .  .  .  Too  dignified  for  a 
thriller."— Guernsey,  N.  Y.  Herald-Tribune. 

"Just  enough  mystification  to  keep  an  au- 
dience awake  but  not  baffled  .  .  .  Not  much 
as  plot  or  social  document  ...  Has  some 
sincerely  acted  moments."— Winsten  N  Y 
Post. 

"Has  all  the  customary  MGM  polish  and 
slickness  but  there  is  very  little  to  admire 
beneath  this  glossy  sheen."— N.  Y.  World- 
Telegram. 

GOLDEN  GIRL' 

20th  CENTURY-FOX 

"Uninspired  musical,  lavishly  daubed  in 
1  echnicolor,  whose  music  is  not  memorable 
•  •  .  There  is  little  in  'Golden  Girl"  to  bother 
our  pretty  little  head."— A.  W.  X.  V.  Times. 

"Dazzling  Technicolor  picture  .  .  .  Senti- 
mentality, if  nothing  else,  distinguishes 
'Golden  Girl'  .  .  .  Nothing  particularly  catch- 
ing about  the  songs  .  .  .  Even  less  intriguing 
is  the  contrived  ending."— Pihodna,  N.  Y. 
Herald-Tribune. 

"As  glittering  as  its  name,  a  combination 
of  musical  romance  and  historical  drama 
with  neither  taken  too  seriously." — Creel- 
man,  X.  Y.  World-Telegram. 

"I  hate  to  think  that  if  'Golden  Girl'  makes 
a  success,  Mr.  Jessel  will  be  encouraged  to 
produce  more  such  pictures." — A.  W  N  Y 
Post. 

"Diverting  Technicolor  musical." — Pels- 
wick, X.  Y.  Journal-American. 

COME  FILL  THE  CUP' 

WARNER  BROS. 

"Moves  with  the  speed  and  momentum  of 
a  one-two  punch  .  .  .  Carries  a  stark,  ab- 
sorbing conviction  ...  A  grand  Cagney 
performance."  — Guernsey,  X.  Y.  Herald- 
Tribune. 

"Fulsome  and  tedious  cumulation  of  news- 
paper office  romance,  simplified  psychology 
and  tongueparching  temperance  talk  .  .  . 
An  agressive  show."  —  Crowther,  X.  Y. 
Times. 

"Xot  the  best  in  his  (Cagney)  repertoire 
this  time— just  enough  to  make  a  passable 
entertainment."— Cook,  N.  Y.  World-Tele- 
gram. 

"First  part  .  .  .  remindful  of  'The  Lost 
Weekend'  .  .  .  Remainder  is  characteristic 
Cagney  type  melodrama." — Pelswick,  N.  Y. 
Journal-American. 


DECEMBER   3;  1951 


15 


Too  Many  Roadshow  Films 
Spurs  Theatremen's  Gripes 

A  rising  tide  of  exhibitor  opposition  to 
advanced  admissions,  unleashed  by  the 
marked  increase  in  upped-scale  pictures, 
reached  flood  proportions  last  week.  The 
requirement  for  increased  admission  prices, 
necessitated  by  high  percentage  film  rentals, 
has  always  been  a  sore  point  with  exhibitors. 
It  played  an  important  role  in  the  recent 
Allied  Convention  and  has  since  snowballed 
into  one  of  the  prime  exhibitor  gripes. 

The  principal  charge  was  that  if  theatre- 
men  were  forced  to  raise  their  admissions  on 
every  picture  with  strong  boxoffice  possi- 
bilities, the  public  would  come  to  regard 
those  at  regular  admissions  as  mediocre  at- 
tractions. This,  in  addition  to  the  ill-will 
incurred  among  patrons  and  the  depressant 
boxoffice  following  an  advanced  admission 
film,  was  cited  by  exhibitors  throughout  the 
country  as  a  "ruinous"  policy. 

"( )ur  claim  of  being  the  greatest  mass 
medium  of  entertainment  becomes  a  much- 
derided  myth"  if  the  roadshow  requirement 
is  put  on  average  boxoffice  attractions,  TOA 
executive  director  Gael  Sullivan  declared. 
''The  exhibitor,  through  mounting  costs, 
personnel  expense,  taxation  and  other 
factors,  is  in  an  economic  straitjacket  as  it 
is,  and  any  further  hampering  of  his  initi- 
ative will  be  adding  a  noose  to  his  neck. 
Fore-sighted  and  far-sighted  distributors 
must  see  the  necessity  of  equitable  film 
rental  terms  that  will  permit  the  exhibitor 
a  fair  return  and  insure  a  much  wider  market 
lor  the  play-off  of  their  product." 

Sullivan  quoted  several  "representative 
complaints"  he  had  received  from  exhibitor 
leaders.  Among  them  were  some  that  felt 
that  certain  "legitimate"  roadshow  films,  like 
"Quo  Vadis",  were  acceptable  as  advanced 
admission  pictures;  others  felt  that  all  road- 
shows were  evil,  but  all  vigorously  con- 
demned widespread  use  of  the  higher  price 
policy, 

Boston's  Arthur  Lockwood  felt  that  the 
forcing  of  advanced  admissions  on  pictures 
"not  of  roadshow  calibre,  but  which  are  con- 
sidered box-office  attractions,  is  undermining 
further  the  weakened  structure  of  exhibition 
in  this  territory.  Such  forcing  is  effected  by 
requiring  uniform  percentage  terms  so  high 
as  to  preclude  automatically  regular  ad- 
missions. Unfortunately  the  public  blames 
the  theatres,  not  the  producers,  for  these 
price  increases,  which  serves  to  counteract 
and  defeat  beneficial  effects  of  the  Movie- 
time  campaign." 

R.  R.  Livingston,  president  of  Nebraska 
Theatre  Ass'n,  voiced  the  opinion  of  many 
more  when  he  said  that  advanced  admissions 
"will  create  a  thought  in  the  patrons'  mind 
that  the  only  good  pictures  that  they  can 
see  are  the  advanced-price  pictures,"  thus 
Beverly  damaging  boxoffice  possibilities  of 
the  bulk   )f  the  theatre's  attractions. 

Sidney  Lust,  of  Washington,  D.  C,  re- 
ported that  he  had  played  "David  and  Bath- 
sheba"  at  $1  top  for  a  week  in  a  couple  of 

16 


BULLETIN 


Vol.  19,  No.  25 


Deremher  3,  1951 


News 

awud 


Opinion 


ARTHUR  LOCKWOOD 


■dshi 


his  deluxe  residential  theatres  and  "the  last 
two  days  we  didn't  have  over  200  people  in 
the  house,  but  plenty  of  squawks." 

Denver's  Charles  R.  Gilmour  said  that 
patron  reaction  on  advanced  admission 
pictures  was  "critical  and  in  many  instances 
abusive.  There  might  be  a  reason  for  ad- 
vanced admissions  on  a  picture  such  as 
'Quo  Va.lis',"  he  added,  but  exhibitors 
should  prevent  the  practice  from  becoming 
widespread  on  "so-called  roadshow  pictures". 

Schmidt  Quits  Col.  Ad  Post; 
Springold  Expresses  'Regret' 

The  sudden  resignation  of  Arthur 
Schmidt,  Columbia's  direct  >r  of  advertising, 
publicity  and  exploitation,  aroused  some 
speculation  as  to  his  probable  successor  and 
the  reason  for  the  unexpected  move. 

The  company's  vice-president  in  charge 
of  general  public  relations,  Nate  B.  Spin- 
gold,  said  Schmidt's  resignation  came  as  a 
"compete  surprise,"  calling  it  "a  matter  of 
great  personal  regret"  to  himself  and  the 
other  executives  at  Columbia. 

Schmidt  announced  that  he  has  no  plans 
for  the  future  following  the  December  31 
termination  date  of  his  present  contract. 


Technicolor  Price  Slash 
To  Save  Industry  $775,000 

In  these  days  of  consistently  rising  cosj 
heartening  to  hear  that  Technicolor  had  I 
duced  its  price  list  to  an  extent  that  vj 
save  the  movie  industry  an  estimai 
$775,000  a  pear.  The  lower  prices,  which  I 
into  effect  December  1,  will  be  retroactl 
to  apply  to  the  "purchase  of  prints  una 
contract  executed  both  before  and  after  M 
29,  1950,"  according  to  Dr.  Herbert  | 
Kalmus,  president  and  general  manager.  I 

Dr.  Kalmus  noted  that  despite  tj 
$1,240,000  saving  (calculated  on  1951  bu 
ness)  due  to  elimination  of  the  excise  t| 
on  raw  film,  November  1,  Technicolo] 
costs  were  increased,  due  to  higher  wagl 
by  $1,260,000,  as  of  October  25.  However, 
pointed  out,  the  company  has  voluntarl 
absorbed  more  than  50  per  cent  of  the  labl 
costs,  thus  enabling  a  reduction  of  .15  ofj 
cent  per  foot. 

The  Technicolor  head  also  called  atlentil 
to  two  previous  cost  increases  that  the  coil 
pany  had  absorbed,  in  October  of  last  yel 
and  in  June,  1951,  which,  if  passed  on  to  tl 
consumers,  would  have  meant  $875,000  H 
year  more  to  the  film  industry. 

Referring  to  a  number  of  prices  whil 
remain  unchanged,  Dr.  Kalmus  said  thatl 
credit  were  given  for  the  full  excise  tax  d 
mination  and  if  50  per  cent  of  the  increasl 
labor  cost  were  passed  along  to  customel 
the  new  price  would  be  in  excess  of  the  oj 
"Because  we  do  not  wish  to  increase  anyl 
our  prices  at  this  time,  we  have,  in  thJ 
instances,  ci edited  the  full  excise  tax  eliil 
nation  and  have  absorbed  more  than  50  w 
cent  of  the  labor  increases,"  Dr.  Kalnl 
explained. 

TOA  'Grievance'  Meeting 
Bites  Into  Trade  Malpractice, 

Results  o".  the  Theatre  Owners  of  Amerl 
"grievance  panel",  held  at  the  39th  annl 
convention  of  Theatre  Owners  of  North  <l 
South  Carolina  in  Charlotte,  indicated  tl 
TOA  was  jumping  into  the  trade  practil 
division  with  both  feet.  Such  matters  k 
print  shortages,  bidding  and  clearances,  e^ 
of  blind  checking,  forcing,  tie-ins,  pre-fj 
leases,  etc.,  were  tossed  into  the  laps  of  I 
grievance  committee,  TOA  executive  I 
rector  Gael  Sullivan,  general  cOfH 
Herman  Levy,  TOA  Georgia  regional  pal 
director  E.  D.  Martin,  and  executive  su 
tary  Pauline  Griffith. 

Sullivan  called  the  closed  panel  "higV 
successful",  noting  that  it  was  so  "hofl 
had  to  be  continued  through  the  follow! 
day.  Addressing  the  theatremen,  he  rcce- 
mended  closer  ties  with  patrons,  theatre 
spection,  active  participation  in  organiza 
activities. 

Martin   made   a   plea   for   an  exhibit 
united  front  against  distributor  malpracti 
"We    will    either    hang    together   or  h 
(Continued  on  Next  P 
FILM  BULLET 


JXenvs  and  Opinion 


Continued  from  Preceding  Page) 

eparately,"  lie  told  the  convention,  and 
ailed  on  the  exhibitors  to  document  their 
oniplaints. 

Levy  -poke  of  the  importance  of  the 
'enusylv  mia  Milgram  drive-in  decision, 
ranting  a  first-run  to  a  "suitable"  outdoor 
heatre.  The  TO  A  counsel  felt  that  this 
ecision  could  apply  as  well  to  subsequent 
un  drive-ins  seeking  to  negotiate  for  a  prior 
un  enjoyed  by  a  conventional  house.  Re- 
erring  to  i  Maryland  District  Court  decision 
iving  distributors  the  "right  to  select  their 
wn  customers,"  Levy  said  that  the  "con- 
piracy"  among  film  companies  found  in  the 
lilgram  case  was  the  important  factor. 

Nashville's  Alfred  Starr,  keynoter  of  the 
ational  TOA  convention,  thrust  out  at 
ompetitive  bidding  as  "the  greatest  evil  of 
11,"  pinning  his  hopes  on  arbitration  as  the 
neans  of  "restoring  order  in  our  business." 
fe  also  took  a  poke  at  Allied  on  the  arbi- 
ration  question,  although  he  did  not 
nention  it  by  name.  "W  hile  TOA  is  ready 
nd  eager  for  positive  action,"  he  said,  "I 
vish  I  could  say  as  much  for  another  ex- 
libitor  organization  which  talks  loudly  of 
ts  achievements  and  its  future  aims,  but 
vhich  remains  a  road-block  in  the  path  of 
larmony  and  order  in  the  industry." 

Starr  also  was  prominent  in  discussion  of 
irint  shortages,  bidding  and  clearances,  in 
\hkh  it  was  claimed  that  "distribution  had 
reated  anifical  competitive  situations,  where 
hey  had  established  no  'rules  of  the  game' 
hat  exhibition  could  live  by." 

fax  Bite  Brings  Paramount 
39-Week  Net  Below  Last  Year 

I  After  maintaining  its  1950  figure  for  the 
irst  six  months  of  1951,  Paramount's  third 

luarter  net  profit  slipped  some  $350,000  from 
he  same  quarter  last  year  to  give  the  film 

lompany  a  total  of  $4,205,000  for  the  nine 
iioiiths  ended  Sept.  29,  1951.  This  compares 

jjvith  $4,571, 000  at  the  preceding  year's  three- 

fjiuarter  mark. 

I  Consolidated  earnings  for  the  company 
llo  not  include  Paramount's  share  of  net 
undistributed  earnings  of  partially  owned 
Iionconsolidated  subsidiaries,  which  have 
Been  decimated  by  divorcement.  The  nine- 
Inonth  net  take  from  this  source  was  almost 
li  million  dollars  less  than  last  year.  In 
fcddition,  U.  S.  and  Canadian  income  taxes 
Mere  approximately  $64,000  higher  for  the 
llfird  quarter  and  $1,130,000  more  for  the 
lirst  nine  months  of  1951,  compared  with 
I  he  1950  periods. 

Fox  9-Mos.  Net  In  Sharp 
Dip  Despite  Late  Upswing 

I  20th  Century-Fox,  with  a  healthy  third 
fcuarter  net  profit  of  $1,076,000,  brought  its 
liet  earnings  for  the  39  weeks  ended  Sept. 
p,  1951,  to  $2,147,000.  While  no  figures  were 
l?iven,  it  was  noted  by  the  company  that 


the  "improvement  continues  into  [he  fourth 
quarter." 

Hased  on  a  comparison  with  last  year's 
figures,  however,  the  financial  picture  was 
considerably  dimmer.  For  the  same  39 
weeks  in  1950,  the  company  showed  a  net 
of  $6,595,000,  of  which  $2,401,000  was  de- 
frosted income  of  prior  years  from  foreign 
countries,  which  still  left  $4,194,000  in  do- 
mestic earnings  for  the  1950  nine-month 
period,  on  twice  the  net  for  the  current  39 
weeks.  Third  quarter-earnings  maintained 
the  same  level  as  the  1950  period,  aside  from 
the  thawed  foreign  take  of  $875,000,  last 
year. 


S.  H.  FABIAN 

Coat-Peeler 


Fabian  Initiates  Survey 
For  Theatre  TV  Programming 

One  of  the  pioneers  in  theatre  TV,  chain 
operator  Si  Fabian  peeled  off  his  coat  and 
began  working  on  the  programming  monkey 
wrench  that  has  kept  theatre  video  gears 
idle  for  many  weeks. 

Fabian  brought  in  Leo  Rosen,  his  general 
manager  :>f  up-state  New  York  drive-ins,  to 
initiate  a  survey  to  determine  suitable  pro- 
gram material  for  theatre  TV.  Although  he 
is  assigning  Rosen  to  the  task  primarily  for 
the  three  theatres  in  the  Fabian  chain, 
equipped  with  TV,  the  circuit  operator  de- 
clared he  v.  ould  make  all  findings  available 
for  the  advar.cement  of  theatre  TV  generally. 

While  sporting  events  will  be  included  as 
part  of  the  programming  possibilities,  the 
bulk  of  the  survey  will  be  aimed  at  search- 
ing out  other  sources  of  exclusive  theatre 
TV  entertainment. 

Meanwhile,  the  winter  season  in  the  sports 
field  boded  a  step-up  in  theatre  TV  activity. 
Theatre  Network  Television,  which  has  been 
the  clearing  house  for  channeling  TV  events 
into  theatres,  signed  with  Madison  Square 
Garden  for  exclusive  big-screen  rights  to 
major  winter  sports  events  at  the  arena. 


UA  '52  Program  Promises 
To  Hit  New  Post-War  Peak 

Shades  of  the  days  when  I'nitcd  Artists 
was  one  of  the  foremost  class  product  com- 
panies hi  the  business  began  to  take  shape- 
once  again — as  promised  by  the  Krim-Fox- 
Benjamin  management — with  the  announce- 
ment by  William  J.  Heine  man  detailing  11 
UA  releases  for  the  first  five  months  of  1952. 

Hcinemin  called  the  program  "the  best 
UA  has  offered  to  exhibitors  and  to  the 
public  in  five  years,"  adding  that  the  initial 
films  represented  "a  new  chapter  in  our 
career"  and  that  the  company  has  "success- 
fully weathered  the  storms  that  attended  the 
launching  of  our  first  program." 

Heading  the  list  were:  John  Huston's 
Technicolor  "The  African  Queen",  Hum- 
phrey Bogart-  Katharine  Hepburn  starrer, 
entered  in  the  Academy  Award  race;  "An- 
other Man's  Poison"  (Bette  Davis  -  Gary 
Merrill);  "Saturday  Island"  in  Technicolor 
(Linda  Darnell);  "The  Green  Glove"  (Glenn 
Ford  -  Beraldine  Brooks  -  Cedric  Eiard- 
wickc);  Stanley  Kramer's  "High  Noon" 
(Gary  CooDer). 

Eric  Johnston  Rejoins  MPAA; 
Will  Add  Gov't  Men  To  Staff 

Indicating  a  closer  liaison  in  the  future 
between  MPAA  and  the  nation's  capitol, 
Eric  Johnston  will  bring  several  ex-govern- 
ment men  to  serve  with  him  upon  his  return 
to  duty  as  active  president  of  that  organiza- 
tion. 

Although  Johnston  had  not  yet  announced 
any  definite  appointments  as  FILM  BUL- 
LETIN went  to  press,  it  was  expected  that 
his    MPAA    staff   will    include    Ralph  D. 

Hetzel,  Jr.,  assistant  administrator  of  oper- 
ations, ESA;  George  C.  Vietheer,  deputy 
assistant  administrator  of  operations,  ESA, 
and  Edward  Cooper,  staff  director,  Senate 
majority  policy  committee. 

COMPO  Plans  Million  Dollar 
'Movietime'  Campaign  For  '52 

On  the  heels  of  the  announcement  of  a 
second  "Movietime  U.  S.  A."  tour  of  Holly- 
wood personalities,  now  underway,  comes 
the  encouraging  news  of  COMPO's  plans 
for  a  million-dollar  "Movietime"  drive  for 
1952.  Discussions  for  next  year's  campaign, 
which  is  expected  to  improve  on  the  results 
of  this  year's  effort,  will  be  a  dominant 
feature  of  the  COMPO  executive  board 
meeting  to  be  held  early  next  January. 

The  financial  arrangements  for  the  forth- 
coming all-industry  promotional  drive  are 
expected  :o  be  similar  to  those  which  pro- 
vided $1,200,000  for  the  1951  campaign,  with 
the  motion  picture  companies  matching  the 
contribution  of  the  other  factions  of  the  in- 
dustry. 


DECEMBER   3.  1951 


17 


EXPLOITATION  PICTURE 


BAYONETS'  IS  HEADLINE-HOT 

Sell  Timeliness,  Faces,  Action 


Timeliness  has  always  been 
an  important  facet  of  exploita- 
tion. Yesterday's  and  today's 
headlines  have  been  a  fruitful 
source  of  material  for  today's 
and  tomorrow's  movies — an 
"Fixed  Bayonets"  is  a  prime  ex- 
ample. With  Heartbreak  Hill 
still  pounding  at  the  American 
people's  emotions.  20th  Cen- 
tury-Fox has  for  theatremen  a 
realistic  and  exciting  movie, 
based  on  the  Korean  mountain 
fighting,  that  should  give  exhi- 
bitors a  golden  opportunity  for 
using  their  showmanship 
talents. 

The  same  rugged  realism 
and  suspense  that  characterized 
writer-director  Samuel  Fuller's 
"The  Steel  Helmet",  also  based 
on  a  Korean  incident,  is  evident 

in  Fuller's  "Fixed  Bayonets,"   

which  tells  of  a  platoon,  dug  into  the 
mountain  fastnesses  to  hold  off  the  numeri- 
cally superior  enemy.  While  the  body  of 
the  story  is  muscled  with  action  and  sus- 
pense, the  heart  is  centered  around  the  in- 
dividual leactions  of  the  varied  group  of 
soldiers  who  make  up  the  platoon.  Central 
figure  is  Richard  Basehart,  who  registered 
so  well  in  "14  Hours"  and  has  received 
some  glowing  reports  on  his  performance 
in  the  forthcoming  "Decision  Before 
Dawn".  As  the  corporal  with  no  stomach 
for  killing,  beset  by  the  fear  that  he  will 
have  to  take  command  if  his  three  superiors 
are  cut  down,  the  tale  keeps  the  audience 
engrossed  as  each  of  the  three  are  gradual- 
ly eliminated  and  the  corporal  faces  his 


destiny.  This  is  the  kind  of 
drama  that  can  be  sold  with 
conviction. 

Such  incidents  as  a  soldier 
keeping  his  buddy's  ear  after 
it  is  shot  off,  believing  that  the 
surgeon  can  sew  it  back;  or 
he  sound  track  carrying  the 
grating  of  a  knife  on  bone  and 
metal  as  a  soldier  tries  to  ex- 
ract  a  bullet  from  his  own 
high;  or  the  corporal's  attempt 
to  rescue  his  wounded  sergeant 
in  a  live  mine  field,  motivated 
by  his  fear  of  being  left  in  com- 
mand— these  carry  a  wealth  of 
opportunities  for  striking, 
heart-catching  exploitation. 

Good  opportunities  for  an 
eye-arresting  display  that  has 
proved  itself  a  sure-fire  seller 
are  offered  by  the  various  per- 

  sonalities,    featuring  blow-ups 

of  the  individual  dogfaces,  captioned  with 
exciting  copy.  "Sensitive,  young  and 
frightened,  he  sought  the  courage  he 
longed  for  on  the  bleak  Korean  mountain- 
side" (Richard  Basehart)  ;  "The  red- 
bearded  letread  from  World  War  II,  a 
hardened  professional  dogface  who  lived 
only  for  the  moment"  (Gene  "Steel 
Helmet"  Evans)  ;  "The  schoolboy  medic 
who  froze  at  the  sight  of  blood  as  his 
dying  comrades  cried  out  for  him" (Richard 
Hylton  )  ;  "A  calloused  marksman  who 
killed  a  man  with  the  greatest  of  ease  and 
joke  about  it  afterward" (Michael  O'Shea)  ; 
"  'Belvedere',  the  poker-faced  humorist  who 
had  been  everywhere,  knew  everything,  ex- 
cept how  to  die"  (Skip  Homeier). 


PREMIERE 


The  New  York  world  premiere  of  "Fi;j 
Bayonets"  can  serve  as  a  model  on  which  ; 
exhibitors  in  various  territories  can  build  tH 
own  campaigns.  Just  as  it  did  for  the  Broad- 
opening  at  the  Rivoli,  the  Army  Department  - 
supply  extraordinary  support  wherever  it  I 
shown.  In  a  letter  by  Acting  Secretary  ArchibJ 
S.  Alexander,  the  Army  "approved  the  fi 
version  of  20th  Century-Fox's  new,  excitij 
factual  motion  picture  entitled  'Fixed  Bayonet] 
It  is  a  portrayal  of  Army  action  in  Korea,  | 
signed  to  give  credit  to  tthe  United  States  Com 
Infantryman,  the  men  who  in  all  wars  traditio 
ly  bear  the  brunt  of  the  actual  fighting." 

For  the  opening,  four  Congressional  Medal 
Honor  winners  lead  a  parade  composed  of 
from  the  First  Army  Area  to  the  Rivo 
special  shipment  of  captured  North  Korean 
Chinese  war  equipment  was  brought  in 
Aberdeen  for  a  military  display  and  was 
in  Times  Square  and  in  the  lobby  of  the  thea 
Store  windows  were  used  to  publicize  the 
for  blood  plasma,  and  actual  weapons  to  dra 
tize  the  display  (see  above). 

NEWSPAPER  ADS 

Below,  several  of  the  large  display  ad 
eluding  the  Rivoli  opening,  using  the 
break  Hill"  slant  and  the  characters  as  spe 
focal  points. 


e: 


PICTURE 

:t  the  1SBM  -™ 


dug  into  the  mountainside,  the  frost-bitten  soldiers  attempt  to  fight  off  a  numerically  superior  foe. 

Michael  O'Shea)  pepper  the  frosty  air  with  hot  words. 


bearded  sergeants  ( Gene  Evans. 


FIXED  BAYONETS! 

A  former  infantry  corporal.  Samuel  Fuller,  seems  to  be  well  on  the 
way  to  being  the  dogface  chronicler  of  the  movies,  a  sort  of  cinematic 
version  of  journalism's  Ernie  Pyle.  or  cartooning's  Bill  Mauldin.  In 
his  first  movie.  "The  Steel  Helmet."  *\hich  he  wrote  and  directed,  he 
combined  a  new  kind  of  Army  realism  with  some  salty  dialogue  and 
coaxed  his  actors  into  being  soldiers,  unearthing  a  S~5-a-week  extra. 
Gene  Evans,  and  turning  him  into  a  coming  star  as  the  tough,  red- 
bearded  sergeant.  Evans  gets  another  such  role,  along  with  some  ca- 
pable players — Richard  Basehart.  Michael  O'Shea  and  Skip  Homeier, 
to  name  a  few — to  give  the  latest  Fuller  effort.  "Fixed  Bayonets!'*,  the 
exciting  realism  that  characterized  the  initial  offering. 

The  action  begins  with  a  young,  frightened  corporal.  Basehart, 
centering  a  North  Korean  in  his  rifle  sights,  and  then  deliberately 
raising  the  gun  before  he  shoots.  He  is  a  member  of  a  platoon  dele- 
gated to  fight  a  rear-guard  action  for  one  day  and  night  in  the  snow- 
covered  hills  to  protect  retreating  troops.  How  that  little  group  is 
gradually  decimated,  with  the  death  of  his  superiors  forcing  the  sensi- 
tive, fearful  youth  to  take  command  and  accomplish  the  mission,  is 
told  with  the  artistry  of  one  who  knows  how  soldiers  talk,  fight,  and 
die.  by  writer-director  Fuller. 


.TUDIO  SIZe-UPS  I 

(Continued  from  Page  13) 

October  17— Richard  Sale  directing  for 
Robert  Bassler;  "Diplomatic  Courier"  (Ty- 
rone Power-Patricia  Neal)  has  been  shooting 
six  days  per  week  since  October  19 — Henry 
Hathaway  directing,  Casey  Robinson,  pro- 
ducing; "The  Outcasts  of  Poker  Flats," 
(Anne  Baxter-Dale  Robertson)  is  now  in  its 
fifth  week  of  filming  with  Joseph  Newman 
directing  for  producer  Julian  Blaustein; 
"Deadline  U.  S.  A."  (Humphrey  Bogart  - 
Ethel  Bar-ymore  -  Kim  Hunter)  rolled  on 
November  12— Richard  Brooks  directing  for 
producer  Sol  C.  Seigel;  part  1  of  "The  Full 
House,"  a  five-episode  feature  based  on  O. 
Henry  classics,  was  launched  on  November 
19  —  Henry  King  directing  for  producer 
Andre  Hakim,  with  Jeanne  Crain  and  Farley 
Grainger  starred;  and  "Cry  of  the  Swamp" 
(Jean  Peters-Jeffrey  Hunter),  Technicolor 
feature,  rolled  December  19 — Jean  Negulesco 
directing,  Robert  Jacks  producing. 

This  week  (December  3),  producer 
Charles  Brackett  is  scheduled  to  green-light 
production  on  "How  High  Is  Up?",  although 
at  this  writing,  no  cast  or  directorial  assign- 
ments had  been  announced.  Late  in  the 
week,  it  will  be  joined  by  "Night  Without 
Sleep",  a  suspense  drama,  starring  Richard 
Widmark  ?nd  Marilyn  Monroe.  Roy  Baker 
will  direct  for  Julian  Blaustein.  Next  Mon- 
day, December  10,  Director  John  Ford  and 
Producer  Sol  C.  Seigel  will  give  the  com- 
mand to  s'art  the  cameras  rolling  on  the 
remake  of  the  famed  "What  Price  Glory,"  a 
million-dollar  production  starring  James 
Cagney,  Dan  Dailey  and  Corinne  Calvet. 

UNITED  ARTISTS 

Inking  Of  Pact  With  Mayer 
Would  Brighten  UA  Outlook 

There  is  no  doubt  in  anyone's  mind  that 
Louis  B.  Mayer  is  just  the  man  United 
Artists  needs  to  put  the  company  right  in 
the  forefront.  And  there  is  better  than  an 
outside  chance  that  the  bright  young  men 
who  are  today  guiding  the  destinies  of  this 
organization,  Messrs,  Krim,  Benjamin,  Fox, 
et  al,  might  be  able  to  swing  a  deal  to  bring 
the  erstwhile  M-G-M  production  chief  into 
their  setup. 

Talks  have  been  going  on  for  several 
weeks  now,  the  gist  of  which  appear  to  in- 
volve the  setting-up  of  a  Mayer-controlled 
production  unit  that  would  turn  out  top 
caliber  product  to  be  distributed  under  the 
UA  banner.  So  far,  it's  all  been  preliminary, 
but  there  appears  to  be  intense  and  sincere 
interest  on  both  sides  and  the  desire  for  a 
deal  augurs  hopefully  for  consummation  of 
something  along  these  lines. 

The  present  UA  management  has  done  a 
magnificent  job  putting  the  company  into  the 
black  after  a  long  period  of  red  ink  entries. 
However,  the  uncertainties  of  independent 
production  today  pose  a  problem  that  is 
tough  to  cope  with.  UA  needs  an  assured 
source  of  supply.  It  has  none,  only  sporadic 
deliveries  of  some  good,  some  weak,  pic- 


tures from  isolated  independent  producers. 
Acquisition  of  a  man  of  ability  and  standing 
of  Louis  B.  Mayer  would  really  be  some- 
thing. Here's  hoping  they  get  together. 

One  new  release  was  lined  up  during  late 
November  —  Alexander  Paal's  British  pro- 
duction of  "A  Tale  of  Five  Cities."  The  film 
was  made  in  London,  Paris,  Rome,  Berlin 
and  Vienna,  and  follows  an  amnesia  victim 
through  these  cities,  as  he  attempts  to  estab- 
lish his  identity. 

"Red  Planet,"  which  Anthony  veiller  and 
Donald  Hyde  are  producing  for  UA  release, 
is  now  before  the  cameras,  with  Peter  Graves 
in  the  sarring  spot.  Harry  Horner  is  di- 
recting the  picture,  which  is  reportedly 
working  on  a  budget  approximating  the 
quarter  Miillion  dollar  mark.  "Limelight," 
the  new  Charlie  Chaplin  feature,  is  also 
before  the  cameras,  and  will  go  out,  of 
course,  under  the  UA  banner.  Chaplin  is 
producing  and  directing,  as  well  as  co- 
starring  with  Charles  Chaplin,  Jr.  and  Claire 
Bloom. 

A  national  release  date  of  January  15  has 
been  set  by  United  Artists  for  Douglas 
Fairbanks'  British  made-production,  "An- 
other Man's  Poison."  The  film,  starring 
Bette  Davis  and  Gary  Merrill,  will  also 
have  several  pre-release  bookings,  including 
one  in  Los  Angeles,  in  order  to  get  in  under 
the  wire  for  consideration  in  the  Academy 
Awards  derby. 

UNIVERSAL-INTERNATIONAL 

Stock  Transfer  To  Decca 
Hypoes  U-l  Production  Flow 

Decca  Records'  acquisition  of  controlling 
stock  in  Universal-International,  within  the 
past  fortnight,  has  resulted  in  no  interrup- 
tion in  the  flow  of  production  on  the  Uni- 
versal City  lot.  To  the  contrary,  production 
shot  up  appreciably  immediately  following 
the  stock  transfer.  An  additional  $4,000,000 
in  bank  loans  to  Decca  following  the  deal 
certainly  didn't  hurt. 

During  the  final  week  of  November  and 
the  first  week  of  December,  five  new  pic- 
tures went  before  the  cameras.  Three  of 
this  group  will  be  photographed  in  Techni- 
color, giving  the  studio  16  Technicolor  pro- 
ductions since  last  January  1 — a  new  record 
for  the  studio.  Actually,  the  total  backlog 
at  U-I  is  it  an  all-time  record  high,  with  19 
completed  top-budget  films  safely  tucked 
away  in  the  cans. 

First  of  the  new  group  of  pictures  to  go 
before  the  cameras  was  "Scarlet  Angel,"  a 
Technicolor  feature  starring  Yvonne  De 
Carlo  and  Rock  Hudson.  Producer  Leonard 
Goldstein  and  director  Sidney  Salkow 
started  filming  on  November  20.  One  week 
later,  on  November  26,  producer  Goldstein 
teed  off  with  another  Technicolor  biggie, 
"Untamed,"  starring  Joseph  Cotten,  Shelley 
Winters  and  Scott  Brady — Hugo  Fregonese 
directing.  The  same  day,  the  Technicolor 
cameras  started  rolling  on  "Claim  Jumpers," 
starring  Audie  Murphy,  Faith  Domergue  and 
Stephen  McNally — Don  Sicgel  directing,  and 
Goldstein  again  at  the  production  helm. 
Within  the  past  week,  two  others  joined  the 


group:  "Francis  Goes  to  West  Point'] 
(Donald  O'Connor-Lori  Nelson)  and  "Thd 
Sourdoughs"  (Abbott  &  Costello  -  Denisej 
Darcel-Tom  Ewell).  Arthur  Lubin  directs 
"Francis"  for  producer  Leonard  Goldsteinl 
and  Jean  Yarbrough  directs  "Sourdoughs'! 
for  Howard  Christie. 

One  other  picture,  "Red  Ball  Express,"  i? 
currently  before  the  cameras — having  gottert 
away  on  October  31.  Budd  Boetticher  di-l 
rects  a  cast  headed  by  Jeff  Chandler,  Susan; 
Cabot  and  Alex  Nicol,  with  Aaron  Rosen-i 
berg  handling  the  producer  reins. 

WARNER  BROTHERS 

New  TV  Rumors  Belied 
By  Fresh  WB  Story  Boys 

The  protracted  shooting  schedules  on  a 
quintet  of  Warner  Brothers  features  has] 
kept  the  studio  moving  along  at  an  even 
pace  throughout  the  past  month,  although 
none  of  the  five  pictures  which  were! 
scheduled  io  start  during  November,  actually 
materalized  in  shooting  form. 

Despite  this  unexplained  delay,  the  studic 
insists  there  is  absolutely  no  foundation  fori 
renewed  reports  that  Warners  may  be  con-l 
templating  abandonment  of  motion  picture 
production,  to  go  into  the  field  of  TV  film-J 
making.  For  one  thing,  the  company  is  stilfl 
very  active  in  the  story  market,  bidding  on 
at  least  a  half-dozen  important  properties! 
Foremost  among  these  is  a  deal  pending; 
with  Universal-International,  to  take  ovei) 
U-I's  big  musical  property,  "Song  of  Nor-j 
way,"  which  has  been  gathering  moss  foil 
more  than  three  years.  Robert  Arthur  would] 
produce  the  picture  for  WB,  if  the  deal  goes 
through,  just  as  he  had  been  slated  to  del 
when  he  was  under  contract  to  U-I. 

Five  pictures,  all  of  them  in  the  high-j 
budget  category  are  currently  before  the  WE| 
cameras.  One  of  them,  "The  Crimsoij 
Pirate,"  a  Technicolor  epic  being  filmed  irj 
Italy,  stands  to  set  something  of  a  recorq 
in  length  of  production.  Stars  Burt  Lanj 
caster  and  Nick  Cravat,  and  director  Richard 
Siodmak  have  been  toiling  on  the  productiotj 
since  July  3.  Two  other  features,  "She'n 
Working  Her  Way  Through  College' 
(Technicolor),  and  "You  Can't  Stop  ths 
Marines"  have  been  filming  since  Septembeij 
24.  Bruce  Humberstone  is  directing  thd 
former  for  producer  William  Jacobs,  wit! 
Virginia  Mayo,  Ronald  Reagan  and  Gen< 
Nelson  starred.  Joseph  Lewis  is  directing 
"Marines"  for  producer  Milton  Sperling,  and 
stars  are  Frank  Lovejoy  and  Richard  Carl 
son.  The  final  two  pictures  now  in  worll 
are:  "This  Woman  Is  Dangerous"  (Joan 
Crawford  -  Dennis  Morgan),  filming  sincJ 
October  '1 — Felix  Feist  directing  for  proi 
ducer  Robert  Sisk,  and  "Mara  Maru"  (Erro 
Flynn  -  Ruth  Roman),  in  production  sincj 
October  22  —  Gordon  Douglas  directing! 
David  Weisbart  producing. 

The  only  film  completed  during  the  pasl 
month  was  Fidelity  Pictures'  "San  FranciscJ 
Story"  (Joel  McCrea  -  Yvonne  de  Carlo*! 
Robert  Parrish  directed  the  Fidelity  produc 
and  Howard  Welsh  produced  on  a  budget  i( 
the  neighborhood  of  $225,000. 


20 


FILM  BULLETIN 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Date. 
"No."  is  the  release  Number.  "Rev."  is  the  issue  in  which  the 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  new  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cincolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


1950-51 


Features 

Serials 

Westerns 


Completed 
Completed 
Completed 


(51  ) 
(  3) 
(16) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production   (  I  ) 


RELEASE  CHART 

—  1*50-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Arrow  and  the  Saber,  The  Crawford-Hale 
Rough,  Tough  West  Starrett-Burnett 

COMPLETED 

Barefoot  Mailmen,  The  (SO  (83) 


Big  Gusher.    The  168) 
Boots  Malone 

Brave  Bulls.  The  1 107)  _  _ 

Brave  Warrior 
Brigand.   The  IT) 
Captain  Blood,  Fugitive 
Clouded  Yellow,  The  194) 

Corky  of  Gasoline  Alley   _. 

China  Corsair  178)    

Congo  Bill     

Chain  of  Circumstance  (48) 

Criminal  Lawyer  173)   

Cripple  Creek 

Dark  Page     

Death  Of  A  Salesman  

European  Edition   

Family  Secret.  The  (85) 

Firefighters,  The    

First  Time,  The  

five  1931    

Four  Poster.  The 
Golden  Hawk 
Harem  Girl.  The 


 R.  Cummings-T.  Mocre 

_,  Morris-Foster 

Holden-Clements 
...  Ferrer-Quinn 
Jon  Hall 
Dexter-Lawrence 

Louis  Hayward    

Simmons-Howard 
.....  S.  Beckett-J.  Lydon 

 Hall-Farraday 

 McGuire-Moora   

 M.  Feld-R.  Grayson 

_  OBrien-Wyatt 

 Montgovery-Booth 

...  Crawford-Derek   

March-Dunnock    

 Glen  Ford  

...Derek-Cobb 

...  Williams-Reynolds   

Cummings-Hale   

 S.  Douglas-W.  Phipps 

Harrison-Palmer 
Fleminq-Hayden 
-Castle 


7-30 
5-7 


10-8 
4-18 


Harlem  Globetrotters,  The    Gomez-Dandridge 

Hawk  of   Wild    River    The  Starrett-Burnett 

Her  Wonderful  Lie    _  Kieoure-Eqgerth 

j  Hurricane  Island  (C)   Hall-Windsor   

Hills  of  Utah  149)                          .  Autry-Buttram 
Jungle  Jim  in  the  Forbidden  Land   Weissmuller-Ryan 


Jungle   Manhunt  (44) 

Jungle    Safari    . 

Lady  and  the  Bandit,  The  (78) 
Laramio  Moutains 
Lorna  Doone  IT) 
Magic  Carpet  (90) 
Magic  Face.  The  189) 
iMan  In  the  Saddle  IT)  187) 
Marrying  Kind,  The 
Mask  of  the  Avenger   (T)  (83) 
Mob,  The  (87) 
Mother.  The 
My  Six  Convicts 

Never  Trust  A  Gambler  179)   

Night  Stage  to  Galveston 

Old  West.  The    

Pickup  180) 

Purple  Heart  Diary  .... 

Riders  of  the  Whijtlinq  Pipes  

Saturday's  Hero  III'-   

Silver   Canyon    (70)  .   

Sirocco  1981      .    ...  ....    

Smokv  Canyon 
Sniper.  The 
Son  of  Dr.  Jekyll  178) 
Sound  Off 

Sunny  Side  of  the  Street  171) 
Ten  Tall  Men   IT)  (97) 
Texas  Rangers  (C) 
Thief  of  Damascus,  The  _ 
Vallev  of  Fire  IC)  142) 
War  Cry  (C) 

When  the  Redskins  Rode  (C)  (78) 
Whistle  at  Eaton  Falls,  The  (90) 


Weissmuller-Ryan 
Weissmuller-Greene 
Hayward-Medina 
Starrott-Burnett 
Hale-Greene 
Ball-Agar 
Adler-Knight 
Scott-Leslie 
Holliday-Harrlson 
Derek-Ouinn 
B  Crawford-Buehler 
Young-Smith 
Beel-Mitchell 
Clark-O'Donnell 
Autry-Buttram 
Autry-Davis 
Haas-Michaels 
F.  Lanofnrd-T.  Roman 

Autry-White  

Derek-Reed 

Autry-Davis     

Bogart-Loran       .  _ 
Starrett-Burnette    ...  . 
,  Meniou-Franz 
Hayword-Knox 
Mickey   Rooney  _  . 

Lane-Daniels  

Lancaster-Lawrence 
Geo.  Montgomery  _  . 

Henreid-Sutton  _ 

Autry-Burnett 

Montgomery-Long   

Hall-Castl?  .  _ 
Bridges-Gish 


9-24 

D  1-5 
"9-10 


10-8 


9-51 
12-51 
4-SI 


1950-51 


L  I  P  P  ERT 


Completed   (30)       In  Production  (0) 


IN  PRODUCTION 

Stolen  Face,  The 
Outlaw  Women 

COMPLETED 

As  You  Were    

Bandit  Queen  

FBI  Girl   

For  Men  Only    

G.  I.  Jane  142) 

Great  Adventure,  The  (75) 

Highly  Dangerous  181)   

Kentucky  Jubilee  

Leave  It  To  The  Marines  144) 

Little  Big  Horn  

Lost  Continent  

Man  Bait 
I  Navaio 

Pier  23   IL...ZZ1 

Savage  Drums 
•  Sky  High  140) 


RELEASE  CHART 

—  1950-51  — 


 .Tracy-Sawyer  

_Britton- Parker   

 Romero-Totter   

 P.  Henreid   

 Porter-Neal   

Price-Hawkins   

 Clark-Lockwood   

 Celenna-Porter   

S.  Melton-M.  Lynn 

 Ireland-Bridges   

 Romero-Brooke   _ 

Brent-Chapman 

 Documentary.   

 Beaumont-Savage  _ 

Sabu-Baron   

  S.  Melton-M.  Lynn  . 


10-5  5023.  

.12-15  5810  

10-24  -.5002   10-19 


_  7-4      5012  _  9-24 

11-2  5021  

1 0—1 2    .  5029   

-5-18  5IB7  

.   9-2   _  5005  

_*-IB  5003  

8-27  .5004  .  9-10 


_5-ll  S0I8. 

4-22  5001 
.10-19  .5024.. 

11-  23  5030 

12-  21 5008 


Unknown   World  1431 

Varieties  On  Parade  .  

Yes  Sir.  Mr.  Bones  154)  ... 


Kellogg. Nash 
.Rose-Carroll 
F.  Miller 


10  24  5101 
7-20      5020  .  . 
7-13      5019  9-24 


METRO-COLDWYN -MAYER 


1950-51   Features        Completed  (75) 


Production  (4) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Girl  In  White.  The 
Glory  Alley 


Cast 
Allyson-Kennedy 
Caron-Meeker 
Turner-Lamas 
S.  Granger-E.  Parker 

COMPLETED 

Across  the  Wide  Missouri  IT)   (78)  Gable-Hodiak 

American  in  Paris  (T)   (113)  Kelly-Caron 

Angels  in  the  Outfield   1102)  .  Douglas-Lpigh 

Because   Your   Mine  Lanza-Whitmore 

Belle  of  New  York    IT)   .  Astaire-Vera-Ellen 

Bannerline    1881  Forrest-Braselle 


Callaway  Went  Thataway  181) 
Calling  Bulldog  Drummond  180) 

County  Line     .  _   

Excuse  My  Dust  IT)  (82)  

Father's  Little  Dividend  (82)  __ 

Go  For  Broke  192)   

Great  Caruso.  The  (Tl  (109)   

Home  Town  Story  (41)  

Hour  of  Thirteen,  The 
Invitation  The 


A  Big  Country  (89) 


Just  This  Once    

Kind  Lady  1781 

Law  and  the  Ladv.  The  1104) 

Light  Fantastic,  The  (81) 

Light  Touch.  The  I  I  10)   

Lone  Star    

Lovely  To  Look  At  IT) 


MacMurray-McGuire 

Pidgcon-Leighton 

Pidgeon-Hodiak 

Skelton-Forrest 

Tracy-Taylor 

Johnson-Anderson 

Lanza-Blyth 

Crisp-Reynolds 

Lawford-Addams 

McGuire-Johnson 

All  Star 

Taylor-E.  Taylor 


Oct 
Nov 
Sep 


Oct 
Dec 
Dec 

June 
Apr 

May 
Apr 

May 


10-.' 2 
9-24 
8-27 


With  A  Cloak  188) 
Night  Into  Morning  184) 

Mr.  Imperium  (T)  (87)   

No  Questions  Asked  (81)   


Leigh-Lawford 
Barrymore-Evans 
Garson-Wilding 
Taylor-Parks 
Grainger-Angeli 
Gable-Gardner 
Grayson-Skelton 
Cotten-Stanwyck 
_  Milland-Hodiak 
_  Turner-Pinza 
„..Sullivan-Dahl 


July 
July 


Mason-Gardner 

People  Against  O'Hara  (102)    .  Tracy-O'Brien 

Quo  Vadis   IT)    1171)  „  

I  Was  a  Stranger 
Red  Badge  of  Courage  149) 
Rich.  Young  and  Pretty  (T)  (95) 

Show  Boat  ITI  (.108)   

Singin'  In  The  Rain  (T)  .  .  ...  . 

Skirts  Ahoy 

Soldier's  Three  192)   

Talk  About  a  Stranger 
Strictly  Dishonorable  195) 

Strip.    The   185)  _    

Tall  Target,    The  (78)   

Teresa    1 105)      _  _  

Texas  Carnival  IT)  (77) 
Too  Young  To  Kiss  (91) 
Unknown  Man.  The  184) 

Westward  the  Women  II  IB)   

When  In  Rome  

Wild  North  Country,  The  (A) 
Young  Man  in  a  Hurry 


Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 


Kelly-01Connor 
Williams-Blaine 
Granger-Pilgeon 
Murphy-Davis 
Pinza-legih   .  _ 
Rooney-Forrest 
Powell- Raymond 
Angeli-Erickson 
Williams-Skelton 
Ailyson-Johnson 
Pidgeon-Harding 
Taylor-Darcel 
Johnson-Douglas 
Granger-Corey 
Roman-Nype 


k  

Oct 
.  June 

207 
130 

10-22 
4-4 

Sep 

20  3 

4-4 

...  June 

132 

4-18 

Sep 

201 

10-22 

8-27 
1  1-19 

Sep 
Aug 

204 
138 

8-27 
7-14 

.......  July  

135 

7-2 

Aug    140 

Aug  139  8-13 

July  .    137  3-12 

Oct  205  9-24 

Nov  1 1-5 

July  10-22 
Nov 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (39) 
Completed  (15) 


In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


COMPLETED 

TITLE — Running  Time 
According  to  Mrs.  Hoyle  140) 
Aladdin   and   His  Lamp    (C)  _ 

Blazing  Bullets  _   

Lawless  Cowboys 
Casa   Manana  173 

Cavalry  Scout  (C)  (78)  

Counterfeit    

Crazy  Over  Horses 
Desert  Passage 

Elephant  Stampede    

Escape  to  Freedom 


Cast 

  Byington-Chandler 

Medina-Sands 

 Brown-Hall 

Wilson-Knight 
Forbes-Herlihy 

  Cameron-Long 

DeFoe-King 
Gorcey-Hall 
_  Morris-Caruso 

 Sheffield 

McDowall-Miller 

Father  Takes  The  Air   Walburn-Gray   

Flight  to  Mars  (C)   172)  Chapman-Mitchell 

Fort  Osage    IC)      Cameron-Nigh 

Gypsy    Fury   (43)  Viveca-Lindfors  

Hold  That  Line  _  Gorcey-Hall   

Joe   Palooka  in  Triple  Cross    .  Kirkwood-Downs 
Longhorn,  The  Elliott-Coates 


I.  No. 
5-20  5122 
12-2  1 


I  1-7 

4-  10  5114 

5-  13  .5101 


Rev. 
.  7-2 


11-18  .5114 

10-  29    .  511 0  . 

1-  52 

...4-17  .5124  . 

11-  11       5103  11-19 

2-  10  5102 

3-  18  5192  7-14 


Brown-Elli  Dn 
-Wilson-Clyde 
Neal-Toomey 
Wilson-Knight 


DECEMBER   3,  1951 


Night  Raiders 
Northwest  Territory 

Oklahoma  Justice   

Rodeo  (C)  _ 
Stage  From  Amarillo 
Stage  to  Blue  River 
Stagecoach  Driver  . 
Teras  Lawmen 
Trail  Dust 
Vengeance  Trail 
Vicious  Years.  The 

Wagons  West  (CI  

Wanted:  Dead  or  Alive  IS?) 
Whistling  Hills 
Witness.  The 
Yellow  Fin 
Yukon  Manhunt 


79) 


Wilson-Knight 
Grant-Chinook 

Brown-Ellison   

Jane  Nigh   

.  Elloitt 
Wilson-Knight 
Wilson-Knight 

Brown-Ellison   

Albright-Winters 
.Elliott-Stewart  „.. 

Cook-Moore    

.Cameron  

Wilson-Clyde   

Brown-Ellison 
Kirkwood-Gleason 
Morris-O'Flynn 
 Grant-Davis   

ALLIED  ARTISTS 


Babe  ftuth  Story,  The  

Disc  Jockev  __  

Highwayman.  The  IC)    (83)  ... 

Let's  Go  Navy  168)  

I  Was  An  American  Spy  (85) 
It  Happened  On  Fifth  Avenue 


1 2-? 
8-1? 
3-? 


5153 
5107 


Bendix-Trevor   _  

Simms-O'Shea  

Hendrii-Coburn  

.  May 

4-18 
8-27 

.   8-23 

?-8 

.  .....21  

 20  

H.  Hall-G.  Gorcey 

Dvorak-Evans     

DeFore-Storm  _  _. 

7-2? 
_.  4- IS 
..May 

5113  . 
.  ...19 ...... 

8-27 
.5-21 

Last  Musketeer.  The   Allen-Kay 

Leadvitle  Gun  Stingers   Lane-Riley   

Lost  Planet  Airmen   IReedited  from 

"Kinq  of  the  Rocket.  Men"    Coffin-Clarke  ....... 

Million  Dollar  Pursuit  140)  ...        .    Edwards-Flagg  ... 

Oklahoma  Annie  (C)  Canova-Russell 

Pals  of  the  Golden  West   .    Rogers-Evans  ...... 

Quit*  Man,  The  IT)     Wayne-OHara 

Robinson-Vs.  Turpin   153)  _  .  Fight  Pictures  .... 

Rodeo  Kind  &  The  Senorita  147)  ....  Alien-Kay  

Saddlemates   Allen-Kay   

Sea  Hornet,  The  (84)   Cameron-Booth  . 

Secrets  of  Monte  Carlo  .._„  Douglas-Hall   

South  of  Caliente  47)   Rogers-Evans 

Stormbound    _  Dowling-Cheechi 

Street  Bandits     Edwards-Clarke 

This  Is  Korea  (50)    Docamentary   

Utah  Wagon  Trail  (47)   Allen-Edwards 

Wells  Fargo  Gunmaster    Lane-Chapin   

Wild  Blue  Yonder  Corey-Ralston 

Woman  In  The  Dark    Edwards-Elloitt 

Wyoming  Saddle  Pals     Chapin-Janssen 


5030 
5151 
5032 
51 30 
5127 
5054 

5041 


RKO  RADIO 


PARAMOUNT 


1951-52  Features       Completed  (57)       In  Production  (I 


1950-51  Features       Completed  (62)       In  Production  (2) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 


COMPLETED 

Aaron  Slick  from  Punkin  Creek  (T) 

Anything  Can  Happen     

Appointment  With  Danger  (8?)  ... 
Big  Carnival,  The  1112) 
Rev.  under  title:  Ace 

Big  Timber  IT)  

Carrie  .      

Crosswinds  IT)  193) 
Darling,  How  Could  You  195) 

Dear  Brat  (82)    

Detective  Story  11031  

Flaming  Feather  (Tl  ...   

Greatest  Show  On  Earth  IT)   

Green    Gold  of  Nevada  (T) 
Here  Comes  the  Groom  (114)  . 
Hong  Kong   ITI  |?2I 
Last  Outpost,  The  (T)  (8?) 
Los  Alamos 
My  Favorite  Spy  |?3) 

My  Son  John    _   

Passage  West  IT)    (SO)  _ 

Peking  Express  185)    

Place  in  The  Sun,  A  (122)  _ 
Rage  of  the  Vulture.  The  .... 

Red  Mountain  (T)    _ 

Rhubarb  (?5) 
Sailor  Beware 

Samson  and  Delilah  (tj "Titt'l" 
Shane  IT) 

Silver  City  IT)  190) 
Somebody  Loves  Me 

Something  To  Live  For   

Son  of  Paleface  (T) 
Stooge.  The 

Submarine  Command  (89) 

That's  My  Boy  198)  

The  Denver  &  Rio  Grande  if) 

This  Is  Dynamite 

Trio  (91)  . 

Warbonnet  IT) 

Warpath  (95)  IT) 

When  Worlds  Collide  (82)  iff 


Shore-Younq  .."  

Ferrer-Hunter   

Ladd-Calvert  

Douglas-Sterling   

the  Hole 

  Payne-Moorhead   

 Olivier-Jones    

Payne-Fleming   

Fontaine-Lund  

Freeman-Arnold 

Douglas-Parker  

S.  Hayden-6.  Russell 

Stewart-Hutton    

Payne-Morrow 
Crosby-Wyma 
Reagan-Fleming 
Reagan-Fleming 
Barry. Carke 
Hope-Lamarr 
Hayes-Heflin 
Payne-O'Keefe 
Cotten-Calvet 
Clift-Winters 

Ladd-Kerr   

Ladd-Kennedy 
Milland-Sterl.n. 
Martin-Lewis 
Lamarr-Mature 
Ladd-Arthur 
DeCarlo-O'Brie 
Hutton-Meeker 


Holden-Olson 
Martin-Lewis  .... 
O'Brien-Hayden 
Holden-Smith 
Simmons-Rennie 
Heston-Hanson  . 
O'Brlen-Jagger 
Derr-Rush 


...  10-51  5104. 

11-51  .  5108  .... 

4-51  _  S02I 

11-51 5111 


8-13 
7o-8 


 9-51 

.5101 

J   

 1-52 

.5109.. 

11-19 



 5-51 

5020 

 _  12-51 

51 10 

10-22 

_  7-51 

5022 

 4-4 

  8-51 

_  5024 

 7-2 

 9-51  

5102 

.  7-30 

1-52  " 

5113 

J   - 

 9-51  

.5103... 

.1.8- i  3 

...5010  L 

_I  J— 21 

n  

.  12-51 

5112 

III  0-8 

d     10-51   

REPUBLIC 


1951-52  Features       Completed  (15) 
Serials  Completed   (  0) 
 Westerns       Completed   (  8) 

RELEASE  CHART 

—  1950-51-52  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Bal  Tabarin   Lawrence-Ching 

COMPLETED 

Adventures  of  Captain  Fabian  (100)  E.  Flynn-M  Prelle 

Arizona  Manhunt   l&O)   Chapin-Janssen 

Border  Saddlemates  Allen-Kay 

Bullfighter  and  the  Lady   (87)  Stack-Page 

Captive  of  Billy  the  Kid  Lane-Edwards 

Colorado  Sundown  Re,  Allen 

Dakota  Kid.  The  160)  Chapin-Janssen 

Desert  of  Lost  Men  Lane 

Don   Daredevil   Rides  Aqain  Curtis-Towne 

Fabulous  Senorita,  The  Estelita-Clarke 

Fiqhtmq  Coast  Guard   186)  Donlevy-Tucker 

il«h,.l'om  P«rv   -   Edwards-Clark 

Fort  Dodge  Stampede    160)  Lane-Kay 

Fugitive   Lady    178)    ...   Paige-Barnes 

G.rl  From  Panama    Estrelita-Clarke 

Honeych.lt     |Jr]    ._  Canova-Foy 

Hoodlum  Empire   _  Donlevy-Trevor 

n.urance  lnv„t,qator  160)  Denning-Long 

Lady   Possessed    Mason-Havoc 

22 


In  Production  (  I  ) 
In  Production  (0) 
In  Production  (0) 


7-1 
1 1-19 
6-1 

5067 
5063 .... 
5084 

6-1 

''5010 

5-7 

  4-18 

.  8-24 
7-15 

5062 
501  1 

7-30 

10-51 

5121 

5-23 

5026 

4-9 

RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Clash  By  Night  

Korean    Story,  The  

COMPLETED 

Alice  In  Wonderland  (T)  I7S! 


Behave  Yourself  181)  ... 
Best  of  the  Badmen  IT) 

Biq  Sky.  The    

Blue  Veil,  The  (114)   

Crack  Down     

Double  Dynamite  (80) 
Flyinq  Leathernecks  IT) 
Girl  in  Every  Port,  A  . 
Gun  Notches   


Gun  Play  160)   

Happy  Go  Lovely  (87)    

Half-Breed.  The  

Hard,  Fast  and  Beautiful  (78)  . 

His  Kind  of  Woman  (120)  

Hot  Lead  (60)  

I  Want  You  (102) 
Jet  Pilot  IT)  (118) 

Jungle  of  Chang  (47)   

Jungle   Headhunters    (T)  (45) 

Kon-Tiki  (73)   

Las  Vegas  Story,  The   

Lilli  Marlene  (72)  

Macao       

My  Forbidden  Past  1701   

On  Dangerous  Ground  

On  The  Loose  (74)     

One  False  Move  

Overland  Telegraph  (40)   

Pistol  Harvest  (40)   

Racket,  The  (88)  

Road  Agent       

Roadblock  (73)   

Hustler's  Range  


Lupino-Ryan 

 Holt-Martin   

_  Holt-Martin 
.  Mitchum-Scott 

 Holt-Martin 

 McGraw-Dixon 

 Holt-Martin  ....... 

Saddle  Legion  1401  Holt-Martin  ... 

Slaughter  Trail   IC)    (74)   Donlevy-Grey 

Sons  of  the  Musketeers  (T)  Wilda-O'Hara 

Target      McGraw-White 

Tanan's  Savage  Fury  .  Barker-Hart 

Texas  Triqqtrman   Holt-Martin 

Two  Tickets  to  Broadway  (T)   (104)  Leigh-Martin 
Whip  Hand,  The   182)   „  Aeid-Tuttle 


Cast 

Rel. 

No. 

Rev. 

.  Doualas-Stanwvck 

Mitchum-Tallman  

n I <  n . w     f^rt^An                             7_t  1             79?               7-1  A 

Simmons-Younq 
_  Winters-Granger  

9-51 

204 

9-24 

Ryan-Trevor  _ 

Douglas-Martin   

 4-51  

 174 

 5-7 

i  n'-s  i  ~ 

 5*1™ 

9-74 

Williams-Armstrono    _.   

..Sinatra-Russell  

 10-51 

__J4lI 

Wayne-Ryan   

Man.  Wilson 

 _  8-51 

12-51 

.......8-13 

Holt- Martin     

Holt-Martin   

8-51 

120 

D.    Niven-Vera  Ellen 
Young-Carter  

  7-51  

 12-51... 

242 

Trevor-Forrest   

  4-51  

'Z.'.iT» 

 4-4 

Russell-Mitchum  

Holt-Martin 
Andrews-McGuire  . 
Wayne-Leigh   

_  8-51 

20 1  ... 

...  7-30 

12-51 
11-51 

.......  12-51  

209 
101 

208  " 

10-  22 

11-  19 

... 

Travel  

Travel    

Travel  

Russell-Mature 

11-51 

  4-5 1  

_  5-51  

 11-51  

177 
173 

4-9 

McDermott-Daniely 

.  Russell-Mitchum   

.  Gardner-Mitchum   

Ryan-Lupino  

Evans-Earl  

 7-5 1 

 1 1-51  

  4-51  

12-51 
1  1-51 

Zioil 

1.1 14.1 
202 

9-24' 

.'.  .4-1 

8-13 

20th  CENTURY-FOX 


1951   Features  Completed   (47)       In  Production  (7) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

Cry  of  the  Swamp  IT)    Peters-Hunter 

Deadline  U.  S.  A   Bogart-Barrymore   

Diplomatic  Courier  Power-Neal 

Full  House.  The  Crain-Granger 

Girl  Next  Door.  The   IT)   Haver-Dailey 

Outcasts  of  Poker  Flat.  The  Baxter-Robertson   

Way  of  a  Gaucho  IT)   .Tierny-Calhoun 

COMPLETED 

Anne  of  the  Indes  IT)   (82)   Jordan-Paget   11-51        134  10-22 

As  Young  As  You  Feel  (77)  Woolley-Ritter    4-51        120  7-30 

Bells  On  Their  Toes    .  Crain-Loy 

David  and  Bethsheba  (T)   (123)         Peck-Hayward   8-27 

Day  The  Earth  Stood  Still.  The  (92)   Rennie-Neal  9-51        12?  9-24 

Decision  Before  Dawn  (119)   Merrill-Basehart  .  1-52 

Desert  Fox,  The   (91)  „   Mason-Young        ..  10-51  130 

Down  Among  the  Sheltering  Palms  ITI  Lundigan-Greer    _ 

Elopement  182)  Webb-Francis  1 2—5 1        141        I  l-l 

5  Fingers  ._    ...    ...    Mason-Rennie    

Fixed  Bayonets!  1921  Basehart-O'Shea  1 2—5 1  140 

Follow  the  Sun  190)  Ford-Baxter   5-51  ......  112 

Frogmen   (94)     _.  ...Widmark-Andrews   7-51  122.. 

Girl  on  the  Bridge.  The  (77)   ...  Haas-Michaels  12-51  13? 

Golden  Girl  IT)   1108)   Day-Gaynor  11-51        136        I  l-l 

Guy  Who  Came  Back.  The  (911   Douglas-Darnell  7-51  118.. 

Half  Angel  (T)   (80)    Youtg-Cotten  4-51  114.. 

FILM  BULLETIN 


I  Can  G.t  It  For  VOU  Whol.nl.  (til  Diiliy-Hiywird 
I  Don't  Care  Gir.1,  The  |T|  .  ..Gaynor-Wayne 

I'll  Never  Forget  You  IT)    l?0)  Power-Blyth 

Japanese  War  Bride  191)  Yamaguchi-P.  Taylor 

Journey  Into  Light  (87)  Hayden-Lindfors 

Kangaroo  IT)  O'Hara-Lawford 

Model  and  The  Marriage  Broker  1 1 03 )  J.  Crain-T.  (titter 

Let  s  Make  It  Legal  177)   Colbert-Carey 

Love  Nest  184)    Haver-Lundigan 

Lydia  Bailey  (T)  — _.  Robertson-Francis 


  10-51 

132 

9-10 

1-52 

11-51 

133 

1  1-5 

10-51 

131 

10-22 

rey 

MacMurray-Parker 
Webb-Dru 
Stewart-Dietrich  _ 
Kaye-Tierney 
Grant-Crain 
Merrill-Winters  _ 
Dailey-Dru 
Power-Hayward 

.Widmark-Smith   

Robertson-Boone 

Secret  of  Convict  Lake  183)  _  Ford-Tierney   

Take  Care  of  My  Little  Girl  (T)  (93)  Crain. Peters  . 

Viva  Zapata    :  M.  Brando-J.  Peters 

Wait  Till  The  Sun  Shines  Nellie  IT)  Peters-Wayne 

With  A  Song  In  My  Heart  (T)    Hayward-Calhoun  — 


Millionaire  for  Christy  1*1) 
Mr.  Belvedere  Rings  The  Bell  (88) 
No  Highway  In  The  Sky  (97) 

On  the  Riviera  IT)  190)  

People  Will  Talk  (110)  

Phone  Call  From  A  Stranger  

Pride  of  St.  Louit  

Rawhide    18*1    _  -   

Red  Skies  of  Montana  (T)   

Return  of  the  Texan 


10-51 
5-51 
9-S I 


115 
124 


TED  ARTISTS 


11-5 
7-16 


1950-51   Features        Completed   (52)       In  Production  (I) 

RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

Red  Planet,  The  Graves 

COMPLETED 

A  Christmas  Carol   186)  Sim  11-30  11-19 

Actors  and  Sin  Robinson-Hunt 

African  Queen   IT)  Bogart-Hepburn   H-R 

Another  Man's   Poison   Davis-Merrill  

Big  Night.  The  175)   .....  J.  Barrymore-P.  Foster  12-7 

Chicago  Calling  174)   Duryea-Anderson  

Circle  of  Danqer  (86)   _  Milland-Roc  3-22 

Cloudburst    (831  Preston-Sellars  8-3  ......... 

Fabiola    196)   Michele  Morgan   .  6-1    .  Lev 

First  Legion   186)  Boyer-Bettger  5-11  Sirk 

Vert  Definance  181)   D.  Clark-B.  Johnson  1 1-9  

Four  In  A  Jeep  (97)   Lindfors-Meeker  8-24  

Gold  Raiders  156)      _   O'Brien-Ryan    .  __ 

Green  Glove,  The  Ford-Brooks 

He  Ran  All  the  Way  (77)    Garfield-Winters  ... 

High   Noon  Cooper-Kelly 

Hoodlum.  The   (63)    _   Tierney-Roberts 

Hotel  Sahara  (87)  _  ...  DeCarlo-Ustinov 

Lady  Says  No,  The  180)     Caulfield-Niven 

Long  Dark  Hall.  The   186)      ._   Harrison-Palmer  _ 

Man  From  Planet  X  (701  Clark-Field   

Man  With  My  Face  (75)    Nelson-Matthews 

Mister  Drake's  Duck   (81)  Fairbanks-Donlan 

Mr.  Peek-A-Boo  (74)  Greenwood-Bourvil 

Naughty  Arlette  186)   Tettering-Williams  _ 

New  Mexico  (A)    174)   Ayres-Marshall   

Obsessed    177)   Harrar-Fitiqerald 

Odette  1105)   Neagle-Howard  __ 

Oliver  Twist  (105)    Newton-Guinness  . 

One    Big    Affair  OKeefe-Keyes 

Pardon  My  French  (81)  .    Oberon-Henreid 

Prowler.  The  192)   Heflin-Keyes  

Queen  For  A  Day  1107)    Avery-McGavin 

Scarf,  The  1841  Ireland-McCambridg 

River,  The  IT)   199)     .  American-Indian 

Saturday  Island   (T)    Linda  Darnell   

Skipalong  Rosenbloom  172)   _   Baer-Coogan   

So  Long  at  the  Fair  (85)    Simmons-Bogarde 

St.  Benny,  the  Dip  (B0)  ________Roch-Haymes   

Thev  Were  Not  Divided    Underdown-Clanton  . 

Three  Steps  North   (85)   Bridges-Padavoni  

Tom  Brown's  Schooldays  193)    Davies-Newton 

Try  and  Get  Me  (90)    _   Lovejoy-Ryan 

Formerly:  Sound  of  Fury 

Two  Gals  and  a  Guy  (70)    Paige-Alda 

Underworld  Story  Duryea-Storm 

Volcano   (110)  .    Magnani-Brazzi   

Well,  The  (85)     ...     _  Rober-Kelly 

When  I  Gi_.w  Up  (90)    Preston-Scott 


.  7-27 

10-  15 

1 1-  16 
4-10 

4-  27 
6-8 

9-21 
10-21 
3-9 
8-24 
9-7 

5-  15 
4-17 


8-10 

5-25 

7-  7 

.  4-6  . 
.  9-14 

'  4-3  " 
3-29 

8-  24 
2- 

4-15 
11-2 


8-  31 
7-21 

S-l 

9-  14 
4-20 


Sach 


Eag 


9  10 
6-4 
4-9 

3-2i 


UNIVERSAL- INTER  NATIONAL 


950-51   Features        Completed   (55)       In  Production  (4) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Claim  Jumpers   IT)  __   

Red  Ball  Express 
Scarlet  Angel  IT) 
Untamed  (T)  


Cast 

Murphy- Domergue 
Chandler-Cabot 
DeCario-Hudson 
Cotten-Winters 


COMPLETED 

Apache  Drums  (T)  (75) 


Battle  at  Apache  Pass  (T) 
Bend  of  the  River  (T) 
Bright  Victory    197)    _  __ 
Bronco  Buster  (T) 
Cattle   Drive  (T) 


June 


.123... 


5-21 


..Stewart-Kennedy   

Dow-Kennedy    7-30 

 Lund-Brady   

177)     _    .    McCrea-Stockwell    Aug    .    128  7-30 

Cave  of  Outlaws,  The  IT)    (74)    Smith-Carey  .  Nov  11-5 

Cimarron  Kid,  The  IT)    .  _A.  Murphy-Y.  Dugay   .  _  

Comin"  Round  the  Mountain  (77)       Abbott  &  Costello-Shay  _  July  127  7-2 

1  Finders  Keepers    Ewell-Adams  

Flame  of  Araby  IT)  Chandler-O'Hara  .  


July 


125 


b-4 


Golden  Horde,  The  IT)  

Has  Anybody  Seen  My  Gal  ITI 

Hear  No  Evil 

Here   Come  The  Nelsons 

Hollywood  Story  174)  

Iron  Man  (821  

Katie  Old  It  1811  

Lady  from  Teias  IT)  (78)   

Lady  Pays  Off.  The  

Lavender  Hill   Mob  The 
Little  Egypt  IT)  182) 
Ma  and  Pa  Kettle  at  the  Fair 
Ma  and  Pa  Kettle  Go  To  Paris 
Mark  of  the  Renegade  IT)  181) 

Meet  Danny  Wilson  

Pool  of  London 

Prince  Who  Was  A  Thief.    IT)  18 

Raging  Tide.  The  1921  

Reunion  In  Reno  179) 

Son  of  AM  Baba  IT)  

Steel  Town  IT) 
Strange  Door.  The  (80) 
Thunder  On  the  Hill  1851 
Treasure  of  Lost  Canyon,  The  (T) 

Weekend  With  Father  

World  In  His  Arms.  The  IT)  

You  Never  Can  Tell    


Blythe-Ferrer 

Colbum-Laurie 

Curtis-Sterling 

Oxiie  and  Harriet 

Conte-Adarru 

Keyes-Chandler 

Blyth-Stevens 

Hull-Duff 

Darnell-McNally 

Guinness-Holloway 

Fleming-Stevens 

Main-Kilbride 

Main-Kilbride 

Montalban-Charisse 

Sinatra-Winters  .   

Col  lea  no- Shaw 

Curtis-Laurie 

Winters-Conte 

Stevens-Dow 

Curtis-Laurie 

Sheridan-Lund 

Laugnton-Karloff 

Colbert-Blyth 

W.  Powell-J.  Adams 

Neal-Heflin 

Peck-Blvth 

Powell-Dow 


June 
Aug 
May 

124 

130 
122 

5-21 
7-1* 
5-21 

Oct 
Nov 

134 

202 

10-B 

Oct 
Sept 

280 
131 

8-27 

kug  128 


July 


124 
203 
Oct  135 


WARNER  BROTHERS 


1950-51   Features        Completed   (34)       In  Production  (51 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev. 

Crimson  Pirate,  The  (T)  B.  Lancaster  

Mara  Maru   Flynn-Roman 

She's  Working  Her  Way 

Through  College  IT)   Mayo-Reagan     . 

This  Woman  Is  Dangerous  .  Crawford-Morgan 

You  Can't  Stop  the  Marines  Loveiov-Carlson 

COMPLETED 

About  Face  IT)    MacRae-Bracken  

Along  the  Great  Divide  188)  Douglas-Mayo  4-2         025  7-2 

Big  Trees.   The   (T)  Cooper-Alden   12-29  III  

Bugles  in  the  Afternoon  (T)    R.  Milland-H.  Carter   

Captain  Blood  (Reissue)   198)  __  Flynn-DeHaviland  12-5  110 

Carson  City  Scott-Massey 
Close  To  My  Heart  190)  .   .  Milland-Tierney  11-3 

Come  Fill  the  Cup  1113)  1.  Caaney-P.  Thaxter  .-..10-20 

Captain  Horatio  Hornblower  (T)  1 17  Peck-Mayo    8-1 1_ 

Distant  Drums  IT)   1101)  Cooper-Alden  

Force  of  Arms  1100)   Holden-Olson  _________  9-15 

Fort  Worth  IT)  180)  Scott-Brian    7-14.. 

I'll  See  You  In  My  Dreams  Day-Thomas 

Inside  Walls  of  Folsom  Prison  (87)  Brian-Cochran  4-14 

Jack  and  The  Beanstalk    Abbott-Costello 

Lion  and  the  Horse.  The  Cochran-Teal  

Jim  Thorpe.  All-American   (105)         Lancaster-Bickford  9-1 

North  of  the  Rio  Grande    McCrea-Mayo  7-28. 

Only  The  Valiant  ( 105)    MacRae-Day  7-28 

Painting  Clouds  with  S'hine  (T)   1871  Mayo-Morgan  10-6 
Room  For  One  More     _  _    .  Grant-Drake 
San  Francisco  Story  _  McCrea-DeCarlo 

Starlift    1103)  Cagney-Mayo  I2-I- 

Strangers  On  A  Train  (101)  _  Walker-Roman  6-30 
Streetcar  Named  Desire,  A  (122)  Brando-Leigh  9-29 
Tank  Are  Coming.  The  (90)  S.  Cochran-P.  Carey  11-17 

Tomorrow  Is  Another  Day  190)    Roman-Cochran  9-22 

Where's  Charlie?  IT)      _         .       Bolger-Mc Lerie 


107  10-22 
106  9-24 
030  7-2 


027  4-18 
104 

108  11-5 

103  8-27 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Don't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236  N.  23rd  St.,  Phila.  3  —  1239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


DECEMBER   3,    19  5  1' 


M 


Si 


Ho  N  A  COWBOY) 
Hied  by  thousands  of  exhibitors 
(  millions  of  movie  fans! 


NT. 


QUOLOSSAL 

1952! 

M-G-M  presents  QUO  VADIS  starring  ROBERT  TAYLOR  •  DEBORAH  KERR  •  LEO  GENN  and 
PETER  USTINOV  •  Color  by  TECHNICOLOR  •  Screen  Play,  by  John  Lee  Mahin,  S.  N.  Behrman,  Sonya 
Levien  .  Based  on  the  Novel  by  Henryk  Sienkiewicz  .  Directed  by  Mervyn  LeRoy  •  Produced  by  Sam  Zimbalist 


BULLETIN 

EDITORIAL 


Vol.  19.  No.  26 


December  17.  19S1 


LOOK  AHEAD 

"He  is  blessed  over  all  mortals  who 
loses  no  moment  of  the  passing  life 
in  remembering  the  past." 

— H.  D.  THOREAU 


REVIEWS  in  This  Issue 


Sailor  Beware   

Distant  Drums   

Fixed  Bayonets  

Model  and  the  Marriage  Broker 

I"i  i  Si  e  Vol  In  M\  Dki  wis   

Wild  Bile  Yonder 

It's  A  Big  Country   

Girl  On  The  Bridge 

Pecos  River   

Chicago  Calling 

Street  Bandits   


FILM  BULLETIN  —  An  Inde- 
pendent Motion  Picture  Trade 
Paper  published  every  other 
Monday  by  Film  Bulletin  Com- 
pany. Mo  Wax,  Editor  and  Pub- 
lisher. BUSINESS  OFFICE;  35 
West  53rd  St.,  New  York,  19; 
Circle  6-9159.  David  A.  Bader, 
Business  Manager;  Leonard 
Coulter,  Editorial  Representative. 
PUBLICATION  —  EDITORIAL 
OFFICES:  1239  Vine  St.,  Phila- 
delphia 7,  Pa.,  RIttenhouse  6- 
7424;  Barney  Stein,  Managing 
Editor:  Jack  Taylor.  Publication 
Manager:  Robert  Heath,  Circu- 
lation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave., 
Pacific  Palisades,  Calif..  Hillside 
8183;  Jay  Allen,  Hollywood 
Editor.  Subscription  Rate:  ONE 
YEAR,  $3.00  in  the  United 
States;  Canda.  $4.00;  Europe. 
$5.00.  TWO  YEARS,  $5.00  in 
the  United  States;  Canada, 
$7.50;  Europe,  $9.00 


LETTER  FROM  SANTA 


A  motion  picture  exhibitor,  somewhat  dejected  about  prospects  for  a  Merr) 
Christmas,  wrote  to  Santa  Claus,  telling  how  tough  things  are  in  his  business  today, 
how  glum  be  feels  about  tlx-  future,  and  asking  dear  old  Santa  if  he  might  expect  him 
to  bring  his  family  some  good  cheer  this  year.  Following  is  the  old  gent's  reply: 

"Dear  Mr.  Movieman: 

"From  all  over  the  world  I  get  many  l«*lte-r>  from  grown-ups  disheartened  by  one 
thing  or  another.  Only  the  children  seem  cheerful.  The  youngsters  always  write 
asking  for  fabulous  gifts  far  beyond  their  reach,  and  their  note-  are  always  overflowing 
with  boundless  faith  and  hope  that  their  requests  - v  ill  be  fulfilled. 

"Why  are  you  grown-ups  so  despairing?  ^  oil.  for  instance.  Mr.  Movieman.  are 
engaged  in  a  business  which,  of  necessity,  demands  a  cheerful,  buoyant  outlook,  yet 
you  walk  with  chin  down,  no  smile  lighting  your  countenance.  It  seems  to  me  that 
an  optimistic  attitude  not  only  will  make  your  difficulties  seem  smaller:  it  will  actuall) 
make  them  smaller. 

"In  my  travels.  I  have  learned  much  of  the  problems  your  industry  fa<  <■>.  I 
know  of  the  new  competition  that  has  been  keeping  people  from  your  movie  house. 
Forgive  me.  but  I  must  admit  that  I.  myself,  have  delivered  television  sets  into  many 
homes. 

"Aren "t  there  some  cheery  notes  you  can  sing  this  Yuletide?  Naturally,  my  busi- 
ness requires  me  to  look  at  the  bright  side  of  things,  so  let's  consider  your  situation  in 
that  light.  I  have  been  giving  some  thought  to  the  movie  business  for  two  reasons: 
First,  others  in  the  industry  have  also  written  me  rather  melancholy  notes  this  year, 
and.  second.  I  cannot  believe  that  anything  as  desirable  and  as  wondrous  as  the  motion 
picture  can  fail  to  hold  the  favor  of  the  people  and  of  the  world.  Isn't  it  true  that 
in  the  pleasure  and  surcease  from  care  your  theatres  offer,  you  are  doing  throughout 
the  year  the  task  1  am  called  to  do  only  at  this  season?  You  can  see  I  feel  a  spiritual 
kinship  with  all  you  people  who  bring  entertainment  to  people  everywhere. 

"What  good  cheer  do  I  bring  you  this  year?  Perhaps  I  have  only  Hope  to  give 
you.  perhaps  a  few  practical  reasons  why  you  should  brighten  up  your  view  of  the 
future. 

"Those  TV  sets  I  have  been  delivering  for  the  past  few  years  are.  I  know,  some- 
thing for  you  to  worry  about.  But  they  are  shiny,  new  toys.  and.  I  think,  like  all  toys, 
time  will  dim  their  lustre  and  they  will  be  relegated  to  use  only  on  occasions.  Last 
Christmas  eve.  I  noticed  in  quite  a  few  living  rooms  of  the  houses  I  visited  that  the 
sets  I  had  delivered  the  year  before  were  in  darkness.  I'll  tell  you  frankly  that  that 
>mall  screen  makes  my  eyes,  and  Mrs.  Clau>".  pretty  tired,  so  I  guess  it  affects  other 
people  that  way.  too.  I  am  not  supposed  to  reveal  things  like  this,  but  I  will  also  tell 
you  confidentially  that  this  year  the  requests  I  received  for  television  sets  dropped 
off  sharply.  Please  don't  let  this  go  any  further. 

"I  guess  you  know  by  this  time  that  there  w  ill  be  fewer  and  fewer  sporting  events 
on  TV  as  time  goes  on.  and  lots  of  the  folks  who  asked  me  for  sets  wanted  them  for 
the  sports  they  brought  into  their  homes. 

"My  mail  tells  me  there's  loads  and  loads  of  interest  in  movies.  People  often 
write  me  how  much  they  enjoy  pictures  like  "A  Place  in  the  Sun."  "An  American  in 
Paris,"  "Streetcar  Named  Desire."  "Quo  Vadis."  "Detective  Story."  "Bright  Victory," 
and  manv  others.  Certainly  your  business  will  never  be  bad  with  pictures  like  these. 

"You  fellows  in  the  theatre  branch  shouldn't  just  sit  and  wait  for  the  exceptionally 
good  pictures  to  come  your  way.  You  have  a  day-in.  day-out  business  to  run.  and  you 
must  use  all  your  ingenuity  to  coax  people  out  of  their  homes.  That  means  plenty  of 
what  vou  call.  "Showmanship' — and  if  you  and  the  film  people  apply  all  your  know-how 
in  that  field,  the  public  will  start  thinking  and  talking  movies. 

"All  things  find  their  level.  In  the  opinion  of  this  old  duffer,  the  motion  picture 
belongs  on  a  pretty  high  plane  in  the  happier  scheme  of  things  in  your  old  world 
down  there,  so  believe  in  it. 

"I  suppose  what  I'm  trying  to  say  is  that  yours  is  a  basically  good  and  useful 
business,  one  that  deserves  vour  faith,  vour  labor,  your  ardor." 


Yours  for  a  Mc 


Christmas. 


SANTA  CLAUS" 


~JJ 


The  NEW  MAN  AT  M-G-M 

Charlie  (Zeaqan  £tepj  JJhtc  Sill  gcfyerA  Sif  £hceJ 


Cxclu^e  fa.  BULLETIN  Jeatute 


By  Leonard  Coulter 

It's  an  enviable  job,  but  a  mighty  tough 
I  one.    Tough  for  a  number  of  reasons,  one 
I  of   them   being   most   pertinent,   the  other 
I  most    immediate.     The    former    of  these 
|  reasons  is  the  burden  of  facing  comparisons 
I  with  his  predecessor,  a  man  highly  admired 
I  personally  and  widely  acclaimed  the  most 
L  able  sales  executive  in  the  entire  motion  pic- 
ture industry.  Second  is  the  immediate  task 
of  meeting  head-on  the  problem  of  selling 
a   seven-million   dollar  entertainment  item, 
necessarily  on  terms  that  are  bound  to  incur 
widespread  exhibitor  resistance. 

If  an  artist  wanted  to  paint  a  picture  of 
Charles  Michael  Reagan  (rhymes  with 
Hagen)  now  is  the  time.  At  this  moment 
he  is  still  relaxed,  serene.  He  sits  at  a 
handsome,  though  not  ornate,  desk  on  the 
ninth  floor  of  the  Loew's  Building  on  Broad- 
way. Through  the  window,  serving  as  the 
perfect  backdrop  for  the  scene  of  a  film  ex- 
ecutive at  work,  can  be  seen  the  electric 
spectacular  on  the  Astor  Theatre  announcing 
"Quo  Yadis",  the  mammoth  epic  which 
Reagan  has  to  sell  at  a  profit  to  the  com- 
pany which  employs  him. 

Stays  In  Old  Office 

The  office  is  one  which  Reagan  has  oc- 
cupied for  some  time.  Though  he  was  ap- 
pointed General  Sales  Manager  for  Metro- 
Goldwyn-Mayer  a  few  weeks  ago,  succeed- 
ing William  F.  (for  Frazier)  Rodgers, 
Charles  Reagan  stayed  at  his  old  desk. 
Rodgers,  :etained  as  an  adviser  to  the  com- 
pany, remained  at  his. 

In  this  refusal  to  make  a  physical  move 
there  is  i  dual  significance.  On  the  one 
hand,  Reagan  is  not  the  kind  of  man  who 
counts  his  success  by  the  kind  of  carpet  on 
the  office  floor;  on  the  other,  he  has  a  deep 
and  abiding  affection  for  the  man  he  has 
displaced — a  man  who  has  spent  more  than 
40  years  in  the  motion  picture  business,  15 
oi  them  as  M-G-M's  general  sales  manager. 

"That's  the  toughest  part  of  my  job",  says 
DECEMBER    17.  1951 


ANNOUNCING  A  POLICY 


At  the  most  recent  of  his  periodic  meetings 
with  the  press.  Mr.  Rodgers  detailed  the  "Quo 
Vadis"  sales  policy,  while  Mr.  Reagan  looked  on. 
It  was  a  Rodgers  technique  (which  Reagan  is 
expected  to  follow)  to  set  forth  all  important  dis- 
tribution moves  clearly  and  forthrightly  for  the 
trade. 


Reagan;  "following  in  Bill  Rodgers'  foot- 
steps. What  a  wonderful  fellow  he  is.  No 
one  has  ever  been  able  to  say  an  unkind 
thing  about  him — no  one." 

There's  more  than  a  touch  of  Irish  about 
Reagan:  his  rugged  physique,  the  twinkle 
in  his  eye  when  he  relaxes,  and  the  calmness 
with  which  he  is  facing  one  of  the  biggest, 
most  vexing,  jobs  in  the  industry. 

"I  don't  think  I  have  a  particularly  tough 
job",  he  says  disarmingly.   "We've  a  good 


product,  and  we've  fine  management — the 
best." 

Even  the  mention  of  television,  for  so 
long  the  fly  in  the  industry's  ointment,  leaves 
him  apparently  unmoved.  He  admits  it  is 
a  competitive  medium  of  entertainment,  but 
says  that  the  ultimate  success  or  failure  of 
the  movie  business  depends  on  the  kind  of 
product  Hollywood  has  to  offer  to  the 
public. 

As  to  the  value  of  TV  as  a  means  of 
selling  motion  pictures,  Reagan  quite  bluntly 
expresses  his  clear-cut  views.  "I  don't  think 
television  does  a  good  selling  job  at  all,  for 
any  kind  of  product.  I  certainly  don't  think 
it  can  sell  films."  By  that  he  means  that  TV 
is  an  indifferent  advertising  medium,  but  not 
necessarily  a  bad  channel  for  publicity  or 
public  relations.  Technical  quality  of  tele- 
vision, he  feels,  is  still  so  far  below  Holly- 
wood standards  of  reproduction  that  the  use 
of  film  trailers  on  TV  gives  the  public  a 
completely  false  idea  of  the  product  being 
advertised. 

The  impression  one  gets  of  Charles 
Reagan  in  conversation  is  that  he  is  a  man 
who  thinks  straight,  with  no  deviation  of 
thought,  and  that  once  he  has  set  his  mind 
to  a  policy  he  will  see  through  come  hell 
or  high  water. 

30-Year  Background 
Like  Bill  Rodgers,  who  groomed  him  for 
his  present  job — though  it  was  M-G-M  king- 
pin "Nick"  Schenck  who  appointed  him — 
Reagan  is  an  industry  veteran  with  a  more 
than  30-year  background.  He  is  a  Middle- 
Westerner,  born  in  Lavvrenceburg,  Indiana, 
on  June  30,  1896.  His  father  was  in  the  hotel 
business,  and  when  he  graduated  from  Notre 
Dame  University,  where  he  received  his  BS 
in  1917,  Charles  thought  he  might  as  well 
become  a  hotelier,  too.  For  about  three 
years  he  worked  in  Chicago,  Cincinnati, 
Indianapolis  and  Louisville,  just  "learning 
the  business."  And  it  was  while  working  at 
the  Gibson  Hotel  in  Cincinnati  that  he 
"drifted"  into  motion  pictures.  Fred  Streif, 
(Continued  on  Page  18) 

7 


SAILOR  BEWARE'  ANOTHER 

Rates  •  •  •  +  generally 

Paramount 
102  minutes 

Dean  Martin,  Jerry  Lewis,  Corinne  Calvet, 
Marion  Marshall,  Robert  Strauss,  Don 
Wilson,  Vincent  Edward,  Skip  Homeier, 
Dan  Barton,  Mike  Mahoney,  Mary  Treen, 
Darr  Smith. 

Directed  by  Hal  Walker. 

"Sailor  Beware"  is  a  slickly  turned  out, 
rowdy  comedy  starring  Martin  and  Lewis 
and  allowing  full  rein  to  their  highly  popular 
brand  of  bufoonery.  It  is  probably  the  best 
all-around  show  the  boys  have  had  since 
coming  to  pictures,  packed  with  bright  situ- 
ations, funny  lines,  and  strong  specialties  It 
all  adds  up  to  solid  boxoffice  entertainment, 
possibly  their  top  grosser  since  they  are 
currently  riding  high  on  the  public's  fancy. 
There's  plenty  of  music  for  Dean  Martin  to 
chant  in  mat  beguiling  manner.  Under  Hal 
Wallis'  adroit,  showmanly  supervision,  the 
old  warhorse  of  a  play,  done  twice  before 


SOCK  MARTIN  Cr  LEWIS  COMEDY 


forfeit  fotfhf* 


on  the  screen,  has  been  cleverly  refurbished 
to  suit  the  team's  personalities,  and  director 
Hal  Walker,  with  the  inventiveness  of  long 
experience  at  the  game,  seizes  every  bit  of 
comedy  nlay  to  score  laugh  after  laugh. 
Wallis,  Martin  &  Lewis  have  scored  again. 

For  Martin  and  Lewis  "Sailor  Beware"  is 
a  tour  de  force.  The  boys  are  on  stage 
almost  constantly,  a  highly  satisfactory  state 
of  affairs  in  view  of  their  astonishing  versa- 
tility. The  boys'  characterizations  seem 
more  clearly  defined  than  before — Martin, 
the  kindly,  older  brother;  Lewis,  the  pixie 
with  a  mind  of  his  own  and  not  nearly  as 
dumb  as  you'd  suppose.  All  the  laughs  go 
to  Lewis,  of  course,  but  Martin  feeds  him 
superbly.  A  sequence  that  probably  will  be- 


come a  classic  of  its  kind  is  Jerry's  imper- 
sonation of  every  pug  fighter  you've  ever 
heard  boasting  about  his  prowess  in  the  ring. 
The  fight  sequence  is  a  howl — but  then, 
nearly  everything  about  "Sailor  Beware"  is 
a  howl.  Corinne  Calvet  manages  her  slight 
role  with  suitable  sex  appeal,  and  Marion 
Marshall  's  pert  and  pretty  as  the  ingenue 
of  the  piece.  Only  sizable  supporting  part 
is  that  of  Robert  Strauss,  a  tough  mate  who 
is  on  the  opposite  side  of  the  wager. 

STORY:  Martin  and  Lewis  are  sworn 
into  the  Navy  and  through  a  combination 
of  errors,  Lewis  is  believed  to  be  a  Lothario, 
a  fellow  10  woman  can  resist.  His  ship- 
mates pool  their  money  in  a  gigantic  bet 
that  he  can  make  time  with  any  femme 
placed  before  him.  When  Corinne  Calvet, 
sultry  chanteuse  who  lives  in  Hawaii,  is 
selected  as  the  girl  whose  resistence  he 
must  break  down,  the  yarn  moves  into 
comedy  high  and  stays  there  until  the  fast 
and  funny  climax.    HANNA  (Hollywood) 


DISTANT  DRUMS'  VIV!D,  ACTIONFUL  TECHNICOLOR  PERIOD  MELLER 

Rates  •  •  •  generally 


Warner  Brothers 
103  minutes 

Gary  Cooper,  Mari  Alden,  Richard  Webb, 
Ray  Teal,  Arthur  Hunnicutt,  Robert  Barrat, 
Clancy  Cooper. 
Directed  by  Raoul  Walsh. 

"Distant  Drums"  is  an  actionful,  off-beat 
period  adventure  film,  set  in  the  incredibly 
beautiful  Florida  Everglades,  of  the  1840's. 
that  should  register  solidly  with  mass  audi- 
ences. As  produced  by  Milton  Sperling  and 
directed  with  a  firm,  vigorous  hand  by  Raoul 
Walsh,  the  action  qualities  are  vivid,  exciting 
and  different.  They  are  made  possible  by  the 
fact  that  the  pioneer  protagonists  fight  not 
only  the  powerful,  cruel  Seminoles,  but  are 
also  pitted  against  the  forces  of  nature. 
Snakes,     fearsome    crocodiles,     and  other 


swamp  denizens  provide  plenty  of  thrills. 
Under  Walsh's  direction,  the  dramatic  high- 
lights have  tremendous  impact.  The  finale 
is  a  little  too  pat;  so  is  most  of  the  story, 
but  most  audiences  will  overlook  this  as 
they're  caught  up  in  the  suspense  and  tense 
action  generated  in  the  film.  The  dialogue, 
too  is  curiously  punchy,  wryly  humorous.  A 
superb  production,  filmed  on  the  spot,  pro- 
vides "Distant  Drums"  with  a  series  of 
breathtaking  backgrounds.  Certainly  the 
change  of  locale  for  an  action  drama  is  a 
vast  relief  fiom  the  overworked  cactus  plains 
of  Texas,  Arizona,  and  Cilfornia.  Give 
Warners,  Walsh  and  Technicolor  credit  for 
a  topflight  r-ction  film  that  should  be  a  box- 
office  winner  generally. 

Gary  Cooper  plays  a  typical  role  with 
assurance.  Mari  Alden,  in  here  initial  screen 
appearance,  is  hardly  given  an  appropriate 


opportunity  to  display  her  acting  mettle  in 
the  rather  listless  role.  Richard  Webb  is 
first  rate  .;s  a  youngish  Navy  officer  who 
accompanies  Cooper  on  the  expedition, 
wonders  at  his  brashness,  admires  his  pro- 
fessionalism as  a  soldier. 

STORY:  Action  evolves  from  the  adven- 
ture of  Cooper,  a  swamp  soldier  who  has  his 
own  hand-picked  brigade  of  rugged  veterans. 
He  leads  them  on  a  well-planned  maneuver 
to  the  west  coast  of  Florida  where  they 
blast  a  fort  held  by  renegades  and  Indians 
who  are  funneling  arms  to  the  redmen.  Their 
return  blocked,  they  march  150  miles 
through  the  fearsome  Everglades,  danger 
threatening  them  every  inch  of  the  way.  The 
romantic  interest  centers  around  Mari 
Alden,  a  Georgia  cracker  who  tries  to  pass 
as  an  aristocrat,  fools  no  one,  but  gets  her 
man  in  the  end.  HANNA  (Hollywood) 


FIXED  BAYONETS'  HARD-HITTING,  ACTIONFUL  KOREAN  WAR  FILM 

Rates  •  •  +  with  exploitation;  more  in 


20th  Century-Fox 
92  minutes 

Richard  Basehart,  Gene  Evans,  Michael 
O'Shea,  Richard  Hylton,  Craig  Hill,  Skip 
Homeier,  Henry  Kulky,  Richard  Monohan, 
Paul  Richards,  Tony  Trent,  Don  Orlando, 
Patrick  Fitzgibbon,  Neyle  Morrow,  George 
Wesley,  Mel  Pogue,  George  Conrad,  David 
Wolfson,  Buddy  Thorpe,  Al  Negbo,  Wyott 
Ordung,  Pat  Hogan. 
Directed  uy  Samuel  Fuller. 

"Fixed  Bayonets"  is  a  grim,  realistic, 
action-packed  drama  of  the  Korean  war, 
filmed  in  the  same  spirit  of  sharp  authen- 
ticity that  characterized  "Steel  Helmet",  also 
written  and  directed  by  Samuel  Fuller.  The 


action  houses 

20th  Century-Fox  release  will  need  exploita- 
tion to  reach  respectable  grosses,  and,  in 
locations  catering  to  predominately  male 
audience  the  film,  with  proper  ballyhoo, 
could  register  strongly.  It's  stark  and  com- 
pelling; Fuller's  dialogue  is  witty  and  pun- 
gent. The  characters  are  readily  identifiable 
G.  1.  Joes,  and  as  played  by  a  hand-picked 
cast  they  project  as  soldiers  you  know  and 
understand.  The  production  qualities  are 
good,  particularly  in  the  action  sequences, 
and  Fuller's  direction  paces  the  show  so  as 
to  achieve  the  maximum  in  taut  suspense 
and  exciting  action. 

Richard  Basehart  plays  a  sensitive  kill-shy 
soldier  with  unflagging  intelligence.   In  one 
pical  grizzled  warrior  roles,  Gene 
i    splendid.    Michael    OShea  also 


of  h 

Evai 
stands  out, 


Richard   Hylton,  Craig 


Hill,  Skip  Homeier,  Henry  Kulky,  and 
Richard  Monohan. 

STORY:  Like  "Steel  Helmet,"  "Fixed 
Bayonets"  tells  the  narrative  of  a  single 
action  rather  than  attempting  the  whole' pa- 
norama of  the  Korean  war.  It  is  the  story 
of  two  squads,  left  behind  on  the  field  to 
perform  rear  guard  action  covering  the 
march  of  a  whole  batallion.  Richard  Base- 
hart, a  well  schooled  soldier,  stands  to  be 
charged  with  the  command  if  his  two  su- 
periors are  killed.  Basehart  dreads  the  re- 
sponsibility largely  because  of  his  utted  in- 
ability to  kill  even  one  of  the  enemy.  Even- 
tually the  command  falls  to  him;  by  this 
time  he  has  learned  much  from  the  others, 
and  meets  the  challenge  with  a  sure  hand  to 
lead  the  company  out  of  its  embankment. 
HANNA  (Hollywood) 


FILM  BULLETIN 


THE  MODEL  AND  THE  MARRIAGE  BROKER'  THELMA  RITTER  MAKES  IT  FUNNY 

Rates  •  •  +  or  better,  except  in  actio 


20th  Century-Fox 
103  minutes 

Jeanne  Crain,  Scott  Brady,  Thelma  Ritter, 
Zero  Mostel,  Michael  O'Shea,  Helen  Ford, 
Frank  Fontaine,  Dennie  Moore,  John  Alex- 
ander, Jay  C.  Flippen,  Nancy  Kulp,  Bunny 
Bishop,  Kathryn  Card,  Maude  Prickett, 
Athalie  Daniell,  Dennis  Ross,  Ken  Christy, 
Shirley  Mills,  Eve  March,  Tommy  Noonan, 
Jacqueline  French,  Edna  May  Wonacott, 
June  Hedin. 

Directed  by  George  Cukor. 

Sparked  by  a  warm,  humorous  per- 
formance by  the  wonderful  Thelma  Ritter, 
"The  Model  and  the  Marriage  Broker" 
comes  through  as  amusing,  if  not  wholly 
satisfying,  fare.  Since  it  was  produced  and 
co-written  by  Charles  Brackett  and  directed 
by  George  C  ukor,  master  craftsmen,  one  is 


n  houses 

entitled  to  expect  a  more  brightly  polished 
comedy.  But,  mind  you,  this  has  plenty  of 
fun  to  offer.  The  script  contains  many  funny 
lines  and  clever,  original  situations.  It's 
just  that  what  should  be  a  hysterical  plot 
simply  doesn't  come  off  that  way.  Cukor 
allows  several  of  the  sequences  to  drag  too 
long  and  the  subsidiary  romantic  plot  is  too 
pat  to  stir  much  interest.  However,  when- 
ever things  lag,  there's  always  Miss  Ritter 
and  everyone  will  enjoy  her  immensely.  The 
boxoffice  potential  of  this  can  best  be  com- 
pared to  her  "Mating  Season".  Grosses  will 
be  best  in  metropolitan  areas. 

The  picture  is  all  Thelma  Ritter,  and  a 
good  thing  too.  The  tiny  character  actress 
reads  lines  with  an  all  too  rare  insight,  and 
her  economy  of  gesture  is  a  joy  to  watch. 
Jeanne  Crain  is  lovely  to  look  at,  but  her 
performance  lacks  warmth.  Scott  Brady 
does  extremely  well  with  a  light  comedy 


part,  showing  himself  a  more  versatile  mum- 
mer than  supposed.  Zero  Mostel,  Michael 
O'Shea,  *nd  Helen  Ford  do  good  work  in 
support.  Frank  Fontaine  overplays  a  dumb 
Swede. 

STORY:  The  yarn  spots  Thelma  Ritter 
as  the  operator  of  a  matrimonial  bureau  who 
has  a  tough  time  making  collections  from 
her  clients.  Sill  when  she  meets  Jeanne 
Crain,  a  model  who  is  carrying  on  an  affair 
with  a  married  man,  she  steps  in  as  match- 
maker even  though  there  is  no  possibility  of 
remuneration.  She  pairs  the  girl  off  with 
Scott  Brady,  an  ambitious,  brash  X-ray 
technician.  Their  courtship  suffers  the  usual 
tips  and  downs  but  reaches  a  successful  land- 
ing eventually.  Meantime  Miss  Ritter  has 
been  caught  up  in  her  own  devices  and 
nearly  falls  prey  to  a  romantic  encounter 
that  has  been  arranged,  with  rare  efficiency, 
by  none  other  than  Jeanne  Crain.  ANGEL 


I'LL  SEE  YOU  IN  MY  DREAMS'  BRIGHT  MUSICAL  WITH  A  HEART 

Rates  •  •  •  except  in  action  houses 


Warner  Bros. 
113  minutes 

Doris  Day,  Danny  Thomas,  Frank  Lovejoy, 
Patrice  Wymore,  James  Gleason,  Mary 
Wickes,  Julie  Oshins,  Jim  Backus,  Minna 
Gombell,  Harry  Antrim,  William  Forrest, 
Dick  Simmons,  Bunny  Lewbel,  Robert 
Lyden,  Mimi  Gibson,  Christy  Olson. 
Directed  by  Michael  Curtiz. 

"I'll  See  You  In  My  Dreams"  packs  a 
strong  entertainment  wallop,  musically  and 
dramatically,  that  should  register  solidly. 
Family  audiences,  particularly,  are  sure  to 
take  it  to  their  hearts  and  all  but  the  action 
houses  should  find  it  a  good  grosser.  With 
its  well-told  story  woven  around  the  life  and 
days  of  Gus  Kahn,  one  of  America's  best 
loved  and  most  gifted  songwriters,  and 
under  the  deft  production  supervision  of 
Louis  Edelman,  this  Warners  release 
emerges  as  a  high-grade  show  package 
geared  for  mass  appeal.  The  music,  including 
such  memorable  songe  as  "Toot  Toot 
Tootsie,"   the   title   tune,   "It   Had   To  Be 


You,"  and  literally  a  dozen  others,  is  a  joy 
to  hear.  And  the  ditties  are  socked  across 
by  the  three  top  players,  Doris  Day,  Danny 
Thomas,  and  Patrice  Wymore,  in  a  fashion 
that  befits  their  show-stopping  calibre.  The 
story,  a  refreshing  change  from  the  usual 
musical  script,  is  real  and  believable,  a  bit 
hokey  at  the  finish,  but  otherwise  notable 
for  its  depiction  of  show  folks  as  average 
people  devoted  to  their  home  and  family. 
"I'll  See  You  In  My  Dreams"  has  a  warmth 
that  few  musicals  possess,  and  this  is  the 
quality  Michael  Curtiz  stresses  in  his  di- 
rection. The  pathos  is  nicely  balanced  by 
humor  and  the  dialogue  is  sprightly  and  gay. 

For  Danny  Thomas,  the  Gus  Kahn  role 
marks  the  beginning  of  a  career  as  a  top 
celluloid  personality.  Thomas  is  the  Kahn 
character,  kind,  simple,  loveable.  His  quiet 
playing  is  charming,  and  his  soft  way  with 
a  song  is  highly  effective.  As  his  wife,  Doris 
Day  is  in  lop  form,  singing  the  songs  with 
verve  and  showmanship.  Frank  Lovejoy 
comes  on  late  in  the  action  to  make  a  vivid 
impression  as  Walter  Donaldson  who  wrote 


the  music  for  so  many  of  Kahn's  lyrics. 
Patrice  Wymore  is  an  eyeful  as  the  Zieg- 
feld  charmer  who  tries  but  doesn't  succeed 
in  breaking  up  Kahn's  happy  home.  Support- 
ing players  are  fine. 

STORY:  The  narrative  begins  in  Chicago 
where  the  young  composer,  Danny  Thomas, 
brings  his  first  writings  to  a  firm  where 
Doris  Day  works  as  a  song  plugger.  They 
are  frankly  awful  but  when  he  shows  up  at 
her  house  with  a  good  lyric  she  sets  it  to 
music  and  their  partnership  begins.  She 
forces  herself  aside  to  allow  Thomas  to  pro- 
gress; eventually,  they  are  married.  He  is 
indifferent  to  success  at  first  and  it  takes 
all  of  the  wife's  prodding  to  force  him  into 
accepting  a  Ziegfeld  show.  Here  he  has  his 
first  taste  of  the  bright  lights  and  the  adula- 
tion that  comes  with  success.  A  near  crisis 
occurs,  is  weathered  successfully,  but  the 
market  crash  wipes  him  out  and  leads  to  a 
separation.  Eventually  Doris  persuades 
Thomas  to  try  the  new  field  of  talking  pic- 
tures, where  he  soon  reaches  the  top  again. 
HANNA  (Hollywood) 


THE  WILD  BLUE  YONDER'  GOOD  AIR  STUFF,  ROUTINE  STORY 

Rates  •  •  +  in  action  houses 


Republic 
98  minutes 

Wendell  Corey,  Vera  Ralston,  Forrest 
Tucker,  Phil  Harris,  Walter  Brennan, 
William  Ching,  Ruth  Donnelly,  Harry 
Carey,  Jr.,  Penny  Edwards,  Wally  Cassell, 
James  Brown,  Richard  Erdman. 
Directed  by  Allan  Dwan. 

This  is  the  story  of  the  B-29  Super- 
fortress of  Uncle  Sam's  Air  Force.  As  such, 
"The  Wild  Blue  Yonder"  is  engrossing  and 
sometime  exciting.  However,  the  story  is 
no  match  for  the  interesting  factual  air- 
plane stuff,  being  too  obvious  and  contrived. 
The  characters  are  stereotypes  and  the  plot 
falls    into    the    familiar    groove    of  pitting 


fellow  officers  against  each  other  in  a  joust 
for  the  affections  of  the  same  girl.  When 
director  \llan  Dwan  deals  with  the  guts 
of  airplanes  and  their  flight  through  space, 
this  is  good  movie,  but  his  handling  of  the 
fictional  material  is  unimaginative.  Bolstered 
by  the  double-barrel  exploitation  Republic 
is  giving  the  film,  grosses  generally  should 
be  above  average.  It  will  go  best  in  action 
houses. 

Wendell  Corey,  although  looking  a  bit  old 
for  the  job,  plays  the  pilot  with  verve.  Quite 
the  best  of  the  principals  is  Forrest  Tucker, 
who  convinces  with  his  sincere,  thoughtful 
playing  of  a  man  carrying  his  troubles  on 
his  sleeve.  Vera  Ralston  is  attractive  in  the 
not-too-demanding  feminine  lead.  Phil 
Harris  is  on  deck  for  a  mild  comedy  effort 


and  a  rendition  of  "The  Thing"  (remem- 
ber?), while  Walter  Brennan  is  his  authori- 
tative self  as  an  Air  Force  brass. 

STORY:  Conflict  developes  between  Wen- 
dell Corey,  a  pilot,  and  Forrest  Tucker,  his 
commanding  officer,  after  the  former'  dis- 
obeys orders  on  a  trial  run  of  the  B-29's.  It 
is  aggravated  when  both  discover  they  love 
Vera  Ralston,  a  nurse.  Script  switches  be- 
tween this  premise  and  lots  of  tedious  tech- 
nical explanations  about  the  history  of  the 
B-29's.  All  points  are  resolved  when  Tucker, 
the  cowardly  fellow,  proves  the  worth  of  the 
craft  during  a  flight  over  the  Japanese  main- 
land. In  losing  his  life  he  proves  his  heroic 
worth  and  clears  the  way  for  Corey  and 
Miss  Ralston  to  live  happily  ever  after. 
JAMES. 


DECEMBER    17,  1951 


(More  Reviews  on  Pages  10  and  23) 


9 


'IT'S  A  BIG  COUNTRY'  TOLERANCE  PLEA  IN  8  EPISODES 


Rates  •  •  +  as  dualler 


Metro-Goldwyn-Mayer 
89  minutes) 

Ethel  Barrymore,  Gary  Cooper,  Van  John- 
son, Gene  Kelly,  Janet  Leigh,  Fredric 
March,  William  Powell,  S.  Z.  Sakall,  Mar- 
jorie  Main,  George  Murphy,  Keefe  Brasselle, 
James  Whitmore,  Keenan  Wynn,  Nancy 
Davis,  Lewis  Stone,  Leon  Ames,  Angela 
Clark,  Bobby  Hyatt,  Sharon  McManus. 
Directed  by  Richard  Thorpe,  John  Sturges, 
Charles  Vidor,  Don  Weis,  Clarence  Brown, 
William  A.  Wellman,  Don  Hartman. 

"It's  A  Big  Country,"  developed  from  an 
idea  by  Dore  Senary  and  utilizing  the  com- 
bined talents  of  12  writers,  seven  directors, 
four  cameramen,  six  art  directors  and  the 
who's  who  of  the  Metro  contract  roster,  is 
divided  into  eight-episodes,  a  succession  of 
dramatic  vignettes  purporting  to  give  the  on- 
looker a  glimpse  of  American  life.  No  one 
can  argue  with  the  intent  of  this  cavalcade 
of  Americans,  but  it  seems  destined  to  enjoy 


little  boxoffice  success.  Despite  the  abund- 
ance of  talent  and  the  auspicious  production 
presentation,  "Big  Country"  emerges  as  a 
hodge-podge,  lacking  rhythm  and  continuity. 
Some  of  the  episodes  have  fair  impact — 
none  are  outstanding — but  strung  together 
they  comprise  an  hour  and  a  half  of  rather 
thin  and  tepid  entertainment.  Pleas  for  racial 
and  religious  tolerance  spill  all  over  the 
place  and  are  lacking  in  subtlety,  some  even 
good  taste.  The  picture  is  openly  labelled 
propaganda — for  Uncle  Sam,  of  course — 
but  whether  it's  good  or  effective  propa- 
ganda is  a  debatable  point.  Certainly,  sophis- 
ticated audiences  will  be  inclined  to  call  it 
obvious,  clumsy,  naive.  Best  boxoffice  pot- 
tential  for  this  is  the  teeming  metropolitan 
areas,  where  the  foreign  born  should  find  it 
satisfying.  For  general  consumption,  despite 
its  galaxy  of  star  names,  the  film  lacks  the 
strength  to  play  without  a  good  supporting 
attraction. 

The  eight  episodes  set  out  to  cover  the 
many  facets  of  American  life  conjured  up  by 


Schary  and  his  writers.  Their  resemblence 
to  anything  factual  is  purely  coincidental. 
The  Ethel  Barrymore  sequence  deals  with 
an  old  lady  who  succeeds  in  getting  herself 
counted  in  the  census.  Van  Johnson  plays  a 
minister  in  an  episode  about  a  young 
preacher  who  makes  the  mistake  of  directing 
his  sermons  to  the  President  instead  of  the 
people.  Gary  Cooper  unleashes  a  monologue 
about  Texas.  Gene  Kelly,  Janet  Leigh,  and 
S.  Z.  Sakall  scamper  through  a  sketch  about 
the  conflicts  of  nationality  and  Frederic 
March  is  an  immigrant  who  can't  understand 
why  his  young  son  needs  spectacles.  Keefe 
Brasselle  and  Marjorie  Main  indulge  in  one 
of  the  tolerance  sketches. 

The  sketches  are  so  frail  that  none  of  the 
actors  is  able  to  project  personality  or  style. 
Even  Ethel  Barrymore  is  hard  pressed  to 
make  her  brogued  Bostonion  convincing, 
and  Van  Johnson,  as  the  minister,  is  far 
beyond  his  depth.  About  the  best  of  the  lot 
is  versatile  Gene  Kelly  as  a  young  Greek 
proprietor  of  an  ice  cream  parlor.  JAMES 


THE  GIRL  ON  THE  BRIDGE'  OFF-BEAT,  EXPLOITABLE  MELODRAMA 

Rates  •  •  +  as  dualler,  with  exploitation 


20th  Century-Fox 
77  minutes) 

Hugo  Haas,  Beverly  Michaels,  Robert  Dane, 
Johnny  Close,  Anthony  Jochim,  Darr 
Smith. 

Produced  and  directed  by  Hugo  Haas. 

After  a  successful  debut  as  producer-di- 
rector-star in  the  exploitable  "Pickup", 
Hugo  Haas  and  his  co-star,  Beverly 
Michaels,  are  the  principals  in  another 
modest,  off-beat  melodrama,  "The  Girl  On 
The  Bridge."  Released  through  20th  Century 
Fox,  and  realistically  produced,  directed  and 
scripted  by  the  versatile  Haas,  this  melo- 
dramatic; tale  of  treachery  and  violence, 
tenderness  and  devotion,  should  readily 
match  the  boxoffice  accomplishments  of  his 
earlier  endeavor,  if  the  tie-in  is  adequately 
exploited.  The  film  will  realize  best  returns 
in  action  houses,  and  will  prove  a  good 
dualler  generally,  with  its  strong  attraction 
for  feminine  audiences.  The  lack  of  marquee 
names  can  be  offset  by  good,  old-fashioned 


showmanship,  and  the  film  prove  to  be  an- 
other surprising  grosser  backed  by  the  show- 
man's efforts. 

The  name  of  Hugo  Haas  completely  domi- 
nates the  film  shoving  out  of  the  limelight 
good  performances  by  Robert  Dane,  Johnny 
Close  and  Anthony  Jochim.  In  the  feminine 
lead,  Beverly  Michaels  once  again  proves  to 
be  a  treat  for  the  eyes,  if  not  too  strong  in 
the  thespic  sense.  As  the  lonely  old  watch- 
maker who  finds  happiness  with  Miss 
Michaels,  only  to  lose  his  new-found  joy 
through  a  tragic  procession  of  circumstances, 
writer-director  Haas  has  given  his  actor 
self  an  opportunity  to  run  the  complete 
gamut  of  emotions,  and  does  extremely  well 
by  it.  From  the  production  standpoint,  the 
low  cost  is  always  evident,  but  often  to  ad- 
vantage since  it  tends  to  enhance  the  stark 
realism  of  the  theme  and  setting. 

STORY:  Hugo  Haas,  a  kindly  foreign- 
horn  watchmaker,  discourages  Beverly 
Michaels  when  he  sees  her  contemplating 
suicide  on  a  bridge  near  his  shop.  She  visits 
him  with  her  infant  daughter  who,  she  ex- 


plains, is  the  cause  of  her  distress.  The 
baby's  father,  Robert  Dane,  went  away  with- 
out bothering  to  marry  Miss  Michaels.  Haas 
becomes  attached  to  the  little  girl  and  finally 
marries  Miss  Michaels  "for  the  baby's  sake". 
Dane  returns  to  town  and  has  a  talk  with 
Haas,  who  pleads  with  Dane  not  to  make 
trouble.  Dane  agrees  to  do  the  decent  thing 
and  leave,  but  his  crooked  cousin,  Johnny 
Close,  snatches  at  the  opportunity  for  black- 
mail and  approaches  Haas  for  money.  In  a 
scuffle,  Haas  kills  Close  and  throws  his  body 
in  the  ocean.  Dane  is  charged  with  the 
murder  and  Haas,  torn  between  his  desire 
for  a  happy  life  with  Miss  Michaels,  now 
pregnant  by  him,  and  his  natural  wish  to 
see  justice  done,  decides  to  wait  until  after 
the  trial.  If  Dane  is  convicted,  he  will  con- 
fess. The  realization  of  the  mental  torture 
through  which  the  innocent  man  is  going 
makes  Haas  mentally  ill.  When  Dane  is 
acquitted,  Haas  recovers.  However,  Dane's 
ordeal  weighs  heavy  on  Haas'  mind  and  he 
takes  his  own  life,  jumping  from  the  bridge 
where  he  found  Miss  Michaels.  JACKSON 


PECOS  RIVER'  ABOVE  PAR  STARRETT  WESTERN 

Rates  •  •  +  in  western  houses 


Columbia 
54  minutes 

Charles  Starrett,  Smiley  Burnette,  Jack 
Mahoney,  Delores  Sidener,  Steve  Darrell, 
Edgar  Deiring,  Frank  Jenks,  Paul  Camp- 
bell, Zon  Murray,  Maude  Prickett,  Edward 
Fetherstone,  Harmonica  Bill. 
Directed  by  Fred  F.  Sears. 


"Pecos  River"  is  above-standard  Charles 
Starrett  fare.  New  entry  in  the  Durango 
Kid  scries  unfolds  a  familiar  drama  of  out- 


door intrigue  with  the  usual  set  of  stereo- 
typed characters.  However,  the  production 
qualities  ire  commendable,  and  the  action  of 
sufficiently  strong  quality  to  boost  its  formu- 
la material.  Fred  F.  Sears'  direction  sustains 
a  lively  pace  throughout,  especially  after  the 
considerable  preliminary  exposition  is  pack- 
ed away  and  he  is  given  more  opportunity 
to  display  the  shootin'  and  fightin'  elements. 

Charles  Starrett,  versed  in  the  part 
through  long  experience,  performs  with  his 
usual  aplomb.  Smiley  Burnette's  comedy  is 
calculated  to  beguile  the  kiddies.  Jack  Ma- 
honey  does  splendidly  with  his  spot  of  a 

(More  Reviews  on  Page  23) 


10 


dude  who  proves  quicker  with  his  fists  than 
expected.  Delores  Sidener  manages  the 
slight  feminine  lead  in  good  style. 

STORY:  Starrett,  in  his  usual  dual  role 
of  the  Durango  Kid  and  an  ordinary  citizen, 
is  on  the  trail  of  a  gang  of  thieves  who  have 
been  robbing  the  mails  of  postal  orders  and 
cashing  them.  When  the  father  of  Jack  Ma- 
honey is  killed  because  of  his  knowledge  of 
their  activities,  Mahoney  swears  revenge. 
The  heavies  detour  his  suspicions  by  making 
Starrett  appear  to  be  the  fall  guy.  The  Kid 
manages  to  identify  the  culprits  and  to  end 
their  nefarious  doings.  JAMES 


FILM  BULLETIN 


Short  Subjects 


BY     B  A  ft  N 


FROM  UNEXPECTED  QUARTERS 
came  a  word  of  praise  for  exhibitors. 
Academy  *ward-winner  Broderick  Crawford, 
who  reports  outstanding  results  from  his 
three-month,  60-city  tour  in  connection  with 
"The  Mob,"  credited  the  nation's  theatre- 
owners  with  being  "miles  ahead  of  Holly- 
wood in  their  thinking  and  action  on  the 
use  of  television  as  a  tremendous  selling  aid 
for  motion  pictures."  Coming  up  with  a 
clever  bit  of  public  relations  directed  at  the 
too-often  ignored  exhibition  level,  Crawford 
said  the  Columbia  movie  "got  a  tremendous 
lift  at  the  boxoffice"  from  his  television  and 
other  public  appearances. 

CONGRATULATIONS  from  the  entire  in- 
dustry to  Charles  F.  Simonelli,  newly- 
elected  chairman  of  MPAA's  advertising  and 
publicity  directors  committee.  The  Universal 
ad  topper  replaces  Barret  McCormick, 
KKO's  ad  director,  for  whom  the  committee 
unanimously  passed  a  resolution  thanking 
him  "lor  an  outstanding  job  .  .  .  importantly 
assisting  the  Committee  in  its  contribution 
toward  the  success  of  the  Movietime  cam- 
paign." Also  expressing  their  appreciation 
and  gratitude  were  COMPO's  Arthur  Mayer 
and  Charles  McCarthy.  Specifically,  Mc- 
Cormick and  Simonelli  are  deserving  of 
credit  for  their  work  in  the  Movietime  drive 
— the  former  for  his  job  as  chairman  of  the 
pressbook  committee  and  the  latter  for  his 
stint  as  general  chairman  of  exploitation. 
Well  done,  Barret,  and  good  luck,  Charlie! 


THK  widely  acknowledged  artistic 
talents  of  the  renowned  Si  Seadler 
was  on  display  for  all  the  world  to  see 
at  the  luxurious  new  Normandie  Thea- 
tre in  New  York.  The  entire  front 
was  plastered  with  Seadler's  artwork, 
which  announced  the  opening  of  the 
Normandie  with  the  December  6th 
premiere  of  Metro's  "Pandora  And 
The    Flying  Dutchman." 


Some  of  the  people  who  left  their  homes  for  Bob  Hope. 


IF  THE  NORTH  Central  Allied  bulletineer 
who  castigated  Bob  Hope  for  holding  the 
world  premiere  of  "My  Favorite  Spy"  in 
a  private  home  had  gone  out  to  Bellaire, 
Ohio,  the  day  of  the  event,  we  seriously 
doubt  that  the  item  would  have  found  its 
way  into  mimeography.  The  writer,  un- 
fortunately twisting  the  unique  plan — which 
had  built  up  a  huge  interest  in  the  film 
through  Hope's  radio  show  plugs,  declared 
that  the  star  was  the  author  of  "a  gimmick 
that  starts  the  horses  running  the  other 
way,"  selling  the  idea  that  "the  home  is 
absolutely  the  best  place  to  see  a  film"  by 
holding  the  gala  debut  in  the  living  room 
of  the  person  writing  the  best  letter  on  why 
they  would  like  to  "see  his  picture  at  home." 
Note  the  lest  five  words;  actually  the  letter 
was  on  "Why  I  would  like  to  have  the 
world  premiere  of  'My  Favorite  Spy'  in  my 
home." 

Apparently  the  writer  lost  sight  of  the 
fact  that  this  was  one  of  the  most  exciting 
experiences  that  could  happen  to  any  one  of 
the  millions  of  movie  fans — to  have  glamor- 
ous stars,  klieg  lights,  news  services,  press 
associations,  syndicates,  radio  and  television 
coverage,  plus  state  and  civic  bigwigs,  to 
make  the  winner's  name  a  by-word  in  the 
town,  which  is  exactly  what  happened  to 
Mrs.  Anne  Kuchinka,  the  Bellaire  housewife 
who  won. 

If  the  NCA  writer  had  seen  the  thousands, 
not  just  from  Bellaire,  but  from  neighbor- 
ing cities  and  states,  who  LEFT  THEIR 


HOMES  :o  catch  a  glimpse  of  Hope,  along 
with  movie  stars  Marilyn  Maxwell,  Gloria 
Grahame,  Jan  Sterling,  Mary  Murphy  and 
Susan  Morrow;  who  crowded  the  streets, 
cheered  at  the  outdoor  stadium,  and  then 
waited  for  long  hours  in  freezing  weather 
to  get  in  to  see  the  Hope  radio  show  taped 
in  the  high  school  auditorium;  if  he  had 
seen  Bob  Hope's  haggard  eyes  after  a 
rugged  36  hours  of  intensive  travel  and 
frantic  horseplay  to  amuse  the  citizenry;  if 
he  had  read  the  countless  words  written  by 
the  represented  press  in  periodicals  through- 
out the  country  boosting  the  picture;  and 
if  he  had  known  that  Hope  and  the  troupe 
took  a  plane,  with  virtually  no  sleep,  dupli- 
cate the  procedure  at  the  "home"  of  alter- 
nate winner  Sgt.  Karl  Deigert — U.  S.  Air 
Force  Base  Hospital,  Camp  Atterbury,  Ind. 
— shared  by  1400  other  wounded  soldiers; 
yes,  if  he  had  seen  and  known  all  that,  we 
doubt  that  the  writer  would  have  penned 
the  blast. 

Bob  Hope  has  justified  criticism  before 
(and  FILM  BULLETIN  didn't  hesitate  to 
censure  the  star  editorially  for  his  last  year 
on  TV),  but  when  a  novel  piece  of  show- 
manship is  twisted  into  a  "disservice"  to  the 
industry  through  a  writer's  whim,  we  feel 
the  critic  is  "reaching"  for  a  hook  to  hang 
his  gripe  on.  Praise  rather  than  pans  should 
be  heaped,  not  only  on  Mr.  Hope,  but  on  the 
studio  publicity  men  who  originated  the  idea 
and  those  of  Paramount's  publicity  and  ex- 
ploitation department  who  mechanized  it 
into  a  bright  and  ingenious  stunt. 


AFTER  NEGOTIATIONS  which  began 
early  this  year,  a  new  film  producing  and 
distributing  company,  with  Hal  E.  Chester, 
Moe  Kerman  and  Jack  Dietz  at  the  reins, 
has  finally  come  into  being.  To  be  known 
as  Mutual  Productions  Corporation,  with  28 
exchange  offices  in  the  U.  S.,  the  new  firm 
plans  a  dozen  films  for  1952,  with  the  first, 
"Models  Incorporated,"  set  to  roll  in  Janu- 
ary. 

UOWARD  DIETZ  TAKES  up  the  cudgel 
"  in  defense  of  the  "maligned  salesmen" 
via  the  editorial  columns  of  the  N.  Y. 
Sunday  Times,  in  which  he  takes  the  critics 
to  task  for  being,  though  not  in  so  many 
words,  intellectual  snobs.  The  Metro  exec 
also  chides  the  scribes  for  failing  to  under- 


stand the  problems  of  the  industry  tub- 
thumpers  and  film  salesmen  who,  he  feels, 
are  more  closely  attuned  to  John  Q's  film 
tastes  than  are  the  ivory-tower-bound  movie 
reviewers.  Dietz'  journalistic  effort,  inci- 
dentally, :s  another  feather  in  a  cap  already 
decorated  with  feathers  for  his  work  as  a 
film  exec,  song  writer  and  radio  personality. 

THE  VACANCY  LEFT  by  the  passing  of 
Ohio  ITO's  Pete  Wood  earlier  this  year 
was  filled  by  the  naming  of  veteran  industry- 
ite  Robert  Wile  to  the  Ohio  organization's 
secretarial  post.  Wile's  20  years  in  the  movie 
business  includes  newspaper  and  trade  paper 
work,  operation  of  the  Granada  Theatre  in 
Pearl  River,  N.  Y.,  and  nine  years  with 
Universal. 


12 


FILM  BULLETIN 


No  Arbitration  System  If 
TOA  Is  Left  Out-Fabian 

If  National  Allied  expects  to  negotiate  any 
arbitration  proposals  with  the  distributors,  it 
will  first  have  to  sit  down  with  Theatre 
Owners  of  America  to  work  out  a  plan 
suitable  to  both  units,  warned  Si  Fabian, 
TOA  executive  committee  chairman. 
Fabian's  blunt  words  were  not  issued  in 
an  I'll-punch-you-in-the-nose-over-the-tele- 
phone  manner;  they  were  delivered  in  person 
at  the  convention  of  Independent  Exhibitors 
of  New  England,  an  Allied  unit,  with  Na- 
tional Allied  board  chairman  A.  F.  Myers 
and  president  Trueman  Rembusch  on  hand. 

Pointing  to  National  Allied's  stand  that  it 
will  present  its  arbitration  proposals  to  the 
film  companies  independently  of  any  other 
exhibitor  groups,  Fabian  recalled  TOA's 
meeting  early  this  year  with  the  distributors 
where  the  letter  approved  the  principle  of 
arbitration,  but  refused  to  negotiate  a  system 
until  "all  segments  of  exhibition  were  repre- 
sented—particularly National  Allied."  Allied 
at  that  time  refused  to  grant  TOA's  plea 
to  sit  down  and  work  out  such  a  plan,  he 
said.  Now  that  Allied  has  approved  the 
principle  of  arbitration,  he  declared,  "they 
say  they  want  to  go  it  alone." 

"TOA  will  not  accept  any  tailor-made  or 
spoon-fed  plan  for  a  system  of  arbitration," 
Fabian  declared.  "We  will  not  be  drawn 
into  negotiation  in  the  middle  or  at  the  end. 
We  speak  for  too  large  a  segment  of  the 
motion  picture  exhibitors  of  America  not  to 
be  included  at  the  very  inception  of  any  dis- 
cussion relating  to  the  revelopment  of  an 
equitable  system  of  arbitration." 

TOA,  he  said,  has  "not  sought  to  be  the 
prime  sponsors  of  arbitration.  We  have  not 
created  a  charter  or  plan  for  arbitration 
that  would  bear  the  TOA  stamp  to  the  ex- 
clusion of  any  others.  We  have  tried  at  all 
times  to  give  evidence  of  a  self-enlightened 
viewpoint — eager  to  share  and  to  incorporate 
the  thinking  of  all  segments  of  the  industry." 

Fabian  declared  his  organization's  willing- 
ness to  accept  "whatever  conclusion  on  arbi- 
tration the  majority  of  distributors  and  ex- 
hibitors believe  will  work  to  the  best  ad- 
vantage of  our  industry.  He  also  advocated 
that  exhibition  "underwrite  its  fair  share"  of 
arbitration  cost. 


21 -Picture  Lineup  For 
6-Month  Depinet  Sales  Drive 

The  forthcoming  Ned  Depinet  Sales  Drive 
will  give  RKO  exchangemen  a  husky  hunk 
of  product  lo  huckster  between  January  and 
July  of  next  year.  Twenty-one  pictures  will 
be  included  in  the  lineup  for  the  drive  which 
gets  under  way  December  21  and  ends  June 
26.  Kicko!T  feature  will  be  "Double  Dyna- 
mite," to  be  followed  by  Samuel  Goldwyn's 
"I  Want  You"  and  "On  Dangerous  Ground." 

Of  the  eight  tinted  fil  ms  listed,  six  will 
be  in  Technicolor,  one  in  Trucolor  and  one 
in  Ansco  color. 


BULLETIN 


Vol.  19,  No.  26 


December  17,  1951 


ERIC  JOHNSTON 

Abroad  For  Our  Share 


Johnston  To  Go  Overseas 
For  Bigger  Foreign  Revenue 

Eric  Johnston  said:  "Out  of  the  frying 
pan  into  the  fire,  it  seems."  The  Motion  Pic- 
ture Association  of  America  president,  re- 
turning to  his  film  post  after  a  four-ulcer 
job  as  Economic  Stabilizer  of  the  country, 
had  just  emerged  from  a  meeting  of  the 
MPAA's  board  of  directors,  and  the  remark, 
though  unelaborated,  was  hardly  indicative 
of  flopping  into  a  bed  of  roses. 

Facing  the  press,  Johnston  declared  that 
his  first  major  chore  would  be  an  overseas 
tour,  beginning  Jan.  15,  to  grab  "our  share" 
of  the  lucrative  foreign  field's  revenue.  With 
the  increasing  importance  of  foreign  income, 
threats  of  new  restrictions,  and  opening  up 
of  the  foreign  market,  the  MPAA  head  in- 
dicated that  a  good  part  of  his  job  in  1952 
would  be  tied  in  with  this  facet. 

Johnston  also  disclosed  the  switch  of 
headquarters  from  Washington  to  New 
York,  although  the  Capital  office  will  be 
maintained  to  keep  in  close  touch  with  legis- 
lative, executive  and  embassy  departments. 
The  New  York  headquarters  will  be  headed 
by  Johnston  and  his  new  assistant,  former 
Washington  newspaperman  Ralph  Hetzel, 
whom  he  "borrowed"  originally  from  the 
Secretary  of  Commerce — and  never  returned. 


LeSieur  Named  To  Head 
Columbia  Ad-Publicity  Dept. 

Howard  R.  LeSieur  is  Columbia's  new  di- 
rector of  advertising,  publicity  and  exploi- 
tation, it  was  announced  late  last  week  by 
N.  B.  Spingold,  vice-president.  LeSieur  suc- 
ceeds Arthur  Schmidt,  who  resigned  some 
weeks  ago,  effective  December  31,  and  will 
assume  his  new  post  immediately  thereafter. 

LeSieur's  appointment  was  hardly  in  the 
nature  of  a  surprise.  He  was  the  odds-on 
favorite,  following  Schmidt's  resignation,  to 
take  over  the  post. 

The  new  ad-publicity  chief  has  had  long 
experience  in  the  promotional  end  of  the 
industry.  He  was  director  of  the  Eagle-Lion 
Classics  ad-publicity  department  at  the  time 
the  company  was  absorbed  by  United 
Artists.  Before  that,  he  was  with  UA  for 
16  years,  rising  to  head  the  ad-publicity  de- 
partment in  1948,  a  post  he  held  until  Janu- 
ary, 1951. 

'Vadis'  Sales  Plan  Can 
"Wreck"  Exhibitors— Rembusch 

More  fireworks  on  advanced  admissions 
pictures  were  displayed  at  a  pair  of  exhibi- 
tor organization  meetings,  Independent  Ex- 
hibitors of  New  England  in  Boston,  and 
Allied  Independent  Theatre  Owners  of 
Eastern  Pennsylvania,  in  Philadelphia. 

The  blast  in  Boston  came  from  Trueman 
T.  Rembusch,  president  of  National  Allied. 
He  was  especially  virulent  concerning 
Metro's  "Quo  Vadis"  sales  plan,  which,  he 
said,  "will  wreck  exhibition  nationally  if 
they  are  allowed  to  get  away  with  it." 

Exhibitors  are  faced  with  a  "new  distri- 
butor garb  .  .  .  the  illegal  fixing  of  ad- 
mission prices  through  the  subterfuge  of 
pre-releasing  of  pictures,"  Rembusch  de- 
clared. "It  saw  the  light  of  day  in  Para- 
mount's  'Samson  and  Delilah'  and  Fox 
brought  it  out  in  'David  and  Bathsheba'. 
Now  M-G-M  is  not  only  using  this  device 
to  illegally  fix  admission  prices  on  'Quo 
Vadis',  but  it  has  added  to  a  sales  policy 
that  will  create  nationwide  bidding  on  this 
picture,  which  bidding  will  result  in  new 
clearances  and  zones  being  created." 

Listening  to  the  criticism  of  his  company's 
sales  policy  on  "Quo  Vadis"  was  Mike 
Simons,  Metro  exhibitor  relations  repre- 
sentative, who  was  due  to  speak.  Instead,  he 
cancelled  his  address,  but  rose  to  make  a 
terse  statement:  "I  work  for  a  small  com- 
pany which  has  been  in  business  for  a  year 
or  two  during  which  time  we  have  never 
taken  advantage  of  an  exhibitor  in  film 
rentals.  If  we  continue  in  business  for  25  or 
30  years  more  this  policy  will  not  change." 

The  Philadelphia  meeting  was  hot  with  in- 
dignation against  forced  increased  ad- 
missions, naming  "David  and  Bathsheba", 
Warners'  "A  Streetcar  Named  Desire"  and 
RKO's  "I  Want  You"  as  specific  examples 

(Continued  on  Page  16) 


14 


FILM  BULLETIN 


FECIAL 
VICE  FOR 
IIBITORS . . 


THE  BOOKING  OF  THE  WEEK 


THE  HARLEM  GLOBETROTTERS 


...DESIGNED 
TO  HIGHLIGHT 
CURRENT  AND 
CHOICE  PRODUCT 


miNGS  YOU'LL 
WANT  TO  KNOW 


News  and  Opinion 


(Continued  from  Page  14) 

of  the  practice.  Upped  admissions  are  actu- 
ally "penalty  prices",  Sidney  Samuelson, 
president  of  the  unit,  declared,  since  the 
ultimate  effect  "tends  to  depreciate  grosses." 
Each  of  the  companies  involved  was  sent  a 
copy  of  the  resolution  condemning  forced 
advanced  admissions  and  advising  the  Board 
to  "implement  the  action." 

In  San  Francisco,  further  rumblings 
against  raised  admissions  were  heard  from 
Rotus  Harvey,  president  of  the  Pacific  coast 
Conference  of  Independent  Exhibitors.  On 
"Quo  Vadis",  however,  he  said  that  "if  ever 
a  picture  was  entitled  to  a  raised  admission, 
this  one  is  it.  Too  bad  it  had  to  come  right 
after  'Bathsheba',  'Streetcar',  and  American 
in  Paris',  for  none  of  them  were  good 
enough  for  the  extra  charge.  Now  the  public 
is  angry,  disgusted  and  are  not  hesitating 
to  say  so." 

Wolfson  Urges  New  Star 
Buildup,  More  Loyalty  Films 

Mitchell  Wolfson,  who,  since  his  election 
as  TOA  president,  has  been  a  veritable  Tom 
Paine  in  bulletin  activity,  offered  two  more 
proposals  for  hypoing  the  movie  business. 
The  TOA  topper  (1)  urged  exhibitors  to 
help  promote  and  pre-sell  "new,  fresh  faces", 
and  use  every  possible  exploitation  angle  to 
build  up  new  stars,  and  (2)  called  upon  pro- 
ducers to  make  more  patriotic  films  in  an 
effort  to  fight  communism. 

"From  this  group  of  young  people  will 
come  our  stars  of  tomorrow,"  he  pointed 
out  in  his  new-star  pitch,  "and  pre-selling 
the  personality  will  increase  grosses  for  his 
earlier  pictures,  thus  further  increasing  the 
number  of  his  fans." 

In  a  letter  to  the  heads  of  the  major  film 
companies,  Wolfson  also  proposed  an  "Op- 
eration Patriotism,"  stating  that  TOA  is 
"eager  to  help  Hollywood  in  its  fight  against 
communism  and  in  building  a  more  solid 
loyalty  among  the  citizens  of  the  United 
States." 


Lippert  In  Profit-Sharing 
Distribution  Deal  With  Talent 

Hollywood  talent  as  "angels"  for  their 
own  independently-produced  pictures  is  once 
again  a  fact  in  the  film  capital,  following  the 
inking  of  a  deal  between  Robert  L.  Lippert 
and  Famous  Artists  Corp.  The  talent  agency 
will  act  as  go-between  for  actors,  writers, 
directors  and  producers,  who  will  invest  in 
the  making  of  films  on  a  private-enterprise 
basis.  Lippert  will  then  distribute  the 
finished  product. 

Several  deals  arc  at  present  in  the  negoti- 
ating stage,  while  the  first  independent  film 
to  roll  under  the  new  set-up  is  "Loan 
Sbark,"  with  George  Raft  starred,  to  be  di- 
rected by  Seymour  Friedman  and  produced 
bv  Bernard  Luber. 


U-I'S  LIPTON 

Most  Ballyhoo  In  '52 


Record  Promotion  Budget 
Set  By  U-l  For  '52  Lineup 

The  greatest  ballyhoo  efforts  in  Uni- 
versale history,  bolstered  by  a  record  ad- 
vertising budget,  were  promised  for  the 
company's  1952  schedule  by  David  A. 
Lipton,  ad-publicity  vice-president,  at  studio 
conferences  last  week  between  production, 
distribution  and  promotion  bigwigs. 

A  program  of  12  features,  half  of  them 
in  Techni:olor,  for  the  first  four  months  of 
'52,  was  also  disclosed  by  World  Sales  Di- 
rector Alfred  E.  Daff  and  domestic  sales 
chief  Charles  J.  Feldman. 

Lipton's  plans  reported  a  diversified  pro- 
motion effort  —  a  record  number  of  star 
tours;  extensive  of  TV  point-of-sale  adver- 
tising; an  increase  in  national  magazine, 
Sunday  newspaper  and  trade  paper  advertis- 
ing; saturation  openings  with  stars,  terri- 
torial ads  and  promotions,  and  additional 
promotional  aid  to  sub-keys  and  smaller 
situations. 

Production  group  was  headed  by  Leo 
Spitz  and  William  Goetz,  studio  chiefs,  and 
Edward  Muhl,  studio  vice-president. 


SEPT.  B.O.  BEST  SINCE  48 

The  marked  upswing  in  movie  box- 
offices  this  fall  was  verified  by  October 
admissions  tax  collections  on  Septem- 
ber business  that  reached  the  highest 
point  since  December,  1948,  and  the 
highest  for  the  month  since  1947. 

Internal  Revenue  figures  reported 
general  admissions  tax  receipts  of 
$37,302,260,  better  than  two  million 
over  October,  1950,  and  topping  the 
preceding  month's  tax  take  by  four 
million. 


Reagan  New  MGM  Sales  Head 
Rodgers  Stays  As  Consultan 

"Rodgers,  who  has  served  as  M-G-M's 
vice-president  and  general  sales  manage 
for  many  years,  has  asked  that  he  be  re 
lieved  of  his  responsibilities  and  because  ol 
his  insistence  we  have  acceded  to  his  wishes 
I  am  happy  to  state  that  Rodgers  will 
remain  with  Loew's  as  a  vice-president  for 
a  minimum  of  two  years  as  an  advisor  and 
consultant  on  sales  activities  and  will  con 
tinue  to  make  his  headquarters  at  the  com 
pany's  offices.  I  consider  Reagan  to  be  es 
pecially  qualified  to  assume  his  new  positio 
and  to  succeed  Rodgers." 

With  these  words,  Loew's  president 
Nicholas  M.  Schenck  revealed  the  appoint 
ment  effective  January  1,  1952,  of  Charles 
M.  Reagan  as  vice-president  in  charge  o 
domestic  distribution,  the  post  relinquished 
by  William  F.  Rodgers,  avowedly  one  of  the 
most  popular  distribution  chiefs  the  industry 
has  known.  It  was  stressed,  however,  tha 
Rodgers  will  be  "an  active  consultant"  on 
Metro  sales  policy  for  at  least  the  next  tw< 
years. 

Rodgers,  now  63,  will  be  eligible  for  M-G 
M  pension  fund  benefits  at  the  end  his  new 
two-year  pact  estimated  at  $28,000  annually 
There  was  no  indication,  however,  that 
Rodgers  might  not  stay  on  with  the  com 
pany  beyond  that  time.  He  remains  as  : 
vice-president  and  a  member  of  the  board 
of  directors. 

Reagan,  formerly  distribution  vice-presi 
dent  of  Paramount,  joined  M-G-M  two  and  a 
half  years  ago  as  a  vice-president  and  mem 
ber  of  the  company's  sales  cabinet.  He  has 
worked  closely  with  Rodgers  in  determining 
sales  policy  and  plans. 

Zenith's  $50,000  Finnegan 
Mystery  Remains  Unsolved 

The  mystery  of  Finnegan  seemed  destined 
to  remain  unsolved.  Finnegan,  more  speci 
fically  J.  P.  Finnegan,  a  former  St.  Louis 
collector  of  internal  revenue  claimed  to  have 
been  hired  by  Zenith  for  $50,000  to  help  get 
films  for  its  Phonevision,  is  nowhere  to  be 
found.  Moreover,  Justice  Department  of 
ficals,  whom  he  was  to  have  approached  in 
an  effort  to  force  film  companies  to  deliver 
pictures  to  Phonevision,  disclaim  any 
knowledge  of  Finnegan,  despite  Zenith  presi 
dent  E.  F.  McDonald's  claim  that  he  had 
paid  the  former  collector  the  $50,000  in  the 
Fall  of  1950. 

The  film  companies,  too,  apparently  are 
in  the  dark  about  the  matter.  Testifying 
before  the  Federal  Grand  Jury  in  St.  Louis, 
Loew's  vice-president  J.  Robert  Rubin  and 
Paramount  vice-president  Paul  Raibourn 
said  that  all  negotiations  were  directly  be- 
tween their  companies  and  Phonevision  with 
no  "middleman — Finnegan  or  anyone  else' 
involved. 

So  wherc's  Finnegan? 


f 


FILM  BULLETIN 


f 

YORK 

f 

BURGH 


SAN  FRANCISCO       DENVER        PHILADELPHIA  BIRMINGHAM 


SAN  ANTONIO    KANSAS  CITY 

i 


I 


i 


IMORE 


an .miii:  (  r  fi  rr^ 

DATES  START  CHRISTMAS  AND  NEW  YEARS 


[LAND 


FIRST  STORY  FILMED  IN  FLORIDA'! 

ii]*fiu;iH 


HCAGO 


ft 


..v.*. 


fLANTA 


DETROIT 


THE  NEW  MAN  AT  M-G-M 


(Continued  from  Page  7) 

Paramount's  local  branch  manager,  offered 
him  a  salesman's  job. 

The  first  year  and  a-half  was  tough  sled- 
ding. Reagan  found  himself  peddling  films 
from  the  back  of  a  mule  in  the  mining 
country  of  Kentucky,  where  his  Irish  ances- 
try did  him  no  harm  at  all.  Two  years  later 
he  found  himself  promoted  branch  manager 
at  Indianapolis.  Within  five  years  of  joining 
Paramount  came  his  next  lucky  break.  In 
1925  he  was  hoisted  to  a  district  manager- 
ship, with  the  Cincinnati,  Indianapolis  and 
Louisville  branches  under  his  jurisdiction. 
He  held  that  job  for  seven  hard-fighting 
years.  His  reward  for  breaking  all  previous 
records  in  the  job  was  promotion  to  mid- 
western  district  manager,  embracing  Chi- 
cago, Milwaukee,  Detroit  and  Indianapolis. 
Two  years  later  he  became  Paramount's 
western  division  manager,  with  supervision 
over  all  Paramount  exchanges  from  Chicago 
to  the  West  Coast.  His  headquarters  were 
at  the  home  office. 

Neil  Agnew  made  his  assistant  sales 
manager  in  1941,  and  Reagan  stepped  into 
his  shoes  when  Agnew  quit  in  1944,  becom- 
ing general  sales  manager  and  being  elected 
a  vice-president  of  Paramount.  Barney 
Balaban  said  to  him  at  the  time,  "We  are 
proud  of  a  company  that  can  produce  men 
of  his  calibre." 

Retains  Easy  Manner 
Reagan's  long  partnership  with  Para- 
mount was  severed  in  1949.  In  July  of  that 
year  he  joined  M-G-M  as  home  office  sales 
executive.  Today,  as  vice-president  in  charge 
of  sales  for  the  richest  company  in  the 
motion  picture  industry  he  is  as  far  up  the 
ladder  as  anyone  can  go  in  the  selling  busi- 
ness.  Vet  his  success  has  not  spoiled  him. 
Il<-  lias  an  easy,  informal  charm  of  manner 
and  no  trace  of  self-importance. 

He  plans  no  change  of  sales  policy  for 
M-G-M,  he  says.  And  why  should  he? 
Metro  has  long  taken  the  lion's  (no  pun!) 
share  of  film  rentals  from  the  world's  movie 
houses.  And  not  without  reason,  for  this 
company  has  always  maintained  the  costliest 
roster  of  players  in  Hollywood,  a  bright 
galaxy  once  reputed  to  boast  '  more  stars 
I  ban  there  are  in  heaven."  The  Metro  lot 
always  spent  with  the  most  lavish  hand. 

But,  let  it  be  noted,  there  have  been 
seasons  whet)  the  calibre  of  its  product  left 
18 


Company"  is  no  idle  phrase.  Bill  Rodgers 
made  it  pay  off.  With  his  sliding  scale 
(which  exhibitors  loudly  booed  when  it  was 
introduced),  he  always  managed  to  get  the 
most  the  traffic  would  bear,  without  bring- 
ing down  the  customers'  wrath  upon  the 
company  he  represented.  That  was  no  small 
trick,  and  it  will  be  no  small  feat  for  Charlie 
Reagan  to  carry  forward  those  "friendly" 
policies  of  his  shrewd  predecessor. 


HAIL,  BUT  NOT  FAREWELL! 

President  Nicholas  M.  Schenck  embraces  the 
two  men  who  will  guide  Leo's  sales  destinies. 
"Rodgers,"  said  the  M-G-M  head,  "will  remain 
with  Loew's  as  a  vice-president  for  a  minimum  of 
two  years  as  an  advisor  and  consultant  on  sales 
activities  and  will  continue  to  make  his  head- 
quarters at  the  company's  offices.  I  consider 
Reagan  to  be  especially  qualified  to  assume  his 
new  position  and  to  succeed  Rodgers." 

much  to  be  desired.  Yet  the  terms  for 
Metro  product  was  always  tops — and  they 
made  the  exhibitors  like  it.  "The  Friendly 


Seeks  Better  Relations 

Reagan  hopes  the  industry  will  be  able 
to  solve  its  most  pressing  problem:  the 
worrisome  question  of  trade  practices.  He 
will  not  dilate  upon  that  subject,  but  he 
stresses  its  importance.  "The  industry's 
worst  troubles  won't  be  over",  he  says,  "until 
we  get  the  very  best  of  relations  between 
buyer  and  seller." 

Next  on  his  list  of  "musts",  is  an  improve- 
ment in  public  relations.  Here  again  Charles 
Reagan  oozes  discretion,  but  when  he  talks 
it  is  clear  that  he  thinks  this  side  of  the  in- 
dustry's activities  is  years  behind  the  times, 
and  badly  in  need  of  a  shot-in-the-arm. 

Then  he  sits  back  in  his  swivel  chair,  lights 
up  his  pipe,  and  comes  back  again  to  where 
the  conversation  started.  "Yes,"  he  muses, 
"Bill  Rodgers  is  certainly  a  tough  fellow  to 
follow." 


THE  SALES  CONFERENCE  ROOM 

ibove,  the  Lock's  ionference  room  at  1540  Broadway  ivhere  vital  decisions  affecting  sales 
policy  were  fashioned.  It  was  here  the  "Friendly  Company"  earned  its  name — even  when  asking 
top  terms,  they  made  the  exhibitors  like  it. 

FILM  BULLETIN 


He  lec/  tie  last  Great  OUTIAWM/PS/ 


EXPLOITATION  PICTURE 


HONEST-TO-GOODNESS  MUSICAL 


"A  MUSICAL  —  FRANKLY  and  unashamedly 
that  without  pretensions  of  dramatics  or  com- 
plicated story*'  is  the  way  FILM  BULLETIN  re- 
viewer Hanna  describes  RKO's  Technicolor  musi- 
cal revue,  "Two  Tickets  to  Broadway."  He  also 
calls  it  a  "flashy  Technicolor  extravaganza"  with 
"imaginative  specialty  routines  that  .  .  .  have 
polish,  lilt  and  freshness."  The  players,  too,  are 
extolled  as  "a  hand-picked  cast  to  fill  it  with  gay, 
bright  charm." 

Such  words  should  dispel  any  showman's 
qualms  that  he  might  oversell  the  picture.  More 
than  that,  it  should  spur  him  to  extra  exploitation 
effort  with  the  realization  that  his  patrons  will  be 
entertained  and  emerge  from  the  theatre  in  a 
happy  frame  of 


that 


Youth:  Janet  Leigh  and  Gang 


d,  one  of  the  best  signs 
they  will  return  again  soon. 

The  saleable  factors  are  sure-fire:  plenty  of 
songs,  beautiful  girls,  romance  and  comedy. 
Handling  the  tunes  and  romantic  episodes  are  a 
pair  of  stars  whose  popularity  has  reached  new 
heights,  Tony  Martin  and  Janet  Leigh.  The  former 
returns  to  the  screen  on  a  new  wave  of  popularity 
from  his  hit  records,  radio  and  TV  appearances. 
The  latter  is  one  of  the  brightest  young  stellar 
lights.  Heading  the  host  of  lovelies  that  adorn 
practically  every  scene  are  such  talented  lookers 
as  Gloria  DeHaven,  Ann  Miller  and  Barbara  Law- 
rence, who,  as  showgirls,  display  some  topflight 
song-and-dance  routines  as  well  as  other  more 
obvious  attributes. 


In  the  comedy  department,  Eddie  Bracken  and 
the  classic  team  that  is  currently  wowing  them  at 
the  Palace,  Joe  Smith  and  Charles  Dale,  pound 
away  at  the  funny  bone.  In  addition,  there  is  Bob 
Crosby's  band  and  an  outstanding  acrobatic  act, 
the  Charlivels,  to  further  pique  audience  enjoy- 
ment. 

If  any  showman  needs  more  than  that,  he 
isn't  worthy  of  the  name.  The  light-hearted,  merry 
entertainment  thai  made  a  harassed,  money- 
worried  public  lake  the  early  musicals  like  "Cold- 
Diggers"  and  12nd  Sheet**  to  its  heart  is  present 
in  "Two  Tickets  to  Broadway"  and  the  American 
people  are  hungry  for  it. 

20 


TIE-INS 

Several  important  tie-ins  that  can  be  utilized  in 
most  cities  and  towns  have  been  arranged  by 
RKO.  One  of  the  biggest  is  that  with  Greyhound 
Bus  Lines  in  which  the  company  is  making  avail- 
able space  in  its  7000  stations,  visited  by  millions 
of  potential  theatregoers,  to  plug  the  picture,  with 
stills  from  the  film  showing  the  stars  in  scenes 
abroad  the  Greyhound.  The  press  book  calls  man- 
agers' attention  to  this  free  space,  with  the  Grey- 
hound invitation  to  use  it  when  best  suited  to  the 
theatres'  needs,  as  well  as  local  newspaper  ads 
tying  in  with  the  picture's  engagement. 

Another  significant  promotion  has  been  ar- 
ranged with  S.  Rudofker's  Sons,  largest  manu- 
facture of  men's  formal  wear,  tying  in  Tony 
Martin  and  the  film  with  their  national  "After 
Six"  Tuxedo  campaign  and  co-ops  from  their 
8000  dealers. 

The  songs,  of  course,  are  a  natural,  with  the 
entire  galaxy  of  the  film's  tunes  plugged  by  music 
publishers,  disc  jockeys,  and  the  RCA  Victor 
"Two  Tickets"  album. 

For  the  younger  element,  a  valuable  gob  of 
publicity  »vas  garnered  with  Paul  Whiteman's 
popular  network  TV  and  radio  shows  via  a  nation- 
al high  school  band  contest. 

Below,  the  newspaper  ads. 


An  ej«ful...aii  earful... an  armful 
of  I  he  BIG  TOWM  !   


Comedy:  Smith  and  Dale 


FILM  BULLETIN 


EXPLOITATION  PICTURE  »f theism 


Janet  Leigh  and  Tony  Martin:  Hitting  .Veu'  Heights 


TWO  TICKETS  TO  BROADWAY 


Howard  Hughes"  "Two  Tickets  to  Broadway"  is  notable 
for  two  reasons:  1 1 1  It  brings  back  a  rejuvenated  Tony  Martin 
to  the  screen,  and.  at  the  same  time,  unveils  song-and-dance 
talents  in  one  of  the  most  promising  young  stars.  Janet  Leigh: 
(2)  it  reverts  to  a  screen  formula  that  brought  the  musical 
revue  into  films,  a  milestone  in  the  history  of  the  motion  pic- 
jture.  Remember  "42nd  Street"  and  "Broadway  Melody"? 
Their  thin  story  thread  was  just  the  string  for  the  entertain- 
ment pearls  that  gladdened  hearts  and  eased  minds  during  the 
depression.  There  were  girls  galore,  lavish  Busby  Berkeley 
production  numbers,  vaudeville  comics  and  light  romance.  Now 
that  we  have  experienced  virtually  every  kind  of  musical  pos- 
sible. Hughes  has  dared  to  go  back  to  the  old  formula,  even  to 
the  Berkeley  production  numbers — and  w  ith  surprising  success, 
according  to  trade  review  s. 


Martin,  whose  screen  career  petered  out  some  vears  ago 
after  a  series  of  unimpressive  film  appearances,  has  since 
earned  in  the  recording  field  an  enviable  spot  as  one  of  the 
top  singers  of  the  day.  In  "Two  Tickets  to  Broadway",  he 
reaches  new  screen  heights.  His  renditions  of  the  prologue  to 
"I  Pagliacci"  and  the  famed  Rodgers  &  Hart  tune  "Manhattan", 
as  well  as  several  new  Jule  Styne  -  Leo  Robin  tunes,  are  high 
spots  of  the  film.  He  teams  with  Miss  Leigh  to  excellent  ad- 
vantage and  has  additional  vocal  and  terpsichorean  support 
from  Gloria  deHaven.  Ann  Miller  and  Barbara  Lawrence. 

'Two  Tickets  to  Broadway"  may  not  be  the  world's 
greatest  musical,  but  it's  solid  entertainment  in  a  mold  that 
has  taken  a  lot  of  forms,  but  has  always  delivered  a  sound 
product  when  the  ingredients  were  right. 


ECEMBER    17,  1951 


21 


Critics  Acclaim  'Calloway' 
As  "Slick  Spoof  on  TV  Oaters 

Bouquets  of  favorable  adjectives  were 
prominent  in  the  columns  of  the  New  York 
newspaper  critics,  whose  notices  displayed 
their  almost  unanimous  approval  of  Metro's 
spoof  on  television  cowpokes  (and  Holly- 
wood westerns),  "Callaway  Went  That- 
away."  In  most  quarters  the  applause  was 
unrestrained,  although  there  were  in  evi- 
dence expressions  of  disappointment  as  one 
or  two  of  the  scribes  lamented  its  failure 
to  maintain  the  unusually  high  standard  of 
satirical  humor  which  dominates  the  early 
portions  of  the  film. 

Bosley  Crowther,  of  the  Times,  offers  his 
approval  of  a  picture  "full  of  satiric  fun  .  .  . 
rowdy  humor  and  occasional  spurts  of  wit.'' 
Lapsing  into  the  vernacular,  he  concludes: 
"Those  who  have  had  their  fill  of  cowboys, 
TV  style,  should  head  this  one  off  at  Loew's 
State." 

The  Herald-Tribune's  Otis  Guernsey  finds 
it  "a  delightful  satire  in  the  first  third,"  but 
complains  that  "the  great  good  fun  ends 
before  it  gets  fairly  started." 

Going  along  with  the  majority,  however, 
Eileen  Crcelman.  of  the  World-Telegram, 
comments  that  "Hollywood  doesn't  do  it 
often,  and  that's  too  bad,"  casting  her  vote 
of  thanks  tor  "this  fast-talking,  loud-talking 
comedy." 

This  kind  of  satire  "can't  miss,"  writes  the 
Post's  Archer  Winsten,  who  thanks  movie- 
goers will  consider  it  "the  funniest  Western 
satire  in  a  month  of  Sundays  .  .  .  make  it 
the  funniest  in  at  least  five  months  of  Sun- 
days." 

"Television  cowboy  films  come  in  for 
some  slick  spoofing  in  a  farce,"  says  the 
Journal-American's  Rose  Pelswick,  that  has 
"a  smart  story  idea,  a  good  cast,  very  amus- 
ing dialogue  and  a  breezy  pace,"  all  of  which 
"provide  laughs  from  the  opening  scene  to 
the  finish." 


'POOL  OF  LONDON' 

UNIVERSAL-INTERNATIONAL 

"Darkling  melodrama  .  .  .  has  a  gradually 
ascending  scale  of  departure  into  the  rare 
and  superior.  Each  ascent  is  followed  by 
the  descent  .  .  .  Not  a  bad  picture,  not  bad 
at  all,  if  you're  not  expecting  much."  — 
Winsten,  N.  Y.  Post. 

"British  version  of  cops  and  robbers  along 
the  London  waterfront  .  .  .  Little  of  the 
conventional  gangster  picture  techniques  are 
overlooked  in  this  British  import." — Pihodna, 
N.  Y.  Henld-Tribune. 

"  There  is  excitement  and  suspense  in  the 
gritty  and  grimy  melodramatics  of  this  tale 
of  London's  dockside  and  wharves  .  .  . 
Though  iot  distinguished,  is  entertaining." 
— Crowther,  N.  Y.  Times. 

"Another  superior  bundle  of  excitement 
.  .  .  They  finally  have  caught  the  trick  of 
the  brisk  zest  of  Hollywood."— Cook,  N.  Y. 
World-T.l.gram. 

"British-made  cops-and-robbers  yarn  .  .  . 
Well-made  melodrama  "  —  Pelswick,  N.  Y. 
Journal-Amcri(  an. 


"QUOT6S" 


What  the  Newspaper  Critics  Sag  About  New  Films 


TWO  TICKETS  TO  BROADWAY' 

RKG 

"Slick,  conventional  musical  presented 
with  all  the  trimmings,  from  Technicolor  to 
Tony  Martin  .  .  .  True-to-type  backstage 
musical  done  up  in  style. " — Creelman,  N.  Y, 
World-Telegram. 

"Merely  conventional  in  plot,  brisk  in  pace, 
heavily  freighted  with  song  and  light  in 
comedy  .  .  .  Tunes  may  not  generate  much 
whistling,  but  the  girls  will  .  .  .  Just  a  mite 
more  cheerful  than  usual." — A.  W.,  N.  Y. 
Times. 

"Pretty  routine  .  .  .  Makes  reasonable  holi- 
day entertainment." — Pihodna,  N.  Y.  Herald- 
Tribune. 

"Series  of  vaudeville  acts  and  skits  strung 
together  with  some  frayed  pieces  of  plot 
string  .  .  .  Offers  a  little  of  everything  and 
everything  rather  little." — Winsten,  N.  Y. 
Post. 

"Easy  .0  look  at  and  listen  to  .  .  .  Back- 
stage yarn  .  .  .  dotted  with  a  dozen  or  so 
tuneful  song  and  dance  routines." — Pelswick, 
N.  Y.  Journal-American. 

'A  CHRISTMAS  CAROL' 

UNITED  ARTISTS 

"Where  the  last  'Carol',  produced  by 
Metro,  was  a  ruddy  and  generally  cheerful 
affair,  this  one  is  spooky  and  somber,  for 
the  most  part,  except  toward  the  end  .  .  . 
Should  prove  a  most  popular  entertainment 
...  A  trenchant  and  inspiring  Christmas 
show." — Crowther,  N.  Y.  Times. 

"Timeliness  is  the  chief  virtue  .  .  .  Not  a 
notable  rendition  of  the  story;  there  is  more 
of  gloom  than  of  fantasy  in  its  mood  .  .  . 
Only  a  pedestrian  bit  of  decoration  for  New 
York's  Christmas  tree." — Guernsey,  N.  Y. 
Herald-Tribune. 

"A  British  version  that  is  more  perfect, 
and  enjoyable,  than  you  would  think  possible 
...  It  is  not  too  much  to  assert  that  this  is 
a  blessed  production,  seasonally,  technically, 
and  artistically." — Winsten,  N.  Y.  Post. 

"Superb  new  English  version  .  .  .  Could 
find  a  place  among  movie  classics  .  .  .  Can 
stand  being  seen  often  ...  A  glowing  and 
welcome  retelling." — Cook,  N.  Y.  World- 
Telegram. 

"Rich  in  atmosphere  and  fascinating  as  to 
sets  and  costumes  .  .  .  Plenty  of  shuddery 
action." — Pelswick,  N.  Y.  Journal-American. 

THE  MAN  WITH  A  CLOAK' 

MGM 

"Turns  out  to  be  a  literary  masquerade 
rather  than  genuine  thriller  mystery  ...  A 
short,  short  story  blown  up  to  feature  length 
with  hot  air  and  padding,  a  procedure  that 
doesn't  help  cast  or  technicians  provide  lusty 
entertainment." — Winsten,  N.  Y.  Post. 

"Gaslit  melodrama  .  .  .  More  elaborate 
than  exciting  .  .  .  Some  atmosphere  and  sus- 
pense in  all  of  this,  but  not  enough  .  .  . 
Fancy  masquerade  with  very  little  spirit  or 


conviction  behind  the  facade."  —  Guernsey, 
N.  Y.  Herald-Tribune. 

"Merely  leisurely  fare  no  more  intriguing 
than  the  routine  melodrama  despite  a  stellar 
cast  and  some  stately  dialogue."  —  A.  W., 
N.  Y.  Times. 

"As  melodramatic  as  its  title  .  .  .  Quaint 
period  piece  without  excitement." — JCreel- 
man,  N.  Y.  World-Telegram. 

JUNGLE  HEADHUNTERS' 

RKO 

"It's  a  travel  picture  of  the  Amazon  head- 
hunters,  which  means  that  explorer  Lewis 
Cotlow  is  in  there  photographing  the  alli- 
gators, anacondas,  piranhas,  and  feathered, 
painted  natives  for  all  he's  worth."  — 
Winsten,  N.  Y.  Post. 

"High-class  Amazon  travelogue  .  .  . 
certainly  interesting." — O.A.G.,  N.Y.  Times, 

"Rambling  but  interesting  account  .  .  . 
Bulk  of  the  film  amounts  to  little  more  than 
a  gaudy  travelogue,  but  the  Jivaro  sequences 
at  the  end  make  the  trip  worth  while." — 
Barstow,  N.  Y.  Herald-Tribune. 

CROSSWINDS' 

PARAMOUNT 

"Shouldn't  happen  to  a  dog  .  .  .  Techni- 
color does  wonders  to  the  scenery  and  that's 
about  all  .  .  .  Pitiful  material."— H.  H.  T., 
N.  Y.  Times. 

"Will  fit  neatly  at  the  bottom  of  a  double- 
feature  bill  in  the  neighborhood  theatres 
.  .  .  Story  has  seen  better  days." — Pihodna, 
N.  Y.  Herald-Tribune. 

"Aside  from  the  simple  visual  pleasures 
.  .  .  has  nothing  to  recommend  it." — Winsten, 
N.  Y.  Post. 

"We  old  John  Payne  fans  know  every 
detail  about  what  will  happen  in  his  pic- 
tures."— Cook,  N.  Y.  World-Telegram. 

"Lively  Technicolor  melodrama  .  .  .  spun 
out  with  pot-boiler  patness  .  .  .  May  not  be 
art,  but  it's  diverting  escapist  fare." — Pels- 
wick, N.  Y.  Journal-American. 

'THE  TANKS  ARE  COMING' 

WARNER  BROS. 

"We  are  coming  into  those  pre-Christinas 
weeks  when  movie  audiences  show  small  in- 
terest in  any  kind  of  picture  .  .  .  Seasonally 
spotted  to  minimize  even  that  small  in- 
terest."— Cook,  N.  Y.  World-Telegram. 

"Would  deserve  a  good  rating  if  the  sound 
track  were  lost  entirely.  But  with  sound, 
which  lets  you  in  on  some  of  the  gushiesl 
front-line  emotional  displays  since  Gaul  was 
divided  into  three  parts,  it's  downright  em- 
barrassing."—A.  W.,  N.  Y.  Post. 

"Chances  are  that  reasonable  and  better 
facsimiles  have  certainly  been  reeled  off  .  .  . 
Contains  too  many  familiar  types." — A.  W., 
N.  Y.  Times. 

"Brings  nothing  and  adds  nothing  to  the 
dramatic  fact  of  war  .  .  .  Tinny  and  inadequ- 
ate tribute  to  a  gallant  branch  of  the  ser- 
vice."— N.  Y.  Herald-Tribune. 


22 


FILM  BULLETIN 


CHICAGO  CALLING'  MINOR 

Rates  •  •  as  supporting  dualler 

United  Artists  (Arrowhead) 
76  minutes 

Dan  Duryea,  Mary  Anderson,  Gordon  Ge- 
•bert,  Judy  Brubaker,  Ross  Elliot. 
Directed  by  John  Reinhardt. 

Dreary  in  atmosphere  and  played  in  low 
key  dramatically,  "Chicago  Calling"  is  worth 
the  exhibitor's  attention  only  as  a  lower- 
half  dualler.  It  is  best  suited  for  action 
houses.  This  Arrowhead  Production  for 
United  Artists  release  utilizes  a  dramatic 
fragment  for  a  story  and  lacks  the  stamina 
to  hold  out  for  the  76-minute-running  time. 
The  production  is  frankly  quickie,  most  of 
the  settings  are  exteriors,  shot  in  over- 
worked sections  of  Los  Angeles.  Plainly  the 
intent  in  "Chicago  Calling"  was  to  aim  for 
heart  appeal  and  human  interest,  but  it 
misses  by  a  wide  margin.  John  Reinhardt's 
direction  frequently  overloads  the  melodra- 


MELODRAMA 

matics  so  as  to  infuse  some  punch  into  the 
piece,  and  this  should  serve  to  satisfy  undis- 
criminating  action  fans. 

STORY:  Dan  Duryea,  a  photographer 
who  nits  the  bottle  too  often,  is  left  by  his 
wife  Mary  Anderson  who  sets  out  for  Chi- 
cago in  a  car  accompanied  by  their  small 
daughter.  Next  day  Ihiryea  receives  a  tele- 
gram stating  the  child  has  been  injured  in 
an  automobile  accident;  that  the  wife  will 
call  next  day  with  news  of  the  outcome. 
Frantic  when  the  phone  company  discon- 
nects his  line  because  of  non-payment  of  a 
$50  bill,  Duryea  seeks  all  sorts  of  means  to 
get  the  phone  reconnected,  finally  succeeds, 
only  to  hear  that  his  daughter  has  died.  He 
comes  upon  Gordon  Gebert,  a  persuasive 
young  lad,  who  ingratiates  himself  with  the 
despondent  Duryea  and  gives  promise  of 
filling  the  void  left  by  his  daughter's  death. 
JAMES 


STREET  BANDITS'  FORMULA 

Rates  •  +  as  bottom  dualler  in  action 

Republic 
54  minutes 

Penny  Edwards,  Robert  Clarke,  Ross  Ford, 
Roy  Barcroft,  John  Eldredge. 
Directed  by  R.  G.  Springsteen 

"Street  Bandits"  is  strictly  formula  action 
fare,  just  another  product  off  the  low  budget 
assembly  line.  There  is  enough  shooting  and 
falling  bodies  to  fill  the  lower  half  of  a 
double  bill  in  the  action  spots,  but  else- 
where it  means  little.  The  William  Lackey 
production  is  set  artificially,  but  R.  G. 
Springsteen's  direction  helps  in  making 
some  fairly  credible  material  out  of  unbe- 
lievable situations.  Photography  and  music 
are  in  keeping  with  the  rest  of  the  film. 

Robert  Clark,  as  a  misguided  young  at- 
torney, seldom  seems  strong  enough  to 
carry  lead  material,  but  is  aided  consider- 


COPS-ROBBERS  PROGRAMMER 

houses 

ably  by  Penny  Edwards,  excellent  in  the 
noble  ingenue  type. 

STORY:  Two  young  attorneys,  Robert 
Clark  and  Ross  Ford,  open  a  law  office  next 
door  to  John  Eldredge,  head  of  a  gambling 
syndicate.  When  the  syndicate's  attorney 
walks  out,  Eldredge  hires  Clarke  to  repre- 
sent the  gamblers.  Through  a  series  of 
nefarious  activities,  he  wins  cases  for  them, 
but  alienates  his  partner,  who  quits  in  dis- 
gust and  joins  the  district  attorney's  office. 
Meanwhile,  Clarke  marries  his  secretary, 
Penny  Edwards,  who  implores  him  to  give 
up  his  association  with  the  crooksters.  The 
big  money  entices  him,  however,  until  a 
series  of  murders  convinces  him  that  he's 
in  the  wrong  company.  At  this  point  he 
turns  noble,  which  gets  him  shot  for  his 
efforts  but  endears  him  to  his  wife,  his 
mother  and  his  former  partner.  WEBBER 


THE  LADY  SAYS  NO'  MEDIOCRE  ROMANTIC  COMEDY 

Rates  •  •  —  as  dualler 


United  Artists  (Ross-Stillman) 
80  minutes 

Joan  Caulfield,  David  Niven,  James  Robert- 
son   Justice,    Lenore  Lonergan. 
Directed  by  Frank  Ross. 

Undistinguished  in  all  departments,  "The 
Lady  Says  No"  is  an  artless  romantic 
comedy  in  which  a  passable  story  idea  is 
weakened  in  value  by  a  singularly  inept 
screenplay.  Actually,  the  show  plays  as 
though  it  were  written  on  the  set.  The  dia- 
logue is,  for  the  most  part,  banal  rather  than 
funny  and  the  situations  in  which  normally 
adept  players  find  themselves  have  a  ring 
about  them  that  spells  phoniness.  Aside 
from  the  presence  in  top  spots  of  Joan  Caul- 
field  and  David  Niven  the  UA  release -pos- 
sesses all  the  signs  of  a  quickie  production 
job.  Having  had  a  hand  in  the  so-called 
writing  as  well  as  the  production  (with  John 
Stillman,  Jr.)  and  the  direction,  Frank  Ross 

DECEMBER    17,  1951 


must  shoulder  much  of  the  blame  for  the 
sorry  project.  The  title  may  lead  itself  to 
exploitation,  which,  along  with  Miss  Caul- 
field's  physical  charms,  may  help  initial 
grosses  generally,  however,  it  is  no  more 
than  dualler  material. 

Joan  Caulfield  generously  displays  her 
shapely  torso  in  a  vain  attempt  to  infuse 
her  part  with  some  vitality.  David  Niven  is 
totally  at  sea  as  the  Life  photographer,  un- 
realistic casting  to  say  the  least. 

STORY:  Joan  Caulfield  is  cast  as  a  young 
lady  of  letters  who  writes  a  book  condem- 
ning man.  David  Niven,  a  Life  photo- 
grapher, undertakes  to  meet  the  lady  and 
surprised  by  her  comeliness  but  chagrined 
by  her  perjistence  in  living  up  to  the  notions 
expressed  in  her  tome,  Niven  decides  to 
vanquish  the  girl.  Inevitably  he  does  after 
a  lot  of  ♦omfoolery  which  includes  a  night 
club  brawl,  a  police  chase  and  complications 
involving  a  sub-romance  between  an  un- 
happy soldier  and  his  wife.  ANGEL 


23 


6XHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


PARAMOUNT  POLICY 

N.  J.  Allied 

(  (wing  to  the  absence  of  a  Paramount 
representative  at  our  National  Convention, 
it  was  deemed  advisable  that  a  representative 
of  Allied  visit  Paramount  for  the  purpose  of 
clarification  and  a  fuller  understanding  of 
the  Paramount  policy  in  regards  to  sales. 

Mr.  Schwalberg  was  away  and  the  follow- 
ing are  ihe  conclusions  drawn  from  con- 
versations and  discussion  with  Mr.  O'Shea: 
li  is  the  intention  of  Paramount  to 
price  iheir  pictures  in  relation  to  gross 
and  not  in  relation  to  overhead.  They 
intend  using  certain  key  pictures  for 
the  basis  of  arriving  at  split  figures  so 
they  may  obtain  increased  revenue  on 
higher  grosses.  Paramount  does  not 
have  the  same  formula  for  every  thea- 
tre. Theatres  are  to  be  sold  on  an  in- 
dividual basis  with  the  usual  material 
facts  concerning  the  theatre  to  be  taken 
into  consideration.  Regardless  of  the 
original  terms,  if  a  picture  does  not 
warrant,  on  performance,  the  terms  of 
the  signed  (leal,  the  door  of  the  Para- 
mount branch  or  home  office  is  not 
closed.  They  will  reduce  a  picture,  if 
necessary,  to  a  price  that  is  equitable 
for  exhibitor  and  distributor  alike.  They 
have  established  no  minimum  as  the  ad- 
justed deal  might  demand.  However, 
there  is  a  conscionable  bottom,  as  botli 
exhibitor  and  distributor  would  agree, 
(in  any  picture.  Deals  are  subject  to 
home  office  approval. 

The  above  conclusions  have  been  ap- 
proved by  Mr.  O'Shea  and,  in  dealing  with 
the  Paramount  representative,  may  be  used 
by  the  exhibitor  as  representing  the  thinking 
of  the  home  office. 

A  number  of  territories  have  complained 
that  higher  and  new  minimums  have  been 
demanded  by  Paramount.  Paramount,  in  its 
attempt  to  correct  deals  with  many  large 
circuits,  has  encompassed  all  theatres.  This 
arbitrary  readjustment  of  figures  have 
proven  to  be  very  damaging  to  smaller  thea- 
tres in  general  and  medium-sized  grossing 
situations  as  well. 

1 1  is  important  to  note  that  each  theatre 
is  to  be  treated  on  an  individual  basis.  How- 
ever, these  are  not  frozen  deals  so  you  may, 
if  the  picture  doesn't  gross  adequately,  go 
back  to  'he  Paramount  representative  for 
an  adjustment  of  the  price.  A  most  im- 
portant thing  was  ihe  home  office  approval 
clement.  Make  sure  you  have  approved 
deals,  so  as  not  find  yourself  without  a 
picture  someday.  Experiences  in  certain 
sections  have  caused  the  foregoing  warning. 

SERVICE  ON  AD  AIDS 

TOA 

Recently  (  xliibitors  have  been  complaining 
that  advertising  aids  have  nbl  been  received 
sufficiently  in  advance  of  a  picture's  play- 
dale  to  advertise  the  feature. 

This  situation  was  discussed  with  two  Na- 


tional Screen  Service  officers;  namely  George 
Dembow,  VP  in  charge  of  Sales,  and 
William  Premier,  VP  in  charge  of  Opera- 
tions. Both  suggested  the  following  alterna- 
tives in  combating  this  practice! 

1.  At  the  time  of  contracting  for  a  picture, 
the  exhibitor  should  obtain  assurances  from 
the  salesman  that  advertising  aids  will  be 
ready  in  time  for  the  exhibitor  to  fully  ex- 
ploit the  film. 

2.  Check  with  the  regional  National 
Screen  office,  with  which  you  deal,  to  see 
whether  the  advertising  aids  are  obtainable. 
The  main  office  of  National  Screen  Service 
send  a  Weekly  Shipping  Schedule  to  each  of 
its  regional  units.  This  schedule  indicates 
the  dates  of  shipment  of  the  various  types 
of  advertising  aids  from  the  home  office  in 
New  York  to  the  regional  offices.  It  covers 
all  features  to  be  released  in  the  not  too 
distant  future.  In  other  words,  an  exhibitor 
can  determine  the  status  of  any  type  of  ad- 
vertising aid  of  any  picture  from  the  local 
unit. 

If  information  is  requested  on  a  picture 
which  is  not  listed  on  the  schedule  the 
regional  office  will  wire  the  home  office  for 
an  explanation.  Mr.  Dembow  also  asked 
that  any  grievances  against  National  Screen 
Service  be  brought  to  the  attention  of  their 
home  office  here  in  New  York  rather  than 
the  regional  office.  This  is  to  make  certain 
that  grievances  will  be  heard. 

If  grievances  will  be  turned  over  to  me  at 
TOA  headquarters,  1501  Broadway,  NYC, 
along  with  evidence,  if  obtainable,  I  will  see 
to  it  that  action  is  taken  immediately. 

Howard  L.  Bryant,  Jr. 
Service  Co-ordinator 

THOSE  'VICTORY'  CARBONS! 

Iowa-Nebraska  Allied 

Do  you  want  to  avoid  those  impossible-to- 
use  "Victory  Carbons"  that  spit  and  sputter, 
peel,  break  off,  and  do  about  everything  but 
deliver  a  good  light?  Brother,  I  do!  I'd  hate 
like  hell  to  lay  out  the  money  for  new  lamp- 
houses  that  will  at  best  merely  promise  to 
burn  Victory  carbons. 

Well,  there  is  a  way  we  can  keep  good, 
regular  coated  carbons  coming  to  us.  Cop- 
per is  scarce;  so  is  all  metal  scrap,  iron, 
steel,  etc.  The  NPA,  motion  picture  co- 
ordinator Nathan  Golden,  carbon  manu- 
factures and  equipment  manufacturers  have 
met  and  agreed  that  if  theatres  will  collect 
and  turn  in  all  copper  drippings  from  car- 
bons, all  carbon  stubs,  and  all  old  metal 
equipment  or  scrap  they  may  have  in  and 
around  their  theatres  and  homes,  in  return 
we  will  be  furnished  Regular  Copper  Coated 
carbons  and  such  new  theatre  equipment  as 
we  may  need. 

So,  here's  the  deal — collect  and  turn  in 
your  copper  carbon  drippings  and  carbon 
stubs,  and  any  other  scrap  copper,  iron,  steel 
or  metal — to  your  local  National  Theatre 
Supply  branch  immediately  and  at  regular 
intervals. 


COOPERATE  &  CONTRIBUTE 

ITO  of  Ohio 

Isn't  it  encouraging  and  comforting  to 
know  that  if  you,  or  someone  in  your  family, 
or  in  your  organization,  were  to  become 
stricken  with  tuberculosis  there  is  immedi- 
ately available  the  facilities  and  know-how 
to  combat  it — and  this  without  reservation, 
restriction  or  cost? 

That  is  exactly  what  is  offered  through 
the  industry-owned  and  suported  Will 
Rogers  Memorial  Hospital  at  Saranac  Lake, 
N.  Y. 

Even  if  you  don't  need  TB  treatment, 
wouldn't  you  experience  a  wonderful  feeling 
of  pride  i-i  doing  something  worthwhile  for 
those  in  the  amusement  industry — your  in- 
dustry— who  do? 

Yes,  indeed  you  weuld!  For  you  could  do 
no  greater  service  for  your  friends  in  show- 
business  than  to  contribute  to  the  hospital's 
upkeep  and  advancement — now — during  the 
"Christmas  Salute"  campaign. 

Cooperate  and  Contribute! 


TEN-POINT  PROGRAM 

TOA 

TOA  Executive  Director  Gael  Sullivan's 
10-point  program  for  improving  the  box 
office  take. 

The  following  are  not  miracle  drugs  or 
jet-propelled  hypos,  but  they  have  worked 
for  many  exhibitors,  and  they  can  work  for 
you: 

1.  Lead  off  with  a  thorough-going 
winter  inspection  of  your  theatre  or 
theatres. 

2.  Follow  through  with  a  visit  to  film 
row  and  see  for  yourself  some  of  the 
latest  screenings.  You  can't  sell 
properly  what  you  havent'  seen. 

3.  Spend  a  few  dull  evenings  in  the 
lobby  to  chat  with  your  patrons. 

4.  Think  of  one  new  way  in  which  you 
can  render  a  public  service  in  your 
neighborhood. 

5.  Keep  in  close  touch  with  your  elected 
representatives  at  the  local  and  na- 
tional levels. 

6.  Join  an  exhibitor  organization  and 
support  it  actively. 

7.  Demonstrate  your  faith  in  our  busi- 
ness by  being  prepared  to  resist  the 
synics  within  the  and  the  detractors 
without. 

8.  Study  and  understand  the  philosophy 
of  doing  business  under  our  system 
of  production,  distribution,  and  ex- 
hibition. 

9.  Interest  yourself  daily  in  the  trade 
press  and  industry  bulletins. 

10.  Top  it  off  by  selecting  and  serving  on 
one  of  the  most  important  com- 
mittees of  your  exhibitor  organiza- 
tion. 


24 


FILM  BULLETIN 


PRODUCTIOn 
&  R€L€RS€ 


R€CORD 


COLUMBIA 


1950-51 


Features 

Serials 

Westerns 


Completed  (51) 
Completed  (  3) 
Completed  (16) 


In  Production  (  I  1 
In  Production  (0) 
In  Production   (  I  ) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel. 

Sabre  and  the  Arrow.  The  IT]  Crawford-Hale 

[Rough.  Tough  West  Starrett-Burnett   

COMPLETED 

Barefoot  Mailmen,  The  ISC)   183)  _  R.  Cummings-T.  Moore  _  11-51 

Big  Gusher,    the   I  be  I  Morns-Foster    7-51 

Boots  Malone  Holden-Clements    _  _ 

Brave  Bulls.  The  1187)   Ferrer-Quinn  5-5 1  _ 

Brave  Warrior   Jon  Hall  _  

Brigand.  The   (T)  Deiter-Lawrence  

Captain  Blood,  Fugitive  Louis  Hayward  

[Clouded  Yellow,  The  194)   Simmons-Howard   — — — 

'■■  Corky  of  Gasoline  Alley   S-  Beckett-J.  Lydon  9-51. 

China  Corsair  178)  Hall-Farradav  4-51- 

Congo  Bill  McGgire-Moore   -— 

Chain  of  Circumstance  148)  .  ___M.  Feld-R.  Grayson  8-51 

Criminal  Lawyer  173)    OBrien-Wyatt   10-51. 

Cripple  Creek  Montgovery-Booth  

Dark  Page  Crawford-Derek  

Death  Of  A  Salesman   March-Dunnock  

European  Edition   _Glen  Ford  

Family  Secret,  The  (85)   Derek-Cobb 


Firefighters,  The 
First  Time,  The 
Cive  193)     _  _ 
Four  Poster.  The 
Golden  Hawk 


....  Girl.  The  

Harlem  Globetrotters.  The   

Hawk  of  Wild   River.  The  

Her  Wonderful  Lie  

Hurricane  Island  IC)   

Hills  of  Utah  169) 

Jungle  Jim  in  the  Forbidden  Land 

Jungle   Manhunt   164)    _  -  

Jungle  Safari 


Williams-Reynolds  

Cummings-Hale   

S.  Douglas-W.  Phipps  10-51 

.Harrison-Palmer  

Fleming-Havden  

Davis-Castle 
_  Gomez-Da  ndridge 

Starrett-Burnett   

Kienur^-Enaerth 

Hall-Windsor  

Autrv-Buttram 


I  1-51 


356  9-24 


Lady  and  the  Bandit,  The  178) 
Laramie  Moutains 
Lorna  Doone  IT) 


Magic  Carpet  190)        ...    ...  . 

Magic  Face,  The  (89)   

Man  In  the  Saddle  IT)  (87)  

Marryinq  Kind,  The  _  _ 

Mask  of  the  Avenger   (T)  183) 

Bob.  The  187)  

_My  Six  Convicts  _     

Never  Trust  A  Gambler  179)  _. 

Niaht  Staqe  to  Galveston  

Old  West,  The  


10-51 

Weissmuller-Greene  

"Hayward-Medina  9-51 

Starr°M-Burnett   - 

Hale-Greene  4-51 

Ball-Agar 

Adler-Knight  9-51 

_Scott-Leslie  12-51 

_Holliday-Harrison  

ZDerek-Quinn   

B.  Crawford-Buehler 

Beel-Mitchell   

\  Clark-O'Donnell 

Autrv-Buttram    _  _ 

Autry-Davis 


Paula  

Pickup  180) 

Purple  Heart  Diary   

Riders  of  the  Whistling  Pines  . 

Saturday's  Hero  HID   

Silver   Canyon  (70)  

Sirocco  198)  

Smoky  Canyon 

Sniper    The    ...  . 

Son  of  Dr.  Jekyll  178) 

Sound  Off      ...   ..    ...   ..  .. 

Sunny  Side  of  the  Street  171) 
Ten  Tall  Men   IT)    197)  _ 


  8-51 

F.  Lanaford-T.  Romano  .  12-51 

Autry-White  

Derek-Reed   9-51. 

Autry-Davis   

Bogart-Loran   7-51 

Starrett-Burnette    _   _   _  - 

Menjou-Franz   

Hayward-Knox  11-51 
Mickey   Rooney  . 
Lane-Daniels   


8-27 
7-16 
6-18 


Lancaster- Lawrence 
Geo.  Montgomery 

Henreid-Sutton  . 


Texas  Rangers  IC) 

Thief  oi  Damascus.  The 
Valley  of  Fire  IC)    162)  Autry Burnett 

War  Cry  (C)  .  _  _  .  Montgomery-Long 
Whistle  at  Eaton  Falls,  The  (90)   Bridges-Gish  _ 


9-51 
12-51 
4-51 


1950-51 


LIPPERT 


Completed   (30)       In  Production  (0) 


RELEASE  CHART 

—  1950-51  — 


Henreid-Scott 


Tracy-Sawyer 
.  Britton-Parker 

.Romero-Totter 
-P.  Henreid 
Porter-Neal 


IN  PRODUCTION 

Stolen  Face,  The  _  

COMPLETED 

As  You  Were  

Bandit  Queen   

FBI  Girl   

For  Men  Only   

G.  I.  Jane  142)   

IGreat  Adventure,  The  (75)   Price-Hawkins 

Highly  Dangerous  181)    _  Clark-Lockwood  

Kentucky  Jubilee  Colenna-Porter   

Ua.ve  It  To  The  Marines  146)  S.  Melton-M.  Lynn 

Little  Big  Horn  :  Ireland-Bridges   

Lost  Continent   Romero-Brooke   

Man  Bait  Brent-Chapman  

lOutlaw  Women  Windsor-Rober   

Pier  23  Beaumont-Savage   

I  Savage  Drums   170)    ...    _   .  Sabu-Baron 

Sky  High  (40)    S.  Melton-M.  Lynn  _ 


10-5  . 
.13-15- 
10-24 

1-52 
7-6 
_  11-2 
.10—12 
_S-I8_ 
_  9-2  .. 
_4-l8_ 

8-27. 

1-52 


5023   

-5610  . 

.5002    10-19 


10-19 
I  1-23 
12-21 


5012 
5021  . 
5029  . 
5807  . 
5005  . 
5003  . 
5004 


5018. 

5051 
5024 
5030 
5008 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Date. 

No."  is  the  release  Number.  "Rev."  is  the  issue  in  which  the 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  new  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technicolor, 
(C)  Cmcolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor. 


Unknown  World  163) 
Varieties  On  Parade 
Yes  Sir.  Mr.  Bones  154) 

 Kellogg-Nash 

 Rose-Carroll 

-  F.  Miller   

 10-24  5101  

7-20      5020  .  . 

7-13      5019  9-24 

|  METRO- 

COLD W YN 

-MAYER  ] 

1950-51  Features 

Completed  (75) 

In  Production  (4) 

RELEASE  CHART 

—  1950-51  — 

Cast 
Allyson-Kennedy 


IN  PRODUCTION 

TITLE — Running  Time 
Girl  In  White.  The 
Glory  Alley 
Merry  Widow,  The  IT) 
Scaramouche 
COMPLETED 

Across  the  Wide  Missouri  IT)   1781  Gable-Hodiak 


S.  Granger-E  Parker 


American  in  Paris  (T)  ( 113) 
Angels  in  the  Outfield  I  102) 
Because  Your  Mine 

Belle  of  New  York  (T)  

Bannenine  188} 
Callaway  Went  Thataway  181) 
Calling  Bulldog  Drummond  180) 
County  Line 

Excuse  My  Dust  (T)  (82)   

Go  For  Broke  192) 

Great  Caruso  The  IT)  ( 109) 

Home  Town  Story  1611  

Hour  of  Thirteen.  The 

Invitation  The   

It's  A  Big  Country  189) 
lvanh->»  |T) 
Just  This  Once 
Kind  Lady  178) 
Law  and  the  Ladv.  The  1104) 
Light  Fantastic.  The  (81) 
Light  Touch.  The  1931 
Lone  Star  194) 


Lovely  To  Look  At  IT) 
Man  With  A  Cloak  188) 
Night  Into  Morning  1861 

Mr.  Imperium  (T)  (87)   

No  Ouestions  Asked  181) 
Pandora  and  the  Flying  Dutchman 

ITI    (123)   Mason- Gardner 

People  Against  O'Hara  ( 102)      ...  Tracy-O'Brien 


Kelly-Caron 
Douglas-Leigh 
Lanza-Whitmore 
Astaire-Vera-Ellen 
Forrest. Braselle 
.  MacMurray-McGuire 
Pidgoon-Leiahton 
Pidgeon-Hodiak 

Skelton-Forrest   

Johnson. Anderson 

Lanza-Blyth   

Crisp-Reynolds  ___ 

Lawford-Addams 

McGuire-Johnson 

All  Star  

R.  Taylor-E.  Taylor 
Leigh-Lawford 

Barrymore-Evans   

Garson-Wilding 
Taylor-Parks 
Grainger-Angeli 
Gable-Gardner 
Grayson-Skelton 
Cotten-Stanwyck 
Milland-Hodiak 
Turner-Pinza 
.  Sullivan-Dahl 


Oct 
Nov 
Sep 


10-22 
9-24 
8-27 


Oct  206  9-24 
Dec  12-3 
Dec 


-June  _  133  6-4 

May  .129  4-9 

Apr  127  .  4-23 
May        128  5-7 


rr-5 


Oct 
June 

Sep 
June 


207 
138 
203 
132 


Ouo  Vadis   IT)  (171) 

I  Was  a  Stranger  

Red  Badqe  of  Couraae  169) 
Rich.  Young  and  Pretty  (T)  (95) 
Sellout  The 
Show  Boat  ITI  ri08l 

Singin"  In  The  Rain  (T)  

Skirts  Ahoy 

Talk  About  a  Stranger 


Texas  Carnival  (T)  177) 
Too  Young  To  Kiss  191) 
Unknown  Man.  The  184) 
Westward  the  Women  1116) 

When  In  Rome  

Wild  North  Country.  The  (A)  _  .  Grang~er-Corey 
Young  Man  in  a  Hurry  Roman-Nyp 


Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
?idgeon-Tntter 
Gardner-Keel 
Kelly-O'Connor 
Williams-Blaine 
Murphy-Davis 
Pinza-Leoih 
Rooney-Forrest 
Powell-Raymond 
Angeli-Erickson  . 
Williams-Skelton 
Ailyson-Johnson 
Pidoeon-Harding 
Taylor-Darcel 
Johnson-Douglas 


10-22 
8-27 
I  1-19 


Sep 
Aug 


  Aug  __  140  

  Aug  139  _  8-13 

 Jury   .    137.  3-12 

Oct  205  9-24 
Nov  |  |_S 

July  10-22 
12-3 


MONOGRAM  -  ALLIED  ARTISTS 


1950-51  Features 
Westerns 


Completed  (39) 
Completed  (15) 


In  Production  (0) 
In  Production  (0) 


COMPLETED 

TITLE — Running  Time 
According  to  Mrs.  Hoyle  (60! 
Aladdin   and    His   Lamp  IC) 

Blazing  Bullets  

Lawless  Cowboys   

Casa   Manana  173 


RELEASE  CHART 

—  1950-51  — 


Cast  Rel.  No. 

Byington-Chandler  _____  5-20  5122 
1-52 
5-6 


Cavalry  Scout  (C)  (78) 

Counterfeit  

Crazy  Over  Horses 
Desert  Pursuit 

Elephant  Stampede  

Father  Takes  The  Air 
Flight  to  Mars  IC)  (72) 
Fort   Osage  IC) 

Hold  That  Line  .  Gorcey-Hall 

Joe   Palooka  in  Triple  Cross  Kirkwood-Downs 

Longhorn.  The   Elliott-Coares 

Man  from  Black  Hills  Brown-Ellison  _ 

Mexican  Silver  Wilson-Clyde 

Nevada  Badman  Wilson-Knight  

Night  Raiders  Wilson-Knight  _ 

Northwest  Territory   Grant-Chinook  _ 


Medina-Sand 
Brown-Hall 
Wilson-Knight 
Forbes-Herlihy 
Cameron-Long 
DeFoe-King 
Gorcey-Hall 
Morris-Caruso 

Sheffield   

Walburn-Gray 
Chapman-Mitchell 
Cameron-Nigh 


DECEMBER  1 


195  1 


25 


Oklahoma  Justice  

Rodeo  (C)     

Stage  From  Amarillo 
Stage  to  Blue  River 
Stagecoach  Driver 

Steel  Fist,  The    

Teras  Lawmen  _  .    - 

Trail  Dust   

Vengeance  Trail  _  — 

Vicious  Years.  The  179)   

Wagons  West  (C)    

Wanted:  Dead  or  Alive  159) 

Whistling  Hills   

Witness.  The    

Yellow  Fin   

Yukon  Manhunt 


Brown-Ellison    ... 

Jane  Nigh 

tlliott   

Wilson-Knight 

Wilson-Knight   

.  McDowall-Miller 

Brown-Ellison 

Albright-Winters 
.Elliott-Stewart  ... 

Cook-Moore   

.Cameron   

Wilson-Clyde 

Brown-Ellison 

Kirkwood-Gleason 

Morris-O'Flynn 

Grant-Davis 


12-30 
7-15 

1-  52 
12-2 

12-31 

2-  1 8 


Babe  Ruth  Story.  The 
Disc  Jockev  -  - 

Highwayman.  The  IC)  1831 
Let  s   Go  Navy  (68) 
I  Was  An  American  Spy  (85) 
It  Haooened  On  Fifth  Avenue 


ALLIED  ARTISTS 

.     .  Bendix-Trevor 
Simms-O'Shea 
Hendrix-Coburn 
H.  Hall-G.  Gorcey 
Dvorak-Evans 
CeFore-Storm   


7-29 
4-15 
May 


21 
20 
5113 


6-18 
8-27 
8-27 
5-21 


PARAMOUNT 


1951-52  Features       Completed  (57)       In  Production  II) 
RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 
Famous  IT)  ._    

COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT) 

Anything  Can  Happen    

Appointment  With  Danger  (89)  ... 
Big  Carnival,  The  1112) 

Rev.  under  title:  Ace  in  the  Hi 

Big  Timber  IT)   -  - 

Carrie  .       

Crosswinds  IT)  (93)  

Darling,  How  Could  You   (95)   - 

Dear  Brat  (82)    -  - 

Detective  Story  (103) 

Flaming  Feather  IT)   

Greatest  Show  On  Earth  (T)    

Green    Gold  of.  Nevada  (T)  

Here  Comes  the  Groom  (114)  

Hong  Kong   IT)  (92) 

Last  Outpost,  The  (T)  (89)  

Los  Alamos 

My  Favorite  Spy  193)  

My  Son  John   

Passage  West  IT)  180)   

Peking  Express  (85)    

Place  in  The  Sun,  A  (122)   

Rage  of  the  Vulture,  The  

Red  Mountain  (T)   

Rhubarb    (95)  _ 
Sailor  Beware 

Samson  and  Delilah  IT)  (121)   

Shane  IT)   

Silver  City  IT)    (90)  _  _  

Somebody  Loves  Me 

Something  To  Live  For  

Son  of  Paleface  IT)    

Stooge.  The     

Submarine  Command  (89)   

That's   My  Boy  (98)  

The  Denver  &  Rio  Grande  IT)  .  . 
This  U  Dynamite 

Trio  191)  ...   

Warbonnet  (T)   

Warpath  (95)  (T) 

When  Worlds  Collide  (82)  (Tl 


Cast 
..Crosby-Wyman 


Shore-Youna  

Ferrer-Hunter    

Ladd-Calvert         .  . 
Doualas-Sterlina    

5019  "1 

5-51  ... 
 7-51 

5023 

4-23 

.  7-2 

e 

Payne-Moorhead      ...       _ 

Olivier-Jones       

Payne-Fleming   

  10-51 

...5104.. 

Fontaine-Lund 

 1 1—51 .... 

5108  _ 

 8-13 

Freeman-Arnold 

4-51 

5021  _ 

Douglas-Parker 

11-51 

5111 

~  10-8 

S.  Hayden-G.  Russell 

Stewart-Hutton    

Payne-Morrow 

Crosby-Wyman   

ZZ  '"9-51.1 

.5101 

Reagan-Fleming 

1-52 

5109 

„..:ii-j9 

Reaaan-Flemina  ....  

 5-51 

5020  _ 

Barrv-Carke     

Hope-Lamarr 

1 2—5 1 .... 

5110 

10-22 

Hayes-Heflin     

Payne-O'Keefe    

Cotten-Calvet   

.....  8-51. 

5022" 
_5024 

ZZ£4 

 7-2 

Clift-Winters  

 9-51  

.5102 

...  7-30 

Ladd-Kerr   

------- 

Ladd-Kennedy 
Milland-Sterl  no 

Zl~i'-52.! 

9-51 

5103 

a-is 

Martin-Lewis    

Lamarr-Mature    

 3-51 

-5010 

_II-2I 

Ladd-Arthur     

DeCarlo-O'Brien 

IJ-SI 

511? 

10-8 

Hutton-Meeker  __  

Fontaine-Milland    

.....  10-SI 

Hope-Russell     

Martin-Lewis    

Holden-Olson 

Martin-Lewis  

O'Brien-Hayden  . 

.  10-51 
  8-51 

5107 
...  5026 

.  9-24 
 7-2 

Holden-Smith 
Simmons-Rennie   _.  ... 
Heston-Hanson 

6-51 

5030 

1  1-6 

O'Brien-Jagger  . 
Derr-Rush 

8-51  " 
11-51 

5025  ' 
5106 

 4-18 

 9-24 

REPUBLIC 


1951-52  Features       Completed  (15) 
Serials  Completed   (  0) 
 Westerns      Completed   (  8) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production  (0) 


IN  PRODUCTION 

TITLE — Running  Time 
Bal  Tabarin 

COMPLETED 

Adventures  of  Captain  Fabian 

Arizona  Manhunt   160)  ._  

Border  Saddlemates 
Bullfiqhter  and  the  Lady  (87) 

Captive  of  Billy  the  Kid   .... 

Colorado  Sundown 
Dakota  Kid.  The  (60) 
Desert  of  Lost  Men 
Don  Daredevil   Rides  Aqain  _ 
Fabulous  Senorita.  The  . 
Fiqhtino  Coast  Guard   (86)  _ 

Flight  from  Fury  

Fort  Dodge  Stampede  (60)  _ 
Fugitive  Lady  (78)   


RELEASE  CHART 

—  1950-51-52  — 

Cast 
Lawrence-Ching 

E.  Flynn-M.  Prelle 

Chapin-Janssen   

Allen-Kay 
Stack-Page 
Lane-Edwards 
Rex  Allen 
Chapin-Janssen 
Lane 

Curtis-Towne 
Estelita-Clarke 

Donlevy-Tucker  

Edwards-Clark 
Lane-Kay 
Paiqe-Barnes 
Estrelita-Clarke 
Canova-Foy 
Donlevy-Trevor 
Mason-Havoc 
Allen-Kay 
Lane-Riley 


12-22 

Z~  7  -1 
I  1-19 


S067 
5063 
5084 

5010 

5062 


10-51  5121 


7-30 
12-3 


Lost  Planet  Airmen   IReedited  from 

"King  of  the  Rocket  Men"  ._.        Coffin-Clarke  _ 

Oklahoma  Annie  IC)   Canova-Russell 

Pals  of  the  Golden  West        ...  Rogers-Evans 

Ouiet  Man,  The  IT)     Wayne-O'Hara 

Robinson-Vs.  Turpin    (53)   Fight  Pictures  ... 

Rodeo  Kind  &  The  Senorita   (67)  Allen-Kay  

Saddlemates  Allen-Kay   

Sea  Hornet,  The   (84)      Cameron-Booth 

Secrets  of  Monte  Carlo   ...   Douglas-Hall 

South  of  Caliente  67)  Rogers-Evans 

Stormbound     _  Dowling-Checchi 

Street  Bandits       Edwards-Clarke 

This  Is  Korea  (50)     .  Documentary 

Utah  Wagon  Trail  (67)  Allen-Edwards 

Wild  Blue  Yonder  ..  Corey-Ralston 

Woman  In  The  Dark     Edwards-Elliott 

Wyoming   Saddle   Pals      Chapin-Janssen 


7-25  5031 
12-15  5152 


5030 
5151 
5032 
5130 
5127 
5054 
5103 


RKO  RADIO 


1950-51   Features       Completed   (62)       In  Production  (2) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Clash  By  Night  

Korean    Story,    The   _   


Cast 

.Douglas-Stanwyck 
Mitch  um-Tallman  . 


COMPLETED 

Alice  In  Wonderland  (T)   (75)  .. 

Androctes  and  The  Lion  

Behave  Yourself   181)   .... 

Best  of  the  Badmen  IT)  (84) 

Big  Sky.  The    

Blue  Veil,  The   (114)   __  

Crack  Down    

Double   Dynamite  (80)    

Flying  Leathernecks  (T)  (102) 

Girl  in  Every  Port,  A   

Gun  Notches  

Gun  Play  1601  

Happy  Go  Lovely  (87)  _ 

Half-Breed.  The  

Hard.  Fast  and  Beautiful  (78) 
His  Kind  of  Woman  I  120) 
Hot  Lead  (60) 
I  Want  You  MOD 

Jet  Pilot  IT)  1118)    

Jungle  of  Chang  167) 

Jungle   Headhunted    (T)  165) 

Kon-riki  173)    

Las  Vegas  Story,  The  

Lilli  Marlene  (721  ...  

Macao      _  __   

On  Dangerous  Ground  (82)   

On  The  Loose  174)  

One  False  Move  

Overland  Telegraph  (60)    

Pistol  Harvest  140)  

Racket,  The  (89)   

Road  Agent       

Roadblock  (73)   

Hustler's  Range 


Saddle  Legion  160)  

Slaughter  Train  (C)  178)  

Sons  of  the  Musketeers  IT)   

Target     

Tarian's  Savage  Fury  

Texas  Triqqerman    

Two  Tickets  to  Broadway  (T)  (106) 
Whip  Hand,  The   (82)   _  _  


Disney  Cartoon   

Simmons-Young   

Winters-Granger 

Ryan-Trevor   _ 

Douglas-Martin  

Wyman-Carlson 
Williams- Armstrong 

Sinatra-Russell    

Wayne-Ryan 

Marx-Wilson   

Holt-Martin    

Holt-Martin 

D.    Niven-Vera  Ellen 

Young-Carter    

Trevor-Forrest  

Russell-Mitchum   

Holt-Martin 
Andrews-McGuire 

Wayne-Leigh  

Travel 

..Travel  ...  _  _  _  . 
Travel 

Russell-Mature    

McDermott-Daniely 

Russell-Mitchum   

Ryan-Lupino  

Evans-Earl   

Lupino-Ryan    

Holt-Martin  

^Holt-Martin 

Mitchum-Scott   

Holt-Martin  

McGraw-Dixon  

-Holt-Martin   

Holt-Martin  _.   

Donlevy-Grey 

Wilda-O'Hara   

McGraw-White   

Barker-Hart   

Holt-Martin  .   

..Leigh-Martin 
Reid-Tuttle  -. 


10-51 
8-5 1 
12-51 


7-  51 
12-51 

.  6-51 

8-  51 
12-51 
I  1-51 

12-51 
I  1-51 

4-  51 

5-  51 
I  1-51 
7-51 
I  1-51 


7-51 
11-51 


9-24 
8-13 


20th  CENTURY-FOX 


1951  Features 


Completed   (47)       In  Production  (7) 


RELEASE  CHART 

—  1950-51  — 


IN  PRODUCTION 

TITLE — Running  Time 

Cry  of  the  Swamp  (T)  - 

Deadline  U.  S.  A. 

Diplomatic  Courier   

Full  House,  The 

Girl  Next  Door,  The  (T)   

Outcasts  of  Poker  Flat,  The 
Way  of  a  Gaucho  (T)  

COMPLETED 

Anne  of  the  Indes  (T)  (82)  

As  Young  As  You  Feel  (77)  

Bells  On  Their  Toes       

David  and  8ethsheba  IT)  (123)   

Day  The  Earth  Stood  Still,  The  (92) 

Decision  Before  Dawn  (119)    

Desert  Fox,  The  (91)  _   

Down  Among  the  Sheltering  PalmslTI 

Elopement  (82)  

5  Fingers      

Fixed  Bayonets!  1921 

Follow  the  Sun  (901  

Frogmen  (94)    

Girl  on  the  Bridge,  The  (77)    

Golden  Girl  (T)   1108)  _  

Guy  Who  Came  Back.  The  (91)  

Half  Angel  (T)  (80)   

I  Don't  Care  Girl,  The  IT)   

I'll  Never  Forget  You  IT)  190) 
Japanese  War  Bride  191) 
Journey  Into  Light  (87) 


Cast  Rel. 
Peters-Hunter 
Bogart-Barrymore 
Power-Neal 

Crain-Granger  

Haver-Dailey 
Baxter-Robertson 
..Tierny-Calhoun 


Jordan-Paget 
Woolley-Ritter  _ 

Crain-Loy  

Peck-Hayward 
Rennie-Neal  ....... 

Merrill-Basehart 

.Mason-Young   

Lundigan-Greer 

Webb-Francis 

Mason-Rennie 


9-51  129 
1-52 
10-51  130 


12-51 


Basehart-O'Shea  12-51  140 

Ford-Baxter   5-51  ......  112  4-9 

Widmark-Andrews    7-51   122. 

Haas-Michaels  12-51  139 

Day-Gaynor  11-51  136  11-19 

Douglas-Darnell  7-51  III  

Young-Cotten     ...   6-51  114  — 

Gaynor-Wayne 

Power-Blyth  12-51  142 

Yamaguchi-P.  Taylor  1-52 

Hayden-Lindfors        ....      10-51  132  9-10 

FILM  BULLETIN 


Kangaroo  (T) 


O'Hara-Lawford 


Model  and  The  Marriage  Broker  1 1 03 )  J .  Crain-T.  Ritter 

Let's  Make  It  Legal  177)   Colbert-Carey 

Love  Nest  184)   Haver-Lundigan 

Lydia  Bailey  (T)  Robertion-Francis 

Meet  Me  After  The  Show  IT)  (Be)  forable-Carey 


Millionaire  for  Christy  191) 
Mr.  Belvedere  Rings  The  Bell  188) 
No  Highway  In  The  Sky  (97) 
On  the  Riviera   ITI  1901 

People  Will  Talk   (I  10)   

Phone  Call  From  A  Stranger 
Pride  of  St.  Louis 

Red  Skies  of  Montana  (T)   

Return  of  the  Teian  _ 
Secret  of  Convict  Lake  183) 


MacMurray-Parker 

Webb-Dru 

Stewart-Dietrich  ... 

Kaye-Tierney 

Grant-Crain 

Merrill-Winters 

Dailey-Dru 

.Widmark-Smith   

Robertson-Boone 
Ford-Tierney 


1-52 

1 1-51 
10-SI 

133 
131 

1 1-5 
10-22 

_S-6I  

125  ' 

8-13 

9-SI 

127 

8-13 

8-5 1  . 

124 

8-13 

10-51 

121 

S-SI  . 

115 

4-23 

9-51  . 

12* 

9-10 

Take  Care  of  My  Little  Girl  (T)  193)  Crain-Peters 

Viva  Zapata     _    M.  Brando-J.  Peters 

Wait  Till  The  Sun  Shines  Nellie  IT)  _  Peters-Wayne 


With  A  Song  In  My  Heart  IT) 


.Hayward-Calhoun 


UNITED  ARTISTS 


1950-51   Features        Completed   (52)       In  Production  (4) 


RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel. 

Limelight  Chaplin-Bloom 

Miracle  From  Mars  Graves 

Planter  s  Wife  Claudette  Colbert 

Tightrope.  The  Forsythe-Hall   _  

COMPLETED 

A  Christmas  Carol  184)  Sim  11-30 

Actors  and  Sin   194)  _     .  Robinson-Hunt 
African  Queen  IT)  -   ...       Bogart-Hepburn  . 

Another  Man  s  Poison  (89)  Davis-Merrill    .  ........... 

8ig  Night,  The  175)  J  Barrymore-P.  Foster  12-7 

Chicago  Calling  1741  Duryea-Anderson   

Circle  of  Oanger  (84)     Milland-Roc       _____  3-22 

Cloudburst    183)  Preston-Sellars     _  8-3 

Fabiola    194)        ...     Michele  Morgan       ...  4-1 

First  Legion   184)  _         Boyer-Bettger    .  5-11 

Fort  Definance  (81)  .   D.  Clark-B.  Johnson  11-9 

Four  In  A  Jeep  1*7)   Lmdfors-Meeker  _  ...  ....  8-24 

Gold  Raiders  154)      O'Brien-Ryan  9-14 

Green  Glove.  The  Ford-Brooks 

He  Ran  All  the  Way  (771    Garfield-Winters  .  7-13 

High   Noon  Cooper-Kelly 
Hoodlum.  The   (43)  _   _  Tierney-Roberts  .  7-27 

Hotel  Sahara  187)  DeCarlo-Ustinov  10-15 

Lady  Says  No.  The  180)  ..  Caulfield-Niven  .11-14 

Long  Dark  Hall.  The   (841    Harrison-Palmer  _     .  4-10 

Man  From  Planet  X  (70)   Clark-Field      _   4-27 

Man  With  My  Face  175)    Nelson-Matthews   _    _    _  4-8 

Mister  Drake's  Duck   181)   .._ Fairbanks-Donlan   _  9-21 

Mr.  Peek-A-Boo  (74)    Greenwood-Bourvil  10-21 

Naughty  Arlette  184)   _         Tettering-Williams  .  .   ...  3-9 

New   Mexico   (A)    (74)    Ayres-Marshall  8  24 

Obsessed    (77)     Harrar-Fitigerald    .  9-7 

Odette  (105)    Neagle-Howard  5  15 

Oliver  Twist  (105)   _    Newton-Guinness  _  ...  4-17 

One  Big  Affair  180)  O'Keefe-Keyes 

Pardon  My  French  181)     Oberon-Henreid      .     ...  8-10 

Prowler,  The  192)    Heflin-Keyes    5-25 

Queen  For  A  Day  (107)    Avery-McGavin  7-7 

Scarf,  The  184)  .   .    Ireland-McCambridge  4-4  ._ 

River,  The  IT)  199)   American-Indian   9-14 

Saturday  Island   IT)    Linda  Darnell  

Skipalong  Rosenbloom  (72)     Baer-Coogan     .4—3... 

So  Long  at  the  Fair  185)     Simmons-Bogarde     ...  3-29 

St.  Benny,  the  Dip  (80)   Roch-Haymes         .   _  8-24 

Tale  of  Five  Women.  A  _  _    Bonar  Colleano 

Thev  Were  Not  Divided     Underdown-Clanton     2-1 

Three  Steps  North  185)  _   _  Bridges-Padavoni  4-15.. 

Tom  Brown's  Schooldays  (93)    Davies-Newton  .11-2 

Try  and  Get  Me  (90)  _        Lovejoy-Ryan        ._   5-4 

Formerly:  Sound  of  Fury 

Two  Gals  and  a  Guy  170)           __  .    Paige-Alda    8-31 

Underworld  Story   X>uryea-Storm     7-21 

Volcano  (110)   Magnani-Brazzi   5— 1_ 

Well.  The  (85)     Rober-Kelly  9-14 

When  I  Gi^w  Up  (90)     Preston-Scott  .  4-20 


Golden  H.^rde.  The  (T) 

Has  Anybody  Seen  My  Gal  IT) 

Hear  No  Evil 

Here   Come  The  Nelsons 

Hollywood   Story  (74)  

Iron  Man  112)   

Lady  from  Teias  IT)  178) 

Udy  Pays  Off.  The  

Lavender  Hill  Mob.  The   

Little  Egypt  IT)  1821 
Ma  and  Pa  Kettle  at  the  Fair 
Ma  and  Pa  Kettle  Go  To  Paris 
Mark  of  the  Renegade  IT|  (81) 

Meet  Danny  Wilton  

Pool  of  London 

Prince  Who  Was  A  Thief.    ITI  1851 

Rating  Tide.  The  1921   

Reunion  In  Reno  179) 
Son  of  Ali  Baba  (T) 
Steel  Town  IT) 
Strange  Door.  The  180) 
Thunder  On  the  Hill  (85) 
Treasure  of  Lost  Canyon.  The  ITI 
Weekend  With  Father  183) 
World  In  His  Arms.  The  IT) 
You  Never  Can  Tell  . 


Blvthe-Ferrer   

Oct. 

134 

Colburn-Leurie 

Curtis-Sterling 

Ozzie  and  Harriet 

Conte-Adams 

June 

124 

5  21 

Keyes-Chendler 

Hull-Duff 

Aug 

Oct. 

130 
134 

7  U 
10-8 

Darnell-McNally 

Gulnness-Holloway 

Fleming-Stevens 

Maln-KMbride      .  . 

Nov 

202 

Oct 
Sept 

280 
131 

8-27 

Main-Kilbride 
Montalban-Cherisse 

Sinetre-Wmteri  

Colleano-Shew 

Curtis-Laurie  

Winteri-Conte 

Aug 

Aug 
July 
Nov 

128 

183 
124 
203 

8-13 



4  18 

10-22 

Stevens-Dow 
Curtis-Laurie 
Sheridan-Lund 
1  *uinton  Karloff 

Oct 
Dec 

135 
204 

10-  8 

11-  5 

Colbert-llyth 

W    Powell-J.  Adams 

Neal-Heflin 

Sept 
Dec 

133 

204 

8  13 

12-3 

Peck-Blvth 
Powell-Dow 

Sept 

132 

9-10 

WARNER  BROTHERS 


No         Rev       1950-51   Features        Completed   (34)       In  Production  (5) 


Sach 
Ain 


5-7 
9-10 


C-E.. 
Pop 


UNIVERSAL-INTERNATIONAL 


1950-51   Features       Completed   (55)       In  Production  (4) 
RELEASE  CHART 

—  1950-51  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev. 

Claim  Jumpers   IT)  Murphy-Domergue 

Red  Ball  Express  Chandler-Cabot 

Scarlet  Angel  IT)  _     DeCarlo-Hudson  •  

Untamed.  The  (T)  _  Cotten-Winters   

COMPLETED 

Apache  Drums  (T)   (75)     Grey-McNally   June    .123    .  5-21 

Battle  at  Apache  Pass  (T)     Chandler-Lund   

Bend  of  the  River  (Tl      _  Stewart-Kennedy  _ 

Bright  Victory    (97)     _  .    Dow-Kennedy    7-30 

Bronco  Buster  IT)    Luad-Brady   

Cattle   Drive    (T)    (771  McCrea-Stockwell   Aug    _  128  7-30 

Cave  of  Outlaws.  The  IT)    (74)    Smith-Carey'    Nov  11-5 

Cimarron  Kid.  The  IT)     A.  Murphy-Y.  Dugay  .....     

Comin'  Round  the  Mountain  (77)  Abbott  &  Costello-Shay  _  July — _.  127  7-2 

[Finders  Keepers      ...     _  Ewell-Adams  Jan   211 

IFIame  of  Araby  IT)   177)  _  Chandler-O'Hara  Jan        207  12-3 

[Francis  Goes  to  the  Big  Town   Donald  O'Connor   _   

■  Francis  Goes  to  the  Races  188)   O'Connor-Laurie     July  ......  125  4-4 

[DECEMBER    17,  1951 


IN  PRODUCTION 

TITLE — Running  Time 

Crimson  Pirate,  The  IT)   ... 

Mara  Maru 

She's  Working  Her  Way 
Throuqh  College  IT) 
This  Woman  Is  Dangerous 
You  Can't  Stop  the  Marines 


RELEASE  CHART 

—  1950-51  — 

Cast 

B.  Lancaster   

Flynn-Roman 


Mayo-Reagan 

Crawford-Morgan 

Loveioy-Carlson 


COMPLETED 

About  Face  IT) 
Along  the  Great  Divide  188) 
Big  Trees,  The  IT)  ______ 

Bugles  in  the  Afternoon  (T) 
Captain  Blood  (Reissue)  198) 
Carson  City 

Close  To  My  Heart  190) 
Come  Fill  the  Cup  I  1 131 

Captain  Horatio  Hornblower  (T)    I  I  7  Peck-May 
Distant  Drums  IT)    1101)  Cooper-Alden 

Force  of  Arms  1 1001   Holden-O'son 

Fort  Worth  (T)   180)   __    ...  Scott-Brian 

I'll  See  You  In  My  Dreams  (I  101  Day-Thomas 
Inside  Walls  of  Folsom  Prison  (87)  Brian-Cochran 


MacRae-Bracken 
Douglas-Mayo 
Cooper-Alden 
R.  Milland-H.  Carter 
Flynn-DeHaviland 
Scott-Massey 
Milland-Tierney 

Caqney-P.  Thaxter 


10-20 

8-  1  I 
12-29 

9-  15 


104 
030 
I  I  I 
102  . 
028 


10-22 
9-24 
7-2 


Jack  and  The  Beanstalk 
Lion  and  the  Horse.  The  .  - 
Jim  Thorpe.  Ail-American  1105) 
North  of  the  Rio  Grande 
Only  The  Valiant  (105) 

Painting  Clouds  with  S'hine  (T)  187)  Mayo-Morgan 
Room  For  One  More  Grant-Drake 


Abbott-Costello 
Cochran-Teal 
Lancaster-Bickford 
McCrea-Mayo 
MacRae-Day 


San  Francisco  Story 
Starlift  1103) 

Strangers  On  A  Train  (101)  _ 
Streetcar  Named  Desire,  A  (122) 
Tank  Are  Coming.  The  1901 

Tomorrow  Is  Another  Day  (90)    Roman-Cochran 

Where's  Charlie?  IT)  ___    Bolger-Mc Lerie 


McCrea-DeCarlo 
Caaney-Mayo 
Walker-Roman 
Brando-Leigh 
S.  Cochran-P.  Carey 


Your  Service  —  Our  Responsibility 

NEW  JERSEY  MESSENGER  SERVICE 

Member  Nat'l  Film  Carriers 

250  N.  Juniper  St.,  Phila.  7,  Pa.  —  LOcust  7-4823 


THEATRE  MANAGERS  and  OWNERS 

We  thank  all  theatre  owners  and  managers,  who 
cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

We  can  serve  all  theatres  better  if  they  give  us 
a  copy  of  their  program  Tuesday  each  week. 

IMPORTANT 

Dcn't  put  your  return  film  in  the  lobby  until  all  your 
patrons  have  left  after  the  last  show. 

HIGHWAY  EXPRESS  LINES,  INC. 

236  N.  23rd  St.,  Phila.  3  —  '239  Vine  St.,  Phila.  7 
LOcust  4-0100 
Member  National  Film  Carriers 


27 


JWhy  did  h 


E  HAVE  TO 


MARRY  SOMEONE 


.      for  new  dramatic  themes 
Producer  Joseph  soCial 

her  first  American  HJ» 


There's  Ho  Business  Like 


$3  per  Year 


25c  per  Copy 


BULLETIN 


DECEMBER  31,  1951 


WILL  IT  BE 
A  HAPPY 
NEW  YEAR? 


Editorial  by  MO  WAX 

Page  5 


1* 


CDWIN  AAROM 


.  G.  BALLANCE 


9 


ALLICHTMAM 


9 


9 


T.  R.GILLIAM 


9 

GORDON  F.HALLORAN 


VILLIAMC  GEHRING 


1 


JOHN  E  HOLSTON  . 


JACK  M  ERKKSON 


KENNETH  0. LLOYD 


-v 

J.H.  LORENTZ 


r  ff 


CHARLES  F.  POWFJSJ 


eastern 


TO  ALL  OUR  EXHIBITOR  FRIENDS  FROM 
20th  CENTURY-FOX. ..THE  COMPANY 
THAT  WISHES  YOU  THE  BEST 
OF  EVERYTHING  FOR  1952 


draper  for  1952 


Grant  that  the  light  of  wis- 
dom shine  upon  the  states- 
men of  the  world  that  they 
may  guide  Mankind  upon 
the  road  to  Peace.  Grant  us 
an  era  of  tranquility  in  which  freedom  can  flourish  and  in  which 
men  will  build,  rather  than  destroy. 

Give  us  the  reason  to  understand  what  is  right  and  the  courage 
to  heed  the  dictates  of  our  conscience. 

Grant  that  the  people  of  the  earth  may  come  to  know  that  Love 
is  God's  blessing  upon  those  who  love,  hate  his  curse  upon  those 
who  hate. 

Breathe  into  our  hearts  the  spirit  of  Good  Will,  that  we  may 
always  and  forever  do  unto  others  as  we  would  have  them  do 
unto  us. 

Preserve,  in  Thy  infinite  wisdom,  the  bounties  with  which  Thou 
hast  endowed  our  wonderful  land,  and,  above  all  else,  perpetuate 
the  greatest  of  these  bounties,  our  Freedom. 

Grant  unto  the  people  of  the  motion  picture  industry  an  ever 
deeper  sense  of  responsibility  in  their  roles  as  creators  and  exhi- 
bitors of  this  wonderous  medium  of  entertainment  and  enlighten- 
ment. Reveal  to  the  makers  of  motion  pictures  the  ways  by  which 
they  may  pursue  their  art  with  good  taste  and  integrity.  To  those 
whose  theatres  provide  enchantment  upon  silver  screens,  show 
the  way  to  conduct  their  business  with  dignity. 

Grant  that  the  motion  picture  flourish  this  new  year,  while  earn- 
ing applause  for  the  happiness  and  surcease  from  cares  that  it 
brings  to  the  people  of  the  world. 

Amen. 


iJo   Our  ^Jliouiands   of  ^riendi  and  $eadi 


lerd 


&  Jlappp,  ^Prosperous;  Jleto  J9ear 


BULLETIN 

EDITOfilflL 


Vol.  19.  No. 


December  31,  1951 


Page  Five 


ft 


EXPERIENCE 

"The  finished  man  of  the  -world  must 
eat  of  every  apple  once." 

— R.  W.  EMEKSOrs 


REVIEWS  in  This  Issue 


Death  of  A  Salesman 

Flaming  Feather   

Shadow  In  The  Sky   

I'll  Never  Forget  You 

The  Sellout   

Cimarron  Kid   


FILM  BULLETIN  —  An  Inde- 
pendent Motion  Picture  Trade 
Paper  published  every  other 
Monday  by  Film  Bulletin  Com- 
pany. Mo  Wax,  Editor  and  Pub- 
lisher. BUSINESS  OFFICE;  35 
West  53rd  St.,  New  York,  19; 
Circle  6-9159.  David  A.  Bader, 
Business  Manager;  Leonard 
Coulter,  Editorial  Representative. 
PUBLICATION  —  EDITORIAL 
OFFICES:  1239  Vine  St.,  Phila- 
delphia 7,  Pa.,  RIttenhouse  6- 
7424;  Barney  Stein,  Managing 
Editor:  Jaok  Taylor,  Publication 
Manager:  Robert  Heath,  Circu- 
lation Manager.  HOLLYWOOD 
OFFICE:  659  Haverford  Ave., 
Pacific  Palisades,  Calif.,  Hillside 
8183;  Jay  Allen,  Hollywood 
Editor.  Subscription  Rate:  ONE. 
YEAR,  83.00  in  the  United 
States;  Canda,  S4.00;  Europe, 
85.00.  TWO  YEARS,  85.00  in 
the  United  States;  Canada, 
87.50;  Europe,  89.00 


A  HAPPY  NtiW  YL'AH? 


\>  the  new  year  dawns,  the  clouds  that  limit:  m>  draw  over  our  induftr]  during 

1951  arc  not  yet  dispelled.  Imi  tlu  rc  is  reason  to  have  faith  thai  as  '52  plunges  on  the 
skies  will  brighten  and  the  year  will  end  better  than  it  begins. 

Lest  this  appear  a  ease  of  building  llimsy  castles  in  the  air.  please  consider  that 
(hi>  optimism  is  hased  on  something  more  substantial  than  da\ -dreams.  Calamity- 
howlers  to  the  contrary  notwithstanding,  there  is  solid  foundation  beneath  the  hope 
that  1952  may  be  the  beginning  of  a  new  era  of  prosperity  for  the  entire  industry. 

First  ami  foremost  among  the  factors  for  optimism  is  the  fact  that  we  have  learned 
that  Mr.  and  Mrs.  John  W.  Public  and  (heir  kids  still  pour  out  in  droves  to  see  the 
pictures  they  want  to  see.  Good  pictures  are  doing  big  business,  which  puts  the  issue 
up  rather  squarely  I  but  not  entirely)  to  the  makers  of  movies. 

Not  entirely,  we  point  out.  because  there  is  also  concrete  e\  idenee  that  the  bright, 
well-kept,  smartly  exploited  theatres,  even  in  blighted  areas,  are  drawing  the  lion's 
share  of  today's  patronage.  If  it  is  said  that  the  days  of  a  certain  movie  house  are 
numbered,  you  will  find  that  prophecy  of  doom  applies  usually  to  the  house  that  is 
dismal,  unkempt,  uninviting,  unexploited.  Alert  theatremen  are  accepting  this  as  a 
warning  that  the  demands  of  a  tough  buyers'  market  can  be  met  successfully  only  by 
keeping  their  showplaces  attractive  and  by  progressive  merchandising  policies.  Having 
learned  this  the  hard  way.  the  exhibition  branch  of  the  industry  will  grow  stronger. 

But  back  to  the  bright  side  of  the  production  story.  We  have  witnessed  in  recent 
months  the  surprising  boxoflice  success  of  films  which  once  would  have  been  regarded 
as  praiseworthy,  but  profitless,  "prestige"*  pictures.  Story  subjects,  formerly  regarded 
as  taboo,  have  suddenly  gained  wide  public  acceptance,  opening  broad  new  vistas  for 
the  Hollywood  studios.  Suddenly,  with  a  bang,  the  movies  have  come  of  age.  and 
this  has  great  dollar  interest  because  it  brings  with  it  the  opportunity  to  regain  and  to 
develop  that  vast  "lost"  adult  audience  which  will  have  no  truck  with  the  trivialities  of 
television. 

Now  that  that  horrid  word  has  been  uttered.  let  us  pay  tribute  to  those  little 
living-room  screens  for  their  contributions  toward  brightening  the  future  prospects  of 
our  industry.  Credit  TV.  if  you  please,  with  hastening  this  new  maturity  of  motion 
pictures,  and  with  bringing  forcibly  to  Hollywood's  attention  the  need  for  bigger  and 
better  films.  Thank  TV.  too.  for  its  role  in  making  movie  fans  of  millions  of  youngsters 
who  are  pouring  out  to  the  Saturday  matinee  shows  in  greater  numbers  than  ever — the 
adult  ticket-buyers  of  the  future. 

1950  was  not  a  happy  year  and  '51  will  bring  us  no  millennium.  But  we  believe 
that  this  will  be  a  happier  new  year  for  all  of  us  who  love  and  labor  in  the  magical 
movie  business.  It  will  be  a  year  of  indecision,  yet  a  year  of  decision.  It  will  be  a 
vear  of  vaccillation  crystallizing  into  stabilization:  a  year  of  apprehension  turning  into 
hope:  of  misgiving  brightening  into  promise.  \  our  effort  and  your  confidence  will 
help  make  it  a  happy  year. 

MO  WAX 


Short  Subjects 


BY  BARN 


IT  WAS  NICE  to  note  the  name  Rosen- 
berg  once  more  on  the  executive  list  of 
Allied  of  Western  Penna.  Bud  Rosenberg, 
son  of  the  late  M.  A.  Rosenberg,  past 
National  Allied  president,  was  elected  to 
the  board  of  directors,  along  with  Spiros 
Marousis,  of  the  Regent  Theatre,  New 
Castle,  Penna.  The  organization  also  re- 
elected Morris  Finkel  chairman  of  the  board. 

DARAMOUNT'S  AL  W.  SCHWALBERG, 
recently  returned  from  his  honeymoon, 
was  singularly  honored  by  his  general  sales 
manager-colleagues  at  a  dinner  meeting  at 
New  York's   famous   "21,"   where   he  was 


PARAMOUNT'S  SCHWALBERG 

Honored  By  Colleagues 


voted  to  succeed  Ben  Kalmenson  as  chair- 
man of  the  General  Sales  Managers'  Com- 
mittee. In  the  circle  of  sales  executives  at- 
tending were  William  Rodgers,  Charles 
Reagan,  A1  Lichtman,  Abe  Montague, 
William  Heineman,  Robert  Mochrie  and 
Charles  Feldman.  Other  prominent  indus- 
tryites  who  gathered  to  break  bread  and 
wish  Schwalberg  well  were  RKO's  Ned 
Depinet,  publisher  Martin  Quigley,  Sr.,  20th- 
Fox's  William  Gchring,  Universal's  John  J. 
O'Connor  and  United  Artists'  Bernard 
K  ranze. 

j^X  INTERESTING  SWITCH— one  which 
will  give  rise  to  some  caustic  comment 
in  industry  circles — comes  with  the  forma 
'ion  of  a  new  organization  offering  to  thea- 
treowners  a  plan  for  checking  on  the  ef- 
ficiency of  theatre  employee.  The  new  com- 
pany, Hargroves  National  Service  System,  is 
the  latest  project  of  Harold  L.  Groves,' 
former  executive  v.  p.  of  Confidential  Re- 
ports, Inc.  The  Hargrove  plan  will  also 
report  on  theatre  conditions  from  the 
patron's  viewpoint,  and  provides  for  an  edu- 
cational program  for  theatre  personnel 
Which  includes  among  other  things,  it  was 
pointed  out,  methods  of  fletccting  employe 
dishonesty. 


"THERE'S  GOLD  in  those  second  runs," 
concludes  Jerry  Wald,  who,  with  Nor- 
man Kransa,  shares  the  honors  for  "The  Blue 
Veil,"  for  which  a  $240  promotional  cam- 
paign by  the  Fox  Beverly  Theatre  was 
largely  responsible  for  a  boxoffice  gross  of 
$2500  over  that  theatre's  normal  business. 
The  producer  chided  exhibitors  in  general 
for  their  failure  to  apply  exploitation  tech- 
niques to  subsequent-run  engagements, 
pointing  to  the  Los  Angeles  theatre's  suc- 
cess as  ample  proof  of  the  value  of  tub- 
thumping  on  the  second  run  level  "The 
results  .  .  .  have  conclusively  proved  to  us," 
said  Wald,  "that  the  studios,  the  distributors, 
the  big  theatre  chains  and  the  independent 
exhibitor  must  awaken  to  the  potentials  of 
neighborhood  houses,  when  their  offerings 
are  backed  with  proper  exploitation." 
(Ed.  Note.  A  theatreman's  viewpoint  on  this 
subject  appears  in  an  excerpt  from  an  Indiana 
Allied  bulletin  in  the  EXHIBITORS  FORUM 
this  issue.) 

DERHAPS  THE  MOVIETIME  drive  has 
shaken  exhibitors  loose  from  the  lethargy 
and  lack  of  initiative  which  has  driven  them 
to  the  wailing  wall,  or  maybe  the  empty 
seats  in  their  theatres  aroused  them  to 
recognize  the  need  to  return  to  showman- 
ship. At  any  rate,  the  go-get-'em  attitude 
of  a  Tennessee  exhibitor- — Walter  Morris,  of 
Knoxville  —  has  resulted  in  a  potentially 
strong  boxoffice  stimulus.  Morris  adopted 
the  use  of  16mm  film  reporting  of  local 
events  in  his  theatres  and  reports  an  excel- 
lent patron  reaction,  although  the  increase 
at  the  boxoffice  so  far  has  not  been  as  much 
as  was  anticipated.  Recently,  Morris  sup- 
plemented his  regular  screenfare  with  the 
self-produced  highlight  of  all  the  University 
of  Tennessee  football  games,  the  Knoxville 
Christmas  parade  (in  color)  and  other 
events.  *l 
UNITED  ARTISTS'  FIELD  TYRO,  Max 
Miller,  scored  another  direct  hit  with  a 
3-column  feature  on  "The  African  Queen," 
plunk  in  the  center  of  the  entertainment 
section  of  the  Washington  (D.  C.)  Daily 
News.  By-lined  by  James  O'Neill,  Jr.,  the 
article  is  a  three-pronged  essay  on  the  pic- 
ture, tub-thumping  in  general  and  Miller's 
press-agentry  which,  incidentally,  has  prob- 
ably loused  up  more  traffic — and  sold  more 
pictures — than  any  other  individual's. 

MEWSREELS  ARE  HERE  to  stay,  or  so 
says  the  attractive  16-page  brochure  dis- 
tributed to  exhibitors  by  Paramount.  Pre- 
pared by  Oscar  A.  Morgan,  general  sales 
manager  of  short  subjects  and  Paramount 
news,  the  pamphlet  takes  exception  to  the 
belief  that  television  has  kayoed  the  news- 
reel,  claiming  that  83%  of  the  moviegoing 
public  prefers  a  balanced  film  program  con- 
sisting of  feature,  shorts  and  newsreel. 

WITH  THE  INSTITUTION  of  a  nevi 
system  of  story  operation  at  20th  Cen- 
tury-Fox, comes  the  appointment  of  David 
Brown  to  the  important  post  of  managing 
editor  of  Fox's  story  department  in  Cali- 


fornia. Until  recently  Cosmopolitan  Maga- 
zine's managing  editor,  Brown  will  handle 
all  phases  of  material  investigation,  search 
and  procurement  under  story  editor  Julian 
Johnson,  starting  his  new  job  at  the  studio 
on  January  7. 

A  QUARTER  OF  A  MILLION  dollars 
worth  of  hoopla  and  ballyhoo  will  pre- 
cede the  key  city,  coast-to-coast  premiere 
of  United  Artists'  "Another  Man's  Poison." 
With  top  exploiteer  Max  E.  Youngstein  at 
the  reins,  the  company's  boxofficers  can  be 
counted  on  to  unleash  a  whirlwind  cam- 
paign from  now  until  the  January  16  kick- 


off  date,  in  order  to  expend  that  tidy  sum, 
most  of  which  will  be  spread  around  on  the 
local  level  to  derive  the  greatest  benefit  in 
each  individual  situation. 


AF  MEN  AND  THINGS:  Barney  Balaban 
presented  the  original  Emancipation  Proc- 
lamation, recently  purchased  from  a  private 
dealer,  to  the  New  York  Avenue  Presby- 
terian Church  in  Washington,  D.  C.  .  .  . 
Benegoss  Productions,  whose  "The  Green 
Glove"  is  being  released  by  United  Artists, 
has  a  new  eastern  publicity  and  advertising 
director  in  the  person  of  Herb  Drake  .  .  . 
Variety  Club  Tent  #26  of  Illinois  elected 
a  new  crew  headed  by  veteran  Chicago 
showman  Joe  Berenson  as  chief  barker  .  .  . 
Henry  Randel,  veteran  of  32  years  with 
Paramount,  was  elected  to  the  office  of 
president  of  the  Film  Board  of  Trade  of 
New  York  for  the  third  time  .  .  .  Changes 
at  RKO  saw  Arthur  Hershovitz  appointed 
to  assist  Ned  Clarke,  Latin-American  and 
Far  East  home  office  division  manager. 
Charles  G.  Belmont  replaces  Hershovitz  as 
head  of  the  16mm  operations  .  .  .  Edward 
Heiber,  Souvaine  Selective  Pictures  western 
district  manager  since  the  formation  of  the 
company,  has  been  promoted  to  the  post  of 
Division  Sales  Manager  witli  headquarters 
in  Chicago. 


6 


FILM  BULLETIN 


Supplementing  the  Recent  Announcement  of  the 
Sales  Plan  for  M-G-M's  Famed  Screen  Triumph 


XHE  public  has  spoken.  "QUO  VADIS"  has  had  its  first  contact  with  the  pay- 
ing customers  and  a  new  Giant  takes  its  place  in  box-office  history.  In  the  following 
report,  M-G-M  seeks  to  acquaint  the  trade  with  its  experience  thus  far,  in  the 
belief  that  it  will  be  of  benefit  to  all  who  will  play  "QUO  VADIS"  in  the  future. 

The  quickest  way  to  understand  "QUO  VADIS"  business  is  to  compare  it 
with  "GONE  WITH  THE  WIND."  In  the  World  Premiere  engagement  of 
"Q.  V."  at  the  Astor  and  Capitol  Theatres  in  New  York,  it  is  doing  107.3%  of 
"GWTW"  which  played  the  same  theatres.  After  almost  five  weeks,  the  total  gross 
receipts,  excluding  federal  admission  taxes,  of  the  two  theatres  playing  "Q.V."  is 
$455,841  as  against  $424,734,  for  "GWTW"  for  the  same  length  of  time  in  the  same 
two  theatres.  These  gross  receipts  of  $455,841  for  "Q.V."  at  the  Astor  and  Capitol 
are  based  upon  admission  prices  as  follows:  at  the  Astor  matinees  (Mon.  through 
Fri.)  $1.25  and  $1.80;  evenings  and  Sunday  matinees  $1.80  to  $2.40;  Saturday 
matinees  $1.50  to  $1.80.  The  admission  prices  at  the  Capitol  Theatre  during  the 
period  of  the  above  gross  receipts  were  as  follows:  Monday  to  Friday  950  to  $1.80; 
Saturday  from  $1.25  to  $1.80  and  Sunday  from  $1.50  to  $1.80.  "Q.V."  is  playing  on 
a  twice  daily,  reserved  seat  policy  at  the  Astor  and  on  a  continuous  run  policy  at  the 
Capitol.  All  admission  prices  in  this  report  include  federal  and  local  taxes. 


(Continued) 


In  Los  Angeles  "Q.V."  is  playing  at  the  United  Artists  Theatre  on  a  continu- 
ous policy,  and  at  the  Four  Star  Theatre  on  a  twice  daily,  reserved  seat  policy. 
Since  "GWTW"  did  not  play  at  the  Four  Star,  it  is  only  possible  to  make  the 
comparison  with  its  business  at  the  United  Artists  where  it  did  play.  In  this  theatre 
with  ii  days  completed  "Q.V."  is  ahead  of  "GWTW,"  doing  104.3%  of  tne  latter's 
business.  In  this  period  "Q.V."  did  $49,553  and  "GWTW"  did  $47,527.  This  gross 
of  $49,553  for  "Q.V."  at  the  United  Artists  Theatre  is  based  upon  a  matinee  admis- 
sion price  of  90^  on  Monday  through  Saturday  and  $1.50  for  evenings  and  all  day 
on  Sundays  and  holidays. 

"Q.V."  is  now  being  played  in  Loew  theatres,  in  six  representative  cities  across 
the  country.  With  the  completion  of  two  full  weeks  of  engagements  "Q.V."  has 
amassed  a  gross,  excluding  taxes,  of  $342,965  compared  to  "GWTW's"  gross, 
excluding  taxes,  in  the  same  six  cities  of  $384,996.  It  is  to  be  borne  in  mind  that 
three  of  the  cities  where  "Q.V."  is  playing  are  in  the  South  and  it  was  not  expected 
that  the  gross  of  "GWTW"  could  be  equalled  there.  However,  in  the  three  northern 
cities  "Q.V."  topped  "GWTW." 

Wc  are  furnishing  below  the  detailed  results  in  three  of  these  situations  which 
we  believe  are  typical  and  representative  of  a  cross-section  of  the  country. 


In  Pittsburgh,  "GWTW"  grossed  $88,720  in  22  days;  "Q.V."  for  the  same 


period  grossed  $99,242  based  upon  an  admission  price  of  9("  for  matinees  (except 
Sunday  $1.10),  a  night  price  of  $1.25  and  50c  for  children  at  all  times. 

In  Atlanta  "GWTW"  grossed  $77,575  f°r  22  days  as  against  $48,114  for 
"Q.V."  with  admission  prices  of  90^  for  matinee,  $1.50  at  night  and  50*-  for  children. 
It  will  be  recalled  that  "GWTW"  had  its  World  Premiere  in  Atlanta  which  was  the 
home  city  of  Margaret  Mitchell,  the  author  of  "GWTW"  and  the  city  which  is 
the  locale  of  the  story. 

In  San  Francisco  "GWTW"  grossed  $100,666  in  22  days  as  against  $102,312 
for  the  same  period  for  "Q.V."  at  the  same  theatre  based  upon  a  matinee  price  of 
90^'  (except  Saturday  and  Sunday  $1.20),  a  night  price  of  $1.50  and  50c  for  children 
there  being  also  in  this  city  a  loge  price  of  $1.25  for  matinees  and  $1.80  at  night. 

Experience  in  these  cities  showed  that  the  last  feature  can  best  be  presented 
at  approximately  9:00  o'clock  and  that  because  of  the  running  time  of  the  picture, 
only  a  newsreel  is  called  for. 

Excellent  attendance  results  are  being  obtained  in  all  six  cities  by  the  fine 
cooperation  of  the  schools  and  churches.  Many  classes  come  in  a  body,  frequently 
on  school  time,  with  attendance  at  "QUO  VADIS"  being  considered  a  phase  of 
class  study. 


The  success  of  "QUO  VADIS"  has  been  thoroughly  established.  Its  healthy 
challenge  to  the  eminence  of  "GWTW"  is  significant  for  the  industry. 

We  repeat  the  thought  previously  expressed  that  the  initial  engagements  of 
"QUO  VADIS"  should  be  confined  to  first  runs  in  cities  of  approximately  100,000 
population.  We  believe  that  the  soundest  plan  of  distribution  is  to  open  this  picture 
first  in  the  exchange  center  of  each  area  in  the  United  States. 

These  engagements  should  provide  us  with  experiences  which  will  demon- 
strate a  fair  basis  of  merchandising  this  tremendous  and  costly  production.  This 
procedure  should  indicate  the  proper  manner  of  distribution  which  we  are  sure 
will  meet  with  the  general  approval  of  our  customers.  We  are,  therefore,  not 
now  prepared  to  consider  additional  engagements. 

Theatre  owners  generally  know  best  the  admission  prices  under  which  this 
picture  should  be  exhibited  in  their  theatres.  No  exhibitor  is  required  to  furnish 
us  with  his  proposed  admission  price.  He  may  do  so  if  he  believes  we  will  thereby 
be  in  a  better  position  to  evaluate  his  offer. 

We  have  had  sufficient  experience  to  satisfy  us  that  except  in  unusual  situa- 
tions, better  results  will  be  obtained  by  a  continuous  performance  policy.  Accord- 
ingly, we  do  not  recommend  a  reserved  seat  policy. 

We  are  now  ready  to  receive  offers  for  the  first  run  exhibition  of  "QUO 
VADIS"  in  situations  within  the  approximate  category  mentioned  above. 
Any  exhibitor  having  a  suitable  theatre  who  is  interested  in  exhibiting  the 
picture  in  any  of  those  situations  should  notify  our  nearest  exchange  of  that 
interest  within  seven  days  after  the  publication  date  of  this  announcement. 

His  request  will  receive  immediate  consideration  and  the  proper  form 
will  be  forwarded  to  him  on  which  to  make  his  offer. 

LOEW'S  INC. 


DEATH  OF  A  SALESMAN'  STIRRING,  REALISTIC  DRAMA 


Rates  •  •  •  generally;  more  in  class  houses 


Columbia 
115  minuter 

Frederic  March.  Mildred  Dunnock.  Kevin 
McCarthy,  Cameron  Mitchell,  Howard 
Smith,  Royal  Beal,  Don  Keefer,  Jesse  White, 
Claire  Carleton,  David  Alpert,  Elizabeth 
Fraser,  Patricia  Walker. 
Directed  by  Laslo  Benedek 


Stanley  Kramer's  first  production  for 
Columbia  is  a  faithful  adaptation  of  Arthur 
Miller's  superb  stage  play,  "Death  Of  A 
Salesman."  It  is  a  credit  to  Mr.  Kramer 
and  to  Columbia,  and  it  is  the  sort  of  motion 
picture  that  will  bring  prestige  to  every 
theatre  that  plays  it.  Off  the  beaten  path, 
realistic,  intensely  dramatic  and  stirring, 
"Death  of  A  Salesman"  is  an  outstanding 
contribution  to  the  trend  toward  more  adult 
films,  films  of  the  calibre  of  "Streetcar 
Named  Desire,"  "A  Place  In  the  Sun"  and 
"Detective  Story."  Like  these  successful 
boxoffice  attractions,  "Salesman"  deals  with 
basic  human  emotions  and  with  subject 
matter  formerly  regarded  as  taboo  for  mass 
movie  audiences.  It  is  grim  and  touches  on 
insanity,  suicide  and  seduction,  but  all  of  it 
is  depicted  in  profound,  mature  terms  that 
make  a  powerful  impression. 

No  more  impressive   performances  have 


6?ei>ie*  Rating 

•  POOR  •  •  FAIR 

•  •  •  GOOD         •  •  •  •  TOPS 


been  turned  in  for  a  long  while  than  those 
i  * i  Frederic  March  as  the  doomed  salesman, 
Mildred  Dunnock,  his  patient,  loyal  and 
devoted  wife,  and  Kevin  McCarthy  as  their 
no-good  son  Biff. 

Laslo  Benedek's  direction  is  excellent  once 
he  manages  to  establi>h  the  pattern  of  the 
Story.  He  sues  a  long  series  of  fla-hbacks 
into  the  salesman's  past  life  to  illustrate  the 
reasons  for  his  steadily-increasing  wcarincs- 
and  insanity  and,  ultimately,  his  suicide. 

Boxoffice-wise  this  is  not  an  easy  picture  to 
exploit.  Apart  from  March,  the  cast  is  not 
particularly  familiar  to  movie  audiences. 
There  is  no  spectacular  sequence  in  the  pic- 
ture, which  is  basically  a  psychological 
tragedy  which  dominates  the  lives  of  a 
middle-class  American  family  in  Brooklyn. 
That  it  will  hold  audiences  there  is  not  the 
slightest  doubt,  for  it  is  a  profoundly  moving 
film. 

STORY:  Frederic  March  for  34  years  a 
salesman,  lives  in  a  dream  world.  Having 
escaped  real  success  himself,  he  imagines  his 
sons,     Kevin     McCarthy     and  Cameron 


Mitchell,  will  rise  to  greatness,  but  they 
never  seem  to  make  the  grade.  One  night 
March  returns  from  a  trip  in  a  state  of  ex- 
haustion. His  mind  has  been  wandering. 
His  gentle,  understanding  wife,  Mildred 
Dunnock,  notices  his  abnormal  behaviour 
and  tries  to  comfort  him.  In  his  wandering! 
March  relives  the  days  when  his  two  sons 
were  at  chooL  When  reality  returns  the 
tormented  salesman  resumes  the  illusions  in 
which  he  find  refuge.  But  once  again  the 
boys  let  him  down,  and  to  make  matters 
worse  March's  employer  sacks  him,  despite 
his  many  years  of  faithful  service.  The 
youngest  son  tears  his  father's  idols  down 
by  disclosing  himself  as  a  thief  and  a  phoney. 
The  father  realizes  that  he  is  to  blame  for 
the  change  which  has  wrecked  the  family*! 
happiness  since  the  boys  were  at  school. 
Kevin,  who  worshipped  him,  had  once  found 
him  with  another  woman  in  a  Boston  hotel. 
Determined  to  come  up  with  the  only  pos- 
sible solution,  March  borrows  from  a  friend 
and  neighbour  enough  to  pay  his  insurance 
premium,  ti-kcs  the  car  out  of  the  garage 
and  deliberately  rams  a  truck.  At  the  funeral 
only  his  wife,  the  two  sons,  and  the  friend, 
stand  round  the  grave.  Thus  dies  the  man 
who  lived  on  a  moonbeam,  believing  to  the 
very  last  in  the  importance  of  being  im- 
portant. COULTER 


FLAMING  FEATHER'  FAST-MOVING  OUTDOOR  MELLER  IN  COLOR 


Rates  •  •  +  as  dualler  generally;  more 

Paramount 
77  minutes 

Sterling  Hayden,  Forrest  Tucker,  Barbara 
Rush,  Arleen  Whelan,  Carol  Thurston, 
Edgar  Buchanan,  Victory  Jory,  Richard 
Arlen,  Ian  MacDonald,  George  Cleveland. 
Directed  by  Ray  Enright 

"Flaming  Feather"  an  attractive  Techni- 
color production  by  Nat  Holt,  will  do  good 
business  in  spots  catering  to  the  action  and 
adventure  fans.  It  misses  in  the  story  de- 
partment with  its  rather  confusing  account 
of  the  search  for  a  mysterious  bandit  who 
terrorizes  the  countrvside  as  the  leader  of 


in  action  houses 

a  band  of  Indians,  but  this  shortcoming, 
plus  the  script's  failure  to  level  off  the  con- 
flict between  the  protaganists  in  clear 
enough  fashion,  will  be  noted  only  by  the 
more  discriminating  members  of  the  audi- 
ence. There  is  action  aplenty  to  satisfy  those 
who  seek  thrills.  Things  move  fast  under 
the  well  paced  direction  of  Ray  Enright  and 
scenically  the  film  is  a  delight  with  superb 
panoramic  shots  giving  it  outstanding  pro- 
duction values. 

Sterling  Hayden's  heroics  are  neatly 
underplayed,  and  Forrest  Tucker  is  splendid 
as  the  sheriff.  Barbara  Rush  handles  the 
ingenue  adequately  and  Arleen  Whelan  is 


a  vivid  siren.  Carol  Thurston  is  on  deck  for 
one  of  her  good  performances  of  the  Indian 
maid  slighted  by  the  white  man  she  loves. 

STORY:  Sterling  Hayden,  an  adventurer, 
bets  army  lieutenent  Forrest  Tucker  a  year's 
pay  that  he  will  be  the  first  to  unmask  the 
Sidewinder,  an  elusive  outlaw  who  lives  by 
plunder  and  destruction.  The  trail  leads  to 
a  lawless  town  where  Hayden  comes  into 
conflict  with  Victor  Jory.  a  merchant,  and 
Arleen  Whelen,  a  dance  hall  singer.  Ulti- 
mately the  Sidewinder  is  revealed  as  Jory 
despite  the  lengths  to  which  he  goes,  in- 
cluding murder,  to  mask  the  source  of  his 
affluance.  JAMES 


SHADOW  IN  THE  SKY'  METRO 

Rates  •  •  as  supporting  dualler 

Metro-Goldwyn-Mayer 
78  minutes 

Ralph  Meeker,  Nancy  Davis,  James  Whit- 
more,  Jean  Hagen,  Gladys  Hurlbut,  Eduard 
Franz,  Dennis  Ross,  Nadene  Ashdown,  John 
Lupton,  Jonathan  Cott. 
Directed  by  Fred  M.  Wilcox 

"Shadow  In  the  Sky,"  drama  of  a  psy- 
chiatric war  casualty,  is  an  unpleasant  film 
subject,  hardly  entertainment,  and  its  box- 
office  appeal  is  bound  to  be  limited.  Like 
most  celluloid  explorations  into  the  area  of 
psychiatry,  this  paints  a  grey  situation 
black.  The  psychopath,  in  this  instance, 
suffers  hysteria  during  periods  of  rain,  an 


PROGRAMMER 

unhappy  situation  admittedly,  but  it  seems 
a  bit  preposterous  when  the  script  persists 
in  utilizing  the  quirk  as  a  monster-like 
characteristic,  a  threat  to  the  safety  of  two 
young  children.  Discriminating  audiences 
will  find  it  hard  to  swallow.  The  production 
is  adequate  and  director  Fred  M.  Wilcox 
achieves  welcome  restraint  in  molding  the 
performances.  This  Metro  offering  will  serve 
as  a  supporting  dualler.  It  should  be  coupled 
with  a  comedy  or  musical  feature. 

Ralph  Meeker  gives  a  strong,  convincing 
performance  of  the  unhappy  vet.  The 
balance  of  the  cast  is  also  first-rate. 

STORY:  Ralph  Meeker,  brother  of  Nancy 
Davis,  has  been  in  a  veterans'  hospital  for 


some  time.  The  doctors  think  that  know- 
ledge that  he  is  loved  and  wanted  will 
quicken  his  recovery.  Nancy  and  her 
husband,  James  Whitmore,  are  afraid  to 
allow  Meeker  to  live  with  him  for  fear  that 
some  harm  may  come  to  their  two  young- 
sters. Eventually,  they  do  bring  him  into 
their  home  and  live  in  terror  from  there  on. 
Miss  Davis,  particularly,  is  none  too  diplo- 
matic in  dealing  with  her  brother.  Meeker's 
girl  friend,  Jean  Hagen,  prods  him  on  into 
ventures  he  enjoys,  like  reconditioning  a 
boat.  Come?  the  first  rain  of  the  California 
year  and  all  hell  breaks  loose,  but  Meeker's 
psychological  block  is  broken  and  the  rain 
fear  disappears.  ANGEL 


DECEMBER   31,  1951 


11 


L  NEVER  FORGET  YOU'  FAIRLY  EFFECTIVE  REMAKE 

a+es  •  •  +  for  class  houses;  less  generally 


20th  Century-Fox 
91  minutes 

Tyrone  Power,  Ann  Blyth,  Michael  Rennie, 
Dennis  Price,  Beatrice  Campbell,  Kathleen 
Byron,  Raymond  Huntley,  Irene  Browne. 
Directed  by  Roy  Baker 

"I'll  Never  Forget  You,"  filmed  in 
England,  p::rt  in  Technicolor,  part  black  and 
white,  is  a  modernized  version  of  John 
Balderson's  poetic  and  romantic  drama, 
"Berkeley  Square,"  which  served  long  and 
well  as  a  stage  vehicle  for  Leslie  Howard 
and  later  as  a  film.  Like  all  remakes,  the 
Sol  Siegel  production  has  been  "modernized" 
which  is  to  say  its  charactars  and  era  have 
been  brought  up  to  date.  This  affects  only 
the  opening  and  close  of  "Berkeley  Square" 
— the  rest  is  Balderson  warm  love  story  of 
a  couple  >vhose  affection  spans  the  centuries 
— poetic  at  times,  curiously  old  fashioned  at 
others.  The  film  is  more  for  the  class  trade 


than  the  run-of-the-mill  entertainment 
seeker.  It  will  be  only  a  mild  grosser  gener- 
ally; weak  for  action  houses.  The  production 
qualities  ire  above  average  and  the  support- 
ing players,  composed  of  English  actors, 
bring  an  effective  note  of  authenticity  to  the 
proceedings.  Roy  Baker's  direction  reads 
plenty  of  fervor  into  the  romantic  passages 
and  brings  action  into  the  general  proceed- 
ings whenever  possible. 

Tyrone  Power  plays  his  role  of  the 
troubled  poet  with  ease  and  dignity.  His 
feminine  fans  will  enjoy  him  in  his  18th 
Century  costumes.  Ann  Blyth  is  lovely  in 
her  dual  <-0le,  and  Michael  Rennie  makes  the 
most  of  his  few  scenes  as  a  fellow  worker 
on  the  atomic  project.  Dennis  Price,  as  a 
fop,  and  Beatrice  Campbell,  the  older  sister, 
are  excllent. 

STORY:  Power,  an  atomic  scientist,  is 
an  American  living  in  England  who  has 
taken  up  quarters  in  the  home  of  his  ances- 


THE  SELLOUT'  CONVINCING  EXPOSE  OF  CIVIC  CORRUPTION 

Rates  •  •  +  generally;  more  where  exploited 


Metro-Goldwyn-Mayer 
83  minutes 

Walter  Pidgeon,  John  Hodiak,  Audrey 
Totter,  Paula  Raymond,  Thomas  Gomez, 
Cameron  Mitchell,  Karl  Maiden,  Everett 
Sloane,  Jonathan  Cott,  Frank  Cady,  Hugh 
Sanders,  Griff  Barnett,  Burt  Mustin,  Whit 
Bissell,  Roy  Engel,  Jeff  Richards,  Vernon 
Rich,  Bob  Stephenson,  Cy  Stevens. 
Directed  by  Gerald  Mayer 

While  :t  tells  a  familiar  story  of  civic 
corruption,  "The  Sellout"  tells  it  with  more 
than  usual  dramatic  emphasis  and  effect. 
Bolstered  by  a  well-balanced  Metro- 
Goldwyn-Mayer  cast,  realistic  production 
values  and  believable  characterizations,  this 
will  have  above-average  boxoffice  value  in 
most   situations,  particularly  if  its  exploi- 


tation potentialities  are  capitalized.  A  recent 
Louisiana  incident  can  be  effectively  tied 
in  to  illustrate  how  close  to  truth  this  is. 
Action  houses,  especially,  will  find  it  a 
strong  attraction.  The  story  is  old  hat,  but 
it  achieves  a  convincing  tone  through  Gerald 
Mayer's  restrained  direction  and  the  playing 
)(  a  veteran  cast  headed  by  Walter  Pidgeon 
and  John  Hodiak.  "The  Sellout"  is  not  big 
time  movie  fare,  but  it  is  easily  a  couple 
of  notches  above  program  calibre. 

Walter  Pidgeon  plays  the  editor  with  ex- 
pected authority,  and  John  Hodiak  makes 
the  most  of  his  sides  as  the  sleuth-prose- 
cutor. Audrey  Totter's  role  of  an  unwitting 
accomplice  of  the  heavies  is  rather  contrived. 
Paula  Raymond  charms  as  Pidgeon's 
daughter,  and  Thomas  Gomez  plays  the 
crooked     sheriff     with     gusto.  Cameron 


CIMARRON  KID'  ACTIONFUL  TECHNICOLOR  WESTERN 


Rates  •  •  •  for  action  houses; 


©  +  elsewhere 


Universal- International 
84  minutes 

Audie  Murphy,  Yvette  Dugay,  Beverly 
Tyler,  John  Hudson,  James  Best,  Leif 
Erickson,  Noah  Berry,  Hugh  O'Brien,  John 
Hubbard,  Palmer  Lee,  Rand  Brooks, 
William  Reynolds,  Roy  Roberts,  David 
Wolfe,  John  Bromfield,  Frank  Silvera, 
Richard  Garland,  Eugene  Baxter. 
Directed  by  Budd  Boetticher 

Those  imperishable  outlaws,  the  Daltons, 
are  up  io  no  good  in  "Cimarron  Kid,"  a 
handsomely  turned  out  Technicolor  Western 
from  Universal- International  producer  Ted 
Ri<  hinond.  The  story  which  uses  the 
I):i1im:iv  is  incidental  characters  in  recording 
the  banditry  of  one,  the  Cimarron  Kid,  is 
rather  thin  and  several  of  the  characters, 


especially  the  romantic  lead  of  Beverly 
Tyler,  lack  clear-cut  definition.  However, 
the  action  values  are  degrees  above  average, 
an  exciting  state  of  affairs  that  is  attribut- 
able to  the  rough  and  tough  direction  of 
Budd  Boetticher.  He  slaps  plenty  of  punch 
into  the  encounters  and  when  the  Daltons 
spray  bullets  they  really  put  up  a  fight.  It 
makes  for  considerable  excitement  and  keeps 
the  picture  rolling  even  when  the  story  is 
fading  out.  The  performances,  mainly  from 
young  pejple,  are  splendid.  In  its  bracket 
the  film  rates  attention  and  should  do  busir 
ness  ranging  from  average  to  good. 

Audie  Murphy,  looking  more  comfortable 
before  the  cameras  than  usual,  gives  a  good 
account  of  himself.  Yvette  Dugay  is  vo- 
luptuous and  sincere  as  a  girl  who  loves  one 
of  the  highwaymen.  Beverly  Tyler,  a  good- 


tors.  Here  he  feels  the  spirit  of  the  eighteenth 
Century,  knows  its  people  through  the 
furnishings  and  old  letters.  He  longs  to  be- 
come a  part  of  it.  The  wish  being  father  to 
the  deed,  a  miracle  of  time  transference 
takes  place.  He  finds  himself  in  the  past,  an 
American  arrived  from  the  colonies  and 
betrothed  to  Beatrice  Cambpell.  Soon  he 
falls  in  love  with  her  sister,  Ann  Blyth,  a 
girl  who  comprehends  his  strange  knowledge 
of  the  future.  He  builds  models  of  in- 
ventions to  come — electric  light,  a  steam- 
boat and  others.  Their  discovery  leads  him 
into  conflict  with  the  authorities.  He  is 
sentenced  to  Bedlam  when  the  spell  is 
broken.  Back  in  1951  he  sees  Miss  Blyth's 
counterpart  in  a  girl  he  has  know  for  some 
time  but  he  knows  too  that  he  actually  lived 
the  love  affair  with  his  eighteenth  century 
"dream  girl,"  for.  true  to  her  promise,  a 
legend  dedicated  to  him  is  imbedded  deep 
on  her  tombstone.  ANGEL 


Mitchell,  Karlen  Maiden,  Everett  Sloane  and 
a  host  of  good  supporting  actors  contribute 
to  the  overall  realism  with  their  splendid 
make-believe. 

STORY:  Walter  Pidgeon,  a  crusading 
newspaper  editor,  fights  corruption  in  the 
county,  a  sinister  domination  achieved  by 
the  cooperation  of  the  law  with  underworld 
overlords.  John  Hodiak,  appointed  by  the 
government,  to  head  an  investigative  com- 
mittee, leans  heavily  on  Pidgeon's  support 
when  the  evidence  is  brought  into  court.  At 
the  last  minute,  however,  like  the  other 
witnessess,  Pidgeon  has  been  bought  off. 
The  dramatic  last  minute  disclosure  that  the 
newspaperman  is  acting  to  protect  his  son- 
in-law  from  incrimination  in  the  civic 
scandal  results  in  a  triumph  for  honesty  in 
government.   HANNA  (Hollywood) 


looker,  has  the  weakest  role.  John  Hudson, 
James  Best,  Hugh  O'Brien,  and  John  Hub- 
bard compose  about  the  most  photogenic 
group  of  hoodlums  to  grace  the  screen  in 
some  time.  Noah  Berry  is  fine  as  one  of 
the  Daltons,  and  Leif  Erickson  scores 
solidly  in  the  part  of  a  peace  officer. 

STORY:  Audie  Murphy,  in  the  title  role, 
is  paroled  after  a  preliminary  hassale  with 
the  law  and  his  resolve  to  go  straight  is 
quickly  dampened  by  his  innocent  incrimi- 
nation in  a  train  hold-up.  He  joins  the 
Daltons  and  becomes  their  leader  after  all 
but  one  of  the  brothers  are  killed.  His  re- 
luctance to  use  a  gun  in  battling  his  way 
through  a  career  of  banditry  paves  the  way 
for  at  least  the  suggestion  of  regeneration 
when  his  girl  friend,  Beverly  Tyler,  turns 
him  over  to  the  law.  JAMES 


12 


FILM  BULLETIN 


New  Building,  Equipment 
Outlook  Pretty  Blue  for  '52 


is  tough  to  get  building  materia 


equipment  and  alienations  for  the  film  in- 
dustry in  1951,  then  1952  will  be  e  ven  worse. 
These  bleak,  but  not  unexpected,  tidings 
came  straight  from  the  horse's  month  ;i> 
National  Production  film  direction  Nathan 
D.  Golden  warned  that  "it  will  not  be  until 
at  least  early  in  1953  before  production 
levels  approaching  those  of  the  last  year  can 
be  resumed." 

One  of  the  key  materials,  copper,  is  in 
even  scarcer  supply,  Golden  said,  and  "the 
outlook  isn't  as  good  as  I  had  hoped  for  in 
spite  of  the  fact  that  the  industry  has  been 
doing  a  good  job  of  salvage  and  even  though 
we  have  been  able  to  get  considerable 
quantities  of  scarce  metals  made  available 
to  the  industry."  Two  other  essential  metals, 
steel  and  aluminum,  will  be  in  shortened 
supply  for  civilian  use,  he  added,  despite  the 


inci 


"  There  is  only  one  definite  fact  about  the 
materials  outlook  for  1952,"  Golden  de- 
clared. As  far  as  civilian  production  is  con- 
cerned, the  situation  will  be  worse  before  it 
gets  any  better,  and  there  will  be  little  im- 
provement in  supply  before  the  end  of  the 
year. 

"It  is  evident  that  the  construction  of 
motion  picture  theatres  of  all  types,  the 
manufacture  of  motion  picture  equipment, 
and  still  photographic  products  during  1952 
will  have  to  be  decreased  somewhat  in  com- 
parison with  1951  .  .  .  More  essential  seg- 
ments of  the  industries  under  our  jurisdiction 
will  have  to  be  programmed  at  the  highest 
permissible  level  and  some  less  essential 
segments  including  personal  use  items  at 
lower  levels." 

'Vadis'  Experiments  Show 
Key  Cities  Best  for  Openings 

Experimentation  with  "Quo  Vadis"  has 
confirmed  Loew's  stated  thesis  that  the  ini- 
tial engagements  of  the  film  be  confined  to 
first  runs  in  cities  over  100,000  population, 
and  that  the  "soundest  plan  of  distribution 
is  to  open  this  picture  first  in  the  exchange 
center  of  each  area  in  the  United  States." 

This  decision  was  reached  after  trial  runs 
in  Loew  theatres  in  "six  representative 
cities"  throughout  the  country.  Comparing 
QV  with  "Gone  With  the  Wind,"  total 
gross  for  the  two  weeks  engagements  ex- 
cluding taxes,  was  $342,865  for  QV,  $384,996 
for  GWTW.  It  was  noted  however  that  the 
former  was  topped  only  in  the  South,  where 
QV  wras  not  expected  to  equal  the  earlier 
picture's  fabulous  gross.  In  the  three 
northern  cities,  QV  surpassed  GWTW's 
grosses. 

Complete  details  of  the  M-G-iil  supple- 
ment to  its  initial  announcement  "  for  the 
"Quo  Vadis"  sales  plan  will  be  found  begin- 
ning on  page  seven  in  this  issue  of  FILM 
BULLETIN. 


BULLETIN 


December  31,  1951 


News 

unci 

Opinion 


PICKMAN  NAMED  VP 

Jerome  I'ickman,  Paramount  Film 
Distributing  Corp.  director  of  adver- 
tising, publicity  and  exploitation,  was 
named  a  vice-president  and  member 
of  the  board  of  the  company,  it  was 
announced  by  Barney  Balaban,  presi- 
dent of  Paramount  Pictures  Corp.,  and 
A.  W.  Schwalberg,  president  of  Para- 
mount Film  Distributing  Corp.  The 
action,  which  climaxes  a  meteoric  rise 
in  the  Paramount  organization  by 
Pickman,  was  taken  at  a  special  meet- 
ing of  the  Hoard  last  Thursday  (27th). 


Over  60  Houses  Equipped 
With  Theatre  TV  As  '52  Begins 

Theatre  television  i>  now  or  is  currently 

being  installed  in  more  than  60  theatres 
throughout  the  nation,  thus  approximating 
tin  aire  TV  enthusiasts  prediction  that  some 
20(1,(100  M  ils  would  be  available  to  movie 
audiences  for  the  large  screen  video.  The 
estimate  was  made  following  RCA'fl  an- 
nouncement that  more  than  50  of  tin- 
nation's  key  theatres  arc  now  equipped  with 
its  system. 

RCA  Theatre  TV  sales  head  M.  P. 
Bennett  said  that  shipments  of  the  com- 
pany's PT-100  equipment)  now  on  a  factory 
production  schedule,  completed  since  last 
summer  top  the  50  mark.  With  the  other 
types  of  equipment  currently  installed,  at 
least  62  houses  are  ready  to  carry  exclusive 
theatre  telecasts. 

The  news  was  heartening  to  advocates  of 
theatre  TV,  whose  enthusiasm  had  been 
cooled  in  recent  months  by  the  lack  of 
profitable  programming.  The  larger  the 
number  of  theatres  showing  an  exclusive 
program,  the  smaller  the  unit  cost  per  thea- 
tre. The  high  cost  of  programs  had  been 
one  of  the  principal  deterrents  to  the  pur- 
chase of  the  equipment.  Even  the  Robinson- 
Turpin  fight,  which  packed  each  of  the  com- 
parative handful  of  theatres  showing  the 
event,  barely  eked  out  a  profit  in  some 
houses  and  actually  proved  a  loss  to  others, 
because  the  small  group  had  to  absorb  the 
cost  among  them. 

20th-Fox  '52  Program  Has 
Lowest  Per-Pic  Par  Since  1943 

20th  Century-Fox'  1952  program  will  have 
36  picture-,  produced  at  an  average  cost  of 
$1,250,000  lowest  pcr-picture  par  since  1943, 
president  Spyros  P.  Skouras  reported  to 
stockholders  of  the  company  following 
studio  conferences  with  top  production,  dis- 
tribution and  promotion  executives. 

The    confabs,    in    which  vice-president 
Joseph    Schenck,    studio    head    Darryl  F. 
Zanuck,    distribution    chief    Al  Lichtman, 
foreign  head  Murray  Silverstone,  and  adver- 
( Continued  on  Page  16) 


FUTURE  LOOKS  BRIGHT  TO  FOX  HEADS 

Messrs.  Silverstone,  Einjeld,  Zanuck,  Skouras,  Schenck,  Lichtman 


DECEMBER    31.    195 II 


13 


when  the  world 
a  laugh  her 


HERBERT  J.  YATES 

WY  CAN  OVA 


v 


with  TEN  TOP  COMEDIANS 

EDDIE  FOY,  JR.  ALAN  HALE,  JR. 


!  CATLETT  •  LEONID  KINSKEY  •  GUS  SCHILLING  •  IRVING  BACON  •  FUZZY  KNIGHT  •  RQSCOE  ATES 
Directed  by  R.  G.  SPRINGSTEEN  •  Written  by  JACK  TOWNLEY  and  CHARLES  E.  ROBERTS 
Additional  dialogue  by  BARRY  TRIVERS  •  Associate  Producer  SIDNEY  PICKER 

A     REPUBLIC     PRODUCTION     RePublicPicluresCorP°rat'<>n-HerbertJ  Yates.  President 


News  and  Opinion 


(Continued  from  Page  13) 

tising  topper  Charles  Einfeld  participated, 
were  conducted  "for  the  purpose  of  formu- 
lating our  production  policies  for  1953,  since 
the  major  part  of  our  releases  for  19:>2  are 
either  completed  or  in  the  final  stages  of 
production,"  Skouras  reported. 

The  bulk  of  the  report  was  devoted  to  the 
development  of  20th's  Eidophor  theatre  tele- 
vision system,  a  pet  project  of  the  presi- 
dent's. The  equipment  will  be  shipped  to 
this  country  on  January  15,  with  the  first 
demonstration  planned  in  New  York  during 
February,  Skouras  told  the  stockholders. 

Fox  Toppers  Get  Pay  Cuts 
Back  As  Profits  Pass  Limit 

One  hundred  and  thirty  20th  Century- 
Fox  executives  who  took  voluntary  pay  cuts 
up  to  50  per  cent  last  July  got  it  all  back 
Dec.  29.  J  he  bountiful  Christmas  gift  was 
provided  under  the  plan  which  calls  for  resti- 
tution of  the  reductions  on  a  profits  parti- 
cipation basis. 

The  announcement  of  the  refund  was 
made  by  20th- Fox  president  Spyros  P. 
Skouras,  w-ho  noted  that  the  plan  will  con- 
tinue through  1952  and  1953.  The  current  re- 
fund covers  only  the  six-month  period  from 
July  1,  1951  to  the  end  of  the  year.  The 
voluntary  cuts  were  taken  by  all  executives, 
in  both  Hollywood  and  New  York,  who 
earn  more  than  $500  per  week.  The  re- 
ductions effected  salaries  from  $500  to  $1000 
by  25  per  cent;  from  $1000  to  $2000—35  per 
cent;  over  $2000 — 50  per  cent.  Profits  parti- 
cipation under  the  plan  could  not  exceed 
the  amount  of  the  reduction  in  salary. 

While  lauding  his  colleagues  for  their 
"cooperation  and  contribution"  which  helped 
make  possible  the  profitable  six-month 
period,  Skouras  cautioned  that  "our  diffi- 
culties are  not  behind  us.  Production  costs 
are  still  excessive  in  relation  to  prevailing 
box  office  levels."  ■ 

Kirsch  Calls  on  Film  Heads 
To  Take  Stand  on  TV  Product 

"For  what  segment  of  the  industry  is  the 
future  bright  and  encouraging?"  The  ques- 
tion was  both  posed  and  answered  by  Jack 
Kirsch,  Allied  of  Illinois'  president,  as  he 
ripped  into  the  practice  of  major  film  com- 
panies selling  their  films  to  television  and 
called  upon  the  presidents  of  the  companies 
to  declare  their  position  on  this  issue,  "so 
that  exhibitors  may  know  where  they  stand 
in  this  whirlpool  of  uncertainty." 

The  sales  of  films  to  TV  Kirsch  declared, 
are  being  eyed  by  producers  who  "feel 
offers  them  a  lucrative  market  for  the  thou- 
sands of  films  that  had  their  runs  in  thea- 
tres throughout  the  country  and  are  now 
resting  in  the  film  vaults  awaiting  the  day 
when  more  channels  are  opened  up  and 
ready  to  consume  this  vast  backlog  of  film 
merchandise  .  .  .  Exhibitors  are  holding  on 

16 


JACK  KIRSCH 

Put  It  On  the  Line 


with  both  hope  and  despair.  The  hope  stems 
from  all  the  statements  of  encouragement 
uttered  by  the  film  company  heads,  while 
the  despair  results  from  the  growing  ten- 
dency of  more  and  more  independent  pro- 
ducing and  distributing  companies  turning 
to  TV  for  the  sale  of  their  pictures,  and  we, 
who  are  situated  in  strong  TV  areas,  know 
what  a  devastating  effect  this  has  on  thea- 
tre attendance." 

Kirsch  named  Republic  and  inde  producer 
Edward  Small  among  the  companies  selling 
films  to  TV.  "At  least  if  the  presidents  of 
20th  Century-Fox,  M-G-M,  Warners,  RKO, 
Columbia,  Universal,  United  Artists  and 
Paramount  would  come  out  with  a  state- 
ment that  the  future  of  their  business  lies 
solely  with  the  motion  picture  theatres — 
and  mean  it — then  the  hopes  which  these 
exhibitors  harbor  will  prove  meaningful  and 
the  despair  meaningless." 

New  RCA  'Wide-Vision' 
Screen  No  Great  Shakes 

RCA's  highly  touted  new  "wide-vision" 
theatre  screen,  demonstrated  at  New  York's 
Plaza  Theatre  for  the  benefit  of  the  trade 
and  the  press,  proved  to  be  something  less 
than  sensational. 

Featuring  side-wings  and  a  top  panel, 
which  pick  up  and  reflect  diffused  light  from 
the  picture,  the  purpose  of  the  screen,  de- 
signed by  theatre  architects  Ben  Schlangcr 
and  William  Hoffberg,  is  to  give  the  viewer 
an  impression  of  larger  scope.  This  is  ac- 
complished to  such  a  minor  degree  that  it 
is  doubtful  if  it  can  be  proven  worthwhile 
lor  the  average  theatre. 

In  its  ise  with  color  film,  the  screen  did 
manage  to  soften  the  tones  on  the  framed 
border,  lessening  eye-strain  somewhat  and 
giving  the  illusion  of  added  size.  However, 
the  box-like  frame  did  not  succeed  in  creat- 
ing the  desired  appearance  of  depth. 


Skiatron  Petitions  Film 
Companies  For  New  Pictures 

Mindful  of  the  difficulties  encountered  by 
Phonevision  in  acquiring  film  product  for 
its  Chicago  trial  showings,  Skiatron  Elec- 
tionics,  and  Television  Corp.,  made  formal 
request  to  the  film  companies  for  "new  or 
fairly  recent"  pictures  to  be  used  in  its 
forthcoming  test.  The  same  letter,  sent  to 
the  top  production  and  distribution  execu- 
tives, asked  for  replies  by  January  15,  1952. 

Skiatron,  advancing  much  of  the  argument 
used  by  Phonevision  for  inducing  the  film 
companies  to  supply  the  product  for  the 
test,  threw  a  sop  to  exhibitors  by  admitting 
that  the  movie  house  is  the  "logical  outlet" 
for  film  product.  The  subscription  TV  out- 
fit declared  it  "appreciates  your  reluctance 
to  circumvent  the  motion  picture  exhibitor 
and  we  have  always  made  it  clear  that  we 
are  willing  to  cut  him  in  for  his  fair  share 
of  the  profits.  Many  of  the  theatremen  re- 
portedly are  actually  in  favor  of  subscription 
video  which,  they  feel,  gives  them  a  better 
chance  to  compete  than  free  home  TV." 

At  the  same  time,  however,  Skiatron 
stressed  that  the  film  companies  would  be 
"foolish  and  unrealistic"  to  "compromise  be- 
cause of  false  loyalties  to  those  who  prefer 
the  status  quo  to  protect  their  own  selfish 
interests." 

Il  l's  40th  Ann'y  Sales 
Drive  Honors  N.  J.  Blumberg 

Universal's  Xate  Blumberg  was  handed  a 
couple  of  very  welcome  Christmas  gifts  in 
his  bed  \t  New  York  Doctors'  Hospital, 
where  he  had  been  undergoing  treatment. 
Fiom  the  West  Coast,  the  production,  dis- 
tribution and  promotion  toppers  voted  to 
celebrate  Universal's  40th  birthday  with  a 
"Xate  T.  Blumberg  Anniversary  Drive," 
honoring  the  president  of  the  company.  He 
also  was  apprised  of  a  substantial  increase 
in  U's  gross  income  that  may  top  last  year's 
take  by  some  20  per  cent. 

Launched  on  Dec.  30,  the  drive  will  con- 
tinue for  17  weeks  to  May  3,  and  marks  the 
first  in  a  series  of  major  events  planned  for 
the  anniversary  year,  which  will  also  mark 
Blumberg's  40th  year  in  show  business.  The 
campaign,  it  was  later  revealed  by  World 
Sales  Director  Alfred  E.  Daff,  will  extend  to 
include  all  foreign  countries  where  U-I  pic- 
tures are  exhibited — except  those  behind  the 
Iron  Curtain,  Daff  noted. 

The  global  sales  head  also  lauded  the 
company's  policy  of  promotion  from  within 
its  own  sales  ranks  as  "an  important  con- 
tributing factor  in  the  success  of  the  com- 
pany during  the  past  year.  During  the 
period,  a  division  manager,  three  district 
managers  and  seven  branch  heads  were 
named  from  the  ranks,  a  policy  made  pos- 
sible by  "decentralizing  authority  from  the 
home  office  to  the  branch  offices." 

FILM  BULLETIN 


fiehihd  the  £cene4       "Jiltn  Prcducthh 


STUDIO  SIZ6-UPS 


COLUMBIA 

Cohn  Retirement  Rumors 
Unfounded;  'Salesman'  Lauded 

There  appears  to  be  no  basis  to  the  re- 
current rumors  that  president  Harry  Cohn 
will  step  out  as  head  of  the  Columbia  studio 
in  1952  and  put  Stanley  Kramer  into  the  top 
spot  here.  The  report  persists  in  buzzing 
around  the  film  capital,  but  a  reliable  source 
labelled  the  story  "completely  without  foun- 
dation." 

Cohn,  who  has  done  a  man-sized  job  of 
lifting  this  studio  from  the  ranks  of  a  minor 
independent  studio  to  its  present  important 
major  status,  undoubtedly  takes  pride  in  his 
accomplishments  and  shows  no  inclination 
to  give  up  the  reins  to  anyone  else,  even 
to  one  as  talented  as  Stanley  Kramer.  Nor 
does  there  seem  to  be  any  reason  of  health 
(he  seems  to  be  a  sound  60  years  old)  why 
the  Columbia  prexy  might  decide  to  remove 
himself  from  command  of  the  company's 
production  activities.  Chances  are  he  will  be 
at  the  helm  for  years  to  come. 

However  that  may  be,  Stanley  Kramer 
has  apparently  gotten  off  to  a  flying  start 
as  Columbia's  leading  inde  producer.  His 
"Death  of  A  Salesman,"  which  was  pre- 
miered in  Hollywood  just  prior  to  Christmas, 
won  the  critical  raves  of  the  entire  pro- 
fession. Certainly,  this  is  a  motion  picture 
that  dares  defy  the  old  taboos  of  Hollywood, 
and  there  have  been  indications  recently  that 
the  movie-going  public  is  seeking  out  just 
such  unusual  fare  these  days.  Moreover, 
"Salesman"  was  produced  in  25  days  at  the 
astoundingly  low  cost  of  $802,000. 

In  marked  contrast  to  the  economy  typi- 
fied in  "Death  of  A  Salesman,"  is  the  current 
hassle  in  which  Columbia  has  become  en- 
gaged over  "An  Affair  In  Trinidad,"  the 
Rita  Hayworth  starrer.  $500,000  had  been  in- 
vested in  the  picture  at  the  time  that  Miss 
Hayworth  backed  out  on  the  role,  and  asked 
to  be  released  from  contract. 

Regardless  of  the  outcome  of  the  Hay- 
worth disagreement,  however,  January 
promises  to  be  a  busy  month  for  the  com- 
pany, production-wise.  At  least  three  pic- 
tures are  slated  to  roll  during  the  month, 
headed  by  Kramer's  "The  Happy  Time"  and 
Columbia's  own  "European  Edition."  The 
latter  rolls  on  January  7,  with  Phil  Karlson 
directing  for  producer  Jerry  Bressler,  while 
January  10  is  the  scheduled  starting  date  for 
"Happy  Time."  Richard  Fleischer  will  direct 
the  Kramer  production,  with  a  cast  headed 
by  Charles  Boyer,  Mary  Pickford  and 
Bobby  Driscoll.   Also  rolling  January  7,  is 


delude       BULLETIN  friftw 


By  Jay  Allen 


DORE  SCHARY 


Launches  New  Production 


"Junction  City,"  a  new  Charles  Starrett 
oater,  directed  by  Kay  Nazarro  and  pro- 
duced by  Colbert  Clark. 

Three  other  pictures  were  started  within 
the  past  month.  One  is  still  before  the 
cameras  "The  Sabre  and  the  Arrow" 
(Broderick  Crawford  -  Barbara  Hale),  pro- 
duced by  Buddy  Adler,  with  Andre  De  Toth 
megging.  Those  completed  this  month  were: 
"Rainbow  Round  My  Shoulder  (Frankie 
Laine  -  Billy  Daniels),  filmed  in  color,  with 
Richard  Quine  directing  for  producer  Jonie 
Taps;  and  "Barbed  Wire,"  a  Gene  Autry 
production,  directed  by  George  Archinbaud, 
and  produced  by  Armand  Schaeter. 

LIPPERT  PRODUCTIONS 

Big-Name  Stars  Eager  To  Join 
Lippert  In  Inde  Releasing  Deal 

Now  that  Lippert  Productions  is  moving 
into  the  major  releasing  ranks  via  the  deal 
with  Famous  Artists  (reported  last  issue), 
name  actors  and  actresses,  who  previously 
would  have  declined  an  offer  to  appear  in 
a  Lippert  picture,  are  now  waiting  and 
eager  to  talk  a  deal.  Gary  Cooper  is  an 
excellent  example.  Within  recent  weeks,  at- 
torneys employed  by  Cooper  have  been  dis- 
cussing an  independent  package  deal  with 


Lippert,  with  Cooper  set  to  star  in  the  pic- 
ture, as  well  as  provide  his  own  financing. 
Several  other  stars,  who  have  been  eager  to 
branch  out  into  the  field  of  independent  pro- 
duction, are  also  known  to  be  considering 
similar  deals. 

Indicative  of  the  rapid  growth  of  the  com- 
pany is  the  first  national  sales  convention 
which  got  underway  in  Chicago  on  Decem- 
ber 27.  The  meeting  was  attended  by  home 
office  executives,  branch  managers  and 
bookers,  representing  all  of  Lippert's  28 
exchanges  throughout  the  United  States.  A 
highlight  of  the  convention  was  the  screen- 
ing of  the  company's  first  three  pictures  for 
1952  release:  "Navajo,"  "For  Men  Only" 
and  "Man  Bait."  Anthony  Hinds,  director 
of  Exclusive  Films,  the  British  distributors 
for  Lippert,  was  on  hand  for  the  conferences 
to  discuss  future  productions  under  the  co- 
production  deal  made  with  Lippert  by  James 
Carreras  last  year.  Three  films  have  already 
been  produced  in  England  by  the  partner- 
ship: "Wings  of  Danger,"  "Stolen  Face," 
and  the  previously  mentioned  "Man  Bait." 
Exclusive  and  Alexander  Paal  also  have  co- 
produced  two  films:  "Cloudburst"  and 
"Whispering  Smith  Hits  London." 

Although  there  are  no  pictures  shooting 
which  have  definitely  been  tabbed  for  Lip- 
pert release,  a  deal  is  near  the  signing  stage 
to  handle  distribution  on  "Stronghold  For 
Two"  (Zachary  Scott  -  Veronica  Lake),  pro- 
duced recently  in  Mexico  and  directed  by 
Steve  Szekeley. 

Probably  the  next  film  to  roll  will  be 
"The  Jungle,"  to  be  produced  and  directed 
by  William  Berke  in  India.  Berke  left  for 
Bombay  in  mid-December  to  make  pre-pro- 
duction arrangements,  and  wlil  be  joined 
some  time  in  January  by  stars  Marie  Wind- 
sor, Rod  Cameron  and  Cesar  Romero. 

METRO-COLDWYN-MAYER 

Emphasis  On  Biographies  As 
Metro  Sets  8  True-Life  Yarns 

MGM  will  continue  to  draw  heavily  on 
biographical  story  properties  in  1952  with 
eight  of  the  life  story  yarns  already  set  for 
filming,  and  several  others  still  under  dis- 
cussion. 

Included  in  the  forthcoming  film  biogs 
coming  up  are:  "Interrupted  Melody,"  the 
story  of  Marjorie  Lawrence,  the  noted  opera 
star  who  was  stricken  with  polio  a  few 
years  ago;  "The  Romberg  Story,"  based  on 
the  life  of  the  late  musical  comedy  com- 

(Continued  on  Next  Page) 


DECEMBER    31,  1951 


17 


STUDIO  SIZ€-UPS 

(Continued  from  Preceding  Page) 

poser;  "Eagle  On  His  Cap,"  life  story  of 
Col.  Paul  Tibbetts,  credited  with  dropping 
the  first  -.torn  bomb  on  Hiroshima;  "Years 
Ago,"  based  on  the  youth  of  Ruth  Gordon; 
"The  Lonesome  Gal,"  biography  of  the  cur- 
rently popular  radio  personality  who  uses 
that  same  billing;  "Fearless  Feagan,"  story 
of  a  man  who  took  his  pet  lion  with  him 
when  drafted  by  the  Army;  "Young  Bess," 
biog  of  Queen  Elizabeth;  and  "The  Girl  In 
White,"  story  of  Emily  Dunning  Barringer, 
the  first  woman  ambulance  surgeon.  Already 
before  the  cameras  are:  "Carbine  Williams," 
based  on  the  life  of  David  Marshall 
Williams,  the  man  responsible  for  the  Car- 
bine rifle,  and  "One  Piece  Bathing  Suit," 
Annette  Kellerman's  biography. 

In  all,  Metro  has  three  pictures  before  the 
cameras  at  the  turn  of  the  year,  with  a  pair 
more  due  to  join  the  group  on  January  2. 
"Carbine  Williams"  (James  Stewart  -  Jean 
Hagen  -  Wendell  Corey),  started  December 
10,  with  Richard  Thorpe  directing  for  pro- 
ducer Armand  Deutsch.  On  the  same  day, 
producer  Joseph  Pasternak  and  dirctor 
Alexander  Hall  greenlighted  the  Techni- 
color production,  "Because  You're  Mine" 
(Mario  Lanza  -  Doretta  Morrow  -  James 
Whittnore).  "Glory  Alley"  (Ralph  Meeker- 
Leslie  Caron)  has  been  filming  since  Novem- 
ber 15,  with  Raoul  Walsh  directing,  Nicholas 
Nayfeck  producing. 

On  December  27,  director  Gerland  Mayer 
started  five  days  of  rehearsals  on  "Days 
Before  Lent"  (Gig  Young  -  Janice  Rule - 
Keenan  Wynn).  Producer  John  Houseman 
has  set  a  January  2  starting  date  on  the 
film.  The  same  day,  Dore  Schary  launches 
his  personal  production  of  "Mr.  Congress- 
man" (Van  Johnson  -  Louis  Calhern),  with 
Robert  Pirosch  directing. 

Coming  up  later  in  January  will  be:  "Pat 
and  Mike"  (Spencer  Tracy  -  Katharine  Hep- 
burn), with  George  Cukor  directing  for 
producer  Lawrence  Weingarten:  and  "Three 
Love  Stories,"  a  trilogy  for  which  Leslie 
Caron  and  Pier  Angeli  have  thus  far  been 
handed  starring  assignments.  Gottfreid 
Reinhardt  will  direct  the  latter  for  producer 
Sidney  Franklin. 

Completed  since  the  last  Sizeups  report 
are:  "The  Girl  In  White"  (June  Allyson - 
Arthur  Kennedy),  the  Technicolor  musical, 
"The  Merry  Widow"  (Lana  Turner  -  Fer- 
nando Lamas),  "Scaramouche"  (Stewart 
Granger  -  Eleanor  Parker)  and  "The  Hour 
of  thirteen"  (Peter  Lawford  -  Dawn 
Addams.) 

MONOGRAM— AA 

12  Scripts  Ready,  6  in  Work 
Assures  Active  Year  For  Studio 

Final  screenplays  have  been  completed  on 
12  productions  for  Monogram  and  Allied 
Artists,  assuring  a  steady  rate  of  production 
through  April.  In  addition,  six  other  scripts 
are  well  along  toward  completion,  and  at 
least  a  part  of  them  may  be  sandwiched  into 


the  production  schedule  for  the  first  four 
months  of  the  new  year. 

Ready  to  go  are:  "The  Ottawa  Story"  and 
"Down  Periscope,"  to  be  produced  by  Lind- 
sley  Parsons;  "The  Sea  Tiger,"  a  William 
Broidy  production;  "Timber  Wolf,"  to  be 
produced  cooperatively  by  Parsons  and 
Broidy ;  "Hiawatha"  and  "African  Treasure," 
both  to  be  made  under  the  personal  guidance 
of  executive  produced  Walter  Mirisch; 
"Bowery  Leathernecks,"  a  Jerry  Thomas- 
Bowery  Boys  production;  "Jet  Job,"  to  be 
made  by  Ben  Schwalb;  "The  Wild  Land," 
assigned  to  producer  Peter  Scully;  "Texas 
Marshall"  and  "Dead  Man's  Trail,"  both 
Vincent  M.  Fennelley  productions;  and 
"Yellow  Knife,"  a  Walter  Wanger-Allied 
Artists  picture. 

At  least  five  of  the  pictures  slated  for 
production  during  the  first  quarter  of  the 
new  year  will  be  filmed  on  location,  prob- 
ably a  record  for  the  company.  Moreover, 
budgets  on  all  of  the  productions  are  re- 
portedly set  at  considerably  higher  figures 
than  the  normal  set  for  1951. 

Production  tapered  off  considerably  during 
December,  with  only  one  picture  rolling. 
The  single  entry,  "Wild  Stallion,"  started 
December  7,  with  Lewis  Collins  directing 
a  cast  headed  by  Ben  Johnson,  Edgar 
Buchanan  and  Barbara  Wodell.  Walter 
Mirisch  produced  the  Cinecolor  sagebrusher. 

"Jet  Job,"  a  Stanley  Clements  starrer, 
originally  set  to  roll  in  December,  will  get 
away  on  January  3,  with  Ben  Schwalb  pro- 
ducing. Jerry  Thomas  expected  to  get  his 
"Bowery  Leathernecks"  away  on  January 
15,  with  Leo  Gorcey,  Huntz  Hall  and  the 
Bowery  Boys  starred. 

PARAMOUNT 

8  New  Starters— 5  Tinted— Set 
To  Roll  in  First  Quarter  Of  '52 

Paramount  bosses  Barney  Balaban  and  Y. 
Frank  Freeman  are  determined  to  let  no 
grass  grow  under  the  feet  of  the  workers 
at  this  studio  in  the  months  ahead.  Eight 
productions  have  been  set  to  roll  in  the  first 


BARNEY  BALABAN 

No  Grass  Underfoot 


three  months  of  the  new  year,  three  of  them 
in  January.  Five  of  the  pictures  on  the  first 
quarter's  slate  will  be  in  Technicolor. 

January  starters  will  be:  Pine-Thomas' 
"Caribbean  Gold"  (John  Payne  -  Arlene 
Dahl),  Technicolor  production  to  be  directed 
by  Edward  Ludwig,  starting  January  3; 
"War  of  the  Worlds,"  as  yet  uncast,  to  be 
directed  by  Byron  Haskin  for  producer 
George  Pal,  starting  January  15,  and  "Stalag 
17,"  William  Wilder  producing  and  direct- 
ing, with  a  January  28  starting  date.  No 
cast  has  been  set  on  "Stalag,"  inasmuch  as 
Charlon  Heston,  originally  set  for  the  lead, 
was  withdrawn  just  prior  to  this  writing. 

Coming  up  during  February  and  March 
will  be  Hal  Wallis'  "Come  Back,  Little 
Sheba,"  Nat  Holt's  "Hurricane  Smith," 
Pine-Thomas'  "Tropic  Zone,"  Joseph  Sis- 
trom's  "Persian  Gulf,"  and  Paul  Jones'  "The 
Sad  Sack." 

Currently  filming  are:  "Jumping  Jacks,"  a 
Hal  Wallis  production,  starring  Dean 
Martin  and  Jerry  Lewis,  with  Norman 
Taurog  directing,  and  "Botany  Bay,"  Tech- 
nicolor production  starring  Alan  Ladd, 
Patricia  Medina  and  James  Mason,  with 
John  Farrow  directing  for  producer  Joseph 
Sistrom. 

"Famous,"  the  new  Technicolor  Bing 
Crosby  -  Jane  Wyman  starrer,  was  the  only 
picture  to  wind  during  December.  Elliott 
Nugent  directed  for  producer  Pat  Duggan. 

Future  Paramount  advertising  budgets 
and  promotional  plans  will  be  on  a  picture- 
to-picture  basis,  Jerry  Pickman,  ad-publicity 
head,  has  revealed. 

"When  a  picture  has  potentials  over  and 
above  the  average,"  Pickman  told  the  Holly- 
wood press,  "extra  handling  will  be  planned 
for  it." 

This  applies  to  such  highly  touted  features 
as  "My  Son  John,"  which,  incidentally 
shapes  up  as  one  of  the  finest  Hollywood 
pictures  in  many  years;  "Anything  Can 
Happen,"  "Carrie"  and  "The  Greatest  Show 
On  Earth." 

Paramount  has  revised  its  release  schedule 
and  will  distribute  only  four  new  features 
in  the  first  three  months  of  1952,  instead  of 
the  seven  previously  announced.  The  only 
January  release  will  be  "Hong-Kong,"  the 
Pine-Thomas  Technicolor  feature.  The  two 
February  features  are:  "Something  to  Live 
For"  and  "Sailor  Beware."  March  will 
witness  the  release  of  one  feature,  "Flaming 
Feather"  (Technicolor). 

REPUBLIC 

Studio  To  Produce  For  TV; 
Continues  Theatre  Production 

Republic  launches  its  new  television  pro- 
duction program  this  month,  with  the  start 
of  the  39-program  "Commando  Cody,  Sky 
Marshall  of  the  Skies,"  series.  The  TV  sub- 
sidiary, operating  under  the  banner  of 
Hollywood  Television  Service,  Inc.,  expects 
to  spend  $100,000  in  an  exploitation  program 
throughout  all  cities  serviced  by  the  tele- 
vision medium,  in  order  to  popularize  the 
Cody  character. 

(Continued  on  Next  Page) 


18 


FILM  BULLETIN 


STUDIO  SIZ6-UPS 

(Continued  from  Preceding  Page) 

The  production  of  features  for  theatres 
also  continues  at  a  normal  pace,  with  three 
pictures  filming  at  the  turn  of  the  year. 
"Gobs  and  Gals"  (Robert  Hutton  -  Cathy 
Downs),  a  new  musical,  has  been  in  work 
since  November  26,  with  R.  G.  Springsteen 
directing  the  high-budget  tunefilm  for  pro- 
ducer Sidney  Picker.  "Minnesota"  (Rod 
Cameron  -  Ruth  H  ussey  -  John  Agar),  an- 
other high-budgeter  being  filmed  in  Tru- 
color,  has  been  in  continuous  production 
since  December  3,  with  Joseph  Kane  doubl- 
ing as  producer-director.  The  most  recent 
starter  is  "Song  Of  Youth"  (Lynn  Bari - 
Bill  Shirley  -  Ray  Middleton),  a  musical 
based  on  the  life  of  composer  Stephen 
Foster.  The  cameras  started  rolling  on  this 
one  on  December  26,  with  Allan  Dwan  pro- 
ducing and  directing. 

One  other  production,  "Rangers  of  the 
Golden  Sage,"  a  medium-budgeted  sage- 
brusher,  was  started  and  completed  during 
December.  Fred  Brannon  directed  for  pro- 
ducer Rudy  Ralston,  with  Republic's  kid 
western  stars,  Eileen  Jansen  and  Michael 
Chapin,  heading  the  cast. 

Republic  is  getting  something  of  a  last 
laugh — albeit  a  feeble  one — in  the  recent 
hassle  with  Roy  Rogers  over  sale  of  his  old 
pictures  to  television.  Even  though  the 
court  restrained  the  company  from  going 
through  with  the  sale  of  the  old  Rogers 
properties,  it  is  going  to  pick  up  some  extra 
cash  through  the  reissuance  of  the  old  oaters 
to  the  theatre  circuits.  A  big  ad-publicity 
campaign  is  being  prepared  to  hypo  the  re- 
issues, starting  immediately  after  the  first 
of  the  year. 

RKO 

Setllement  Of  Wald-Krasna, 
Hughes  Dispute  Appears  Likely 

The  dispute  between  the  Jerry  Wald  - 
Xorman  Krasna  combo  and  Howard  Hughes 
appeared  to  be  on  the  verge  of  a  friendly 
settlement  as  Film  Bulletin  went  to  press. 
Such  an  agreement  would  make  certain  that 
the  producing  team,  whose  option  expired 
last  month  without  being  renewed,  will  re- 
main in  the  RKO  fold,  where  they  just 
started  production  on  "This  Man  Is  Mine," 
their  fourth  feature  for  this  company. 

Sources  close  to  Howard  Hughes  tell  that, 
almost  without  exception,  the  productions 
now  in  preparation  for  1952  filming  will  be 
budgeted  at  over  a  million  dollars.  Color 
also  will  play  an  important  part  in  the 
year's  production,  as  the  company  carries 
out  Hughes'  plan  to  eliminate  all  "B"  pic- 
tures in  favor  of  a  straight  Class  A  program. 

In  keeping  with  the  new  policy,  Hughes 
has  okayed  a  new  five-year  pact  with 
Edmund  Grainger  Productions  calling  for 
the  production  of  a  minimum  of  10  features, 
with  a  minimum  total  budget  of  $15,000,000. 

Further  indication  that  Hughes  was  not 
just  talking  for  publicity  when  he  announced 
the  dropping  of  the  low-budgeters  was  the 


HOWARD  HUGHES 

Million  Dollar  Budgets 


news  that  Tim  Holt's  contract  has  been  can- 
celled by  mutual  consent.  Holt's  sage- 
brushers  have  long  been  part  of  the  RKO 
production  schedule. 

Just  prior  to  Christmas,  production 
ground  to  a  complete  standstill  on  the  lot, 
following  the  completion  of  "The  Korean 
Story"  Edmund  Grainger  production  star- 
ring Robert  Mitchum  and  Ann  Blyth;  Wald- 
Krasna's  "Clash  By  Night"  (Barbara  Stan- 
wyck-Paul Douglas),  and  "Marshall  of 
Pecos,"  the  final  Tim  Holt  western.  "Korean 
Story"  required  97  days  of  filming,  and  was 
produced  ?.t  a  cost  of  approximately  $1,000,- 
000.  "Clash"  was  brought  in  by  producer 
Harriet  Parsons  on  about  the  same  nut. 

On  December  26,  the  lights  began  to  come 
up  on  the  soundstages  again,  with  the  start 
of  filming  on  the  above-mentioned  "This 
Man  Is  Mine"  (Robert  Mitchum-Susan  Hay- 
ward).  On  January  2,  "Man"  will  be  joined 
by  "The  Cook  Story,"  a  Filmakers'  Pro- 
duction based  on  the  exploits  of  the  young 
Oklahoma  killer  recently  sentenced  to  death 
by  the  California  courts.  Collier  Young  will 
produce,  with  Ida  Lupino  again  handling  the 
megging  chore.  Filming  starts  the  same  day 
on  Samuel  Goldwyn's  "Hans  Christian 
Andersen,"  which  RKO  will  release  under 
terms  of  their  long-term  deal  with  Goldwyn. 
Danny  Kaye,  Farley  Granger  and  ballerina 
Renee  Jeanmaire  will  be  starred.  On  Janu- 
ary 7,  the  new  Tony  Martin  musical,  "A 
Song  Forever,"  goes  before  the  cameras, 
carrying  a  budget  approaching  the  $2,0()0,- 
000  class.  James  V.  Kern  will  direct  for  pro- 
ducer Nat  Perrin. 

20th  CENTURY-FOX 

Fox  Leads  Production  Parade- 
Winds  Up  Year  With  10  In  Works 

20th  Century-Fox  wound  up  1951  at  the 
head  of  Hollywood's  production  parade.  Ten 
pictures  were  shooting  at  year's  end,  and  a 
pair  more  are  set  to  tee  off  the  1952  shooting 
calendar. 

Pictures  before   the   cameras   as   of  the 


last  week  in  December  were:  "Deadline,  U. 
S.  A."  (Humphrey  Bogart-Ethel  Barrymore- 
Kim  Hunter),  with  Sol  Siegel  producing  and 
Richard  Brooks  pirecting;  "Way  Of  A 
Gaucho"  (Gene  Tierney-Rory  Calhoun),  in 
Technicolor,  Philip  Dunne  producing, 
Jacques  Tourneur  directing;  "Dream  Boat" 
(Clifton  Webb-Anne  Francis),  Sol  Siegel 
producing,  Claude  Binyon  directing;  "Cry 
of  the  Swamp"  (Jean  Peters-Jeffrey  Hunter- 
Walter  Brennan),  in  Technicolor,  Robert 
Jacks  producing  and  Jean  Negulesco  direct- 
ing; "Don't  Bother  To  Knock"  (Richard 
Widtnark-Marilyn  Monroe),  Roy  Baker  di- 
recting for  producer  Julian  Blaustein; 
"We're  Not  Married"  (Eddie  Bracken-Mitzi 
Gaynor),  Nunnally  Johnson  producing,  Ed- 
mund Goulding  directing;  "What  Price 
Glory"  (James  Cagney-Corinne  Calvet-Dan 
Dailey),  Sol  Siegel  producing,  John  Ford 
directing;  "Les  Miserables"  (Michael  Rennie 
-Debra  Paget),  Lewis  Milestone  directing 
for  producer  Fred  Kohlmar,  and  in  Africa, 
a  camera  crew  was  at  work  filming  back- 
grounds for  "Snow  of  Kilamanjaro,"  which 
will  go  into  active  production  on  the  sound 
stages  around  the  first  of  the  year. 

Completed  since  the  last  Size-Ups  report 
are:  "Outcasts  of  Poker  Flats"  (Anne 
Baxter-Dale  Robertson),  Joseph  Newman 
directing  for  producer  Julian  Blaustein;  "Dip- 
lomatic Courier"  (Tyrone  Power-Patricia 
Neal),  Henry  Hathaway  directing,  Casey 
Robinson  producing:  and  "Cry  of  the 
Swamp"  (Jean  Peters-Jeff  Hunter),  Jean 
Negulesco  directing  for  producer  Robert 
Jacks. 

Coming  up  later  this  month  are:  "How 
High  Is  Up?"  with  Henry  Levin  directing 
for  producer  Charles  Brackett,  and  two 
more  sequences  in  the  "Full  House"  feature, 
which  Andre  Hakim  in  producing  and 
Henry  Koster  directing. 

UNITED  ARTISTS 

Stars  Indicate  Interest  In 
Krim's  Plan  For  Profit-Sharing 

Upper  echelon  star  circles  are  buzzing 
with  talk  about  Arthur  Krim's  plan  to  line 
up  a  series  of  star-name  pictures  to  be 
made  on  a  participation  basis.  The  scheme, 
thus  far,  embraces  proposed  films  starring 
James  Stewart,  Cary  Grant,  Alan  Ladd, 
Gregory  Peck  and  Marlon  Brando.  Each  of 
the  stars  would  make  one  picture  per  year 
for  UA  release,  and  would  be  compensated 
by  receiving  a  major  share  of  the  picture's 
ownership,  in  lieu  of  their  usual  salaries. 

The  payoff  under  such  an  arrangement 
would  be  on  a  continuing  basis,  following 
the  film's  initial  release,  via  television  and 
residual  rights.  Music  Corporation  of 
America  is  reputedly  an  integral  part  of  the 
plan,  and  would  probably  serve  as  a  pack- 
aging agency.  Independent  producers  would 
be  selected  to  handle  the  productions,  after 
UA  and  MCA  have  arranged  for  the  first 
money  through  bank  backing. 

Krim  is  understood  to  be  of  the  opinion 
that  this  plan  offers  the  fastest  and  surest 

(Continued  on  Page  22) 


DECEMBER   31.    19  5  1 


19 


The  greatness.,  the 
of  the  last  Untamec 


[lory. .  the  fury... 
'rentier!  , 


ft  ORI  NELSON  •  JAY  C.  FLIPPEN  •  STEPIN'  F  ETC  HIT*  Screenplay  by  BORDEN  CHASE  •  Directed  by  ANTHONY  MANN  •  Produced  by  AARON  ROSENBERG 


STUDIO  SIZ6-UPS 

(Continued  from  Page  19) 

means  of  reestablishing  United  Artists  as 
a  top-flight  distribution  organization. 

Clarence  E.  Greene  and  Russell  Rouse, 
who  are  committed  to  make  three  pictures 
for  Harry  Popkin  to  be  released  by  UA,  will 
launch  their  first,  "The  Thief,"  on  January 
4.  Greene  will  handle  the  production  chores, 
with  Rouse  behind  the  megaphone.  As  of 
this  writing  the  cast  has  not  been  announced. 
As  soon  as  "The  Thief"  gets  underway, 
Greene  will  immediately  launch  the  second 


ARTHUR  KRIM 

Plans  Star-Participation  Deals 


of  the  three  pictures  for  which  Popkin  is 
committed,  with  Leo  C.  Popkin  moving  in 
to  take  over  the  direction. 

Also  slated  for  a  late  January  start  is 
"The  Mark  of  Monte  Cristo,"  which  Eugene 
Frenke  will  produce,  from  an  original 
screenplay  by  Harold  Young.  The  picture 
will  be  filmed  in  Cinecolor.  No  director  or 
cast  has  been  set. 

UNIVERSAL-INTERNATIONAL 

Year-Long  Fete  To  Observe 
U's  40th  Anniversary  As  Major 

Universal-International  will  observe  the 
40th  anniversary  of  Universal  Pictures  as 
a  major  producing  and  distributing  com- 
pany with  a  year-long  celebration,  keynoted 
by  "the  most  ambitious  production  program" 
in  the  organization's  history. 

Heavy  use  of  Technicolor  and  big  star 
names  will  be  a  feature  of  the  celebration. 
Undoubtedly  profit  participation  deals  will 
be  worked  out  in  increasing  numbers,  in 
order  to  corral  the  "name"  talent.  The  slate 
for  1952  calls  for  the  production  of  36 
features,  with  more  than  half  of  them  ear- 
marked for  color  processing. 

Distribution-wise,  the  company  will  back 
its  1952  releases  with  the  biggest  pro- 
motional effort  in  U-I  history.  Not  only 
will  there  be  a  record  budget  for  newspaper, 


radio  and  magazine  advertising,  but  plans 
are  being  formulated  to  stage  a  one-com- 
pany "Movietime  U.  S.  A."  campaign,  with 
numerous  personal  tours  featuring  U-I 
players. 

The  studio  wound  up  1951  in  a  blaze  of 
production  activity  second  only  to  20th 
Century-Fox.  In  all,  five  pictures  were 
before  the  cameras  during  the  final  days  of 
December.  They  were  "The  Duel  at  Silver 
Creek"  (Technicolor),  with  Don  Seigel  di- 
recting, Leonard  Goldstein  producing,  and 
Audie  Murphy,  Faith  Domergue  and  Stephen 
McNally  starred;  "Scarlet  Angels"  (Tech- 
nicolor), with  Leonard  Goldstein  producing, 
Sidney  Salkow  directing,  and  Yvonne  De- 
Carlo  and  Rock  Hudson  starred;  "The  Un- 
tamed" (Technicolor),  with  Leonard  Gold- 
stein producing,  Hugo  Fregonese  directing, 
and  Joseph  Cotten,  Shelley  Winters  and 
Scott  Brady  starred;  "Francis  Goes  to  West 
Point"  (Donald  O'Connor-Lori  Nelson), 
Arthur  Lubina  directing  for  producer 
Leonard  Goldstein;  and  "Lost  In  Alaska" 
(Bud  Abbott-Lou  Costello),  Howard  Chris- 
tie producer,  Jean  Yarbrough  director. 

Three  new  features  will  roll  in  January: 
"Against  All  Flags"  (Technicolor),  an  Errol 
Flynn  -  Maureen  O'Hara  starrer  to  be 
produced  by  Howard  Christie  and  directed 
by  George  Sherman,  starting  January  4; 
"Sally  and  Saint  Ann"  (Ann  Blyth), 
Rudolph  Mate  directing  for  Leonard  Gold- 
stein,  starting  January  10;  and  "My  True 
Love"  (Tony  Curtis-Piper  Laurie),  Douglas 
Sirk  directing  for  producer  Ted  Richmond, 
starting  January  15. 

WARNER  BROTHERS 

WB  To  Produce  47  In  '52; 
Ask  Exhibitors'  Cooperation 

Jack  L.  Warner,  in  a  late  December  an- 
nouncement to  the  Hollywood  press,  dis- 
closed that  his  studio  will  produce  the  near- 
record  breaking  total  of  47  pictures  during 
the  year,  and  urged  the  fullest  cooperation 
of  theatremen  in  selling  the  industry's 
product  in  the  New  Year. 

"Never  before  has  there  been  such  a  vital 
need  for  a  program  of  close  cooperation  be- 
tween the  producers  and  those  who  exhibit 
their  pictures,"  Warner  said.  "We  are  de- 
termined to  work  closer  than  ever  before 
with  the  exhibitors,  and  we  shall  accept 
their  guidance  in  production  planning.  In 
return,  we  only  ask  that  our  customers  show 
an  equal  willingness  to  extend  all-out  efforts 
in  selling  this  merchandise." 

Exhibitors,  of  course,  will  be  watching 
with  keen  interest  what  effects  this  pro- 
duction spree  will  have  on  the  quality  of 
the  Warner  product.  There  are  those  out 
here — and  elsewhere  in  the  industry — who 
argue  that  quantity  is  not  the  answer  to  TV. 

Following  are  the  47  films  which  Warner 
announced  for  1952,  along  with  their  pro- 
ducers: Robert  Arthur:  "The  Story  of  Will 
Rogers,"  "The  Sea  Chase,"  "Getting  Mother 
Married,"  'Here  Come  the  Girls,"  "Marriage 
'52,"  "Handle  With  Care,"  and  "The  Helen 
Morgan  Story."  Sam  Bischoff:  "The 
System"  and  "The  Torquoise."  Henry 
Blanke:    "The    Flame,"    "Broadway  Re- 


visited," "The  Iron  Mistress,"  "Green 
Light,"  "The  Grace  Moore  Story,"  and  "We 
Came  Out  Fighting."  William  Cagney  Pro- 
ductions: "A  Lion  Is  In  the  Streets."  Louis 
F.  Edelman:  "Four  Chaplains,"  "The  Jazz 
Singer,"  'Career  Girl,"  "Come  on,  Texas," 
"At  the  End  of  the  Rainbow,"  "Springfield 
Rifle,"  and  "Stop,  You're  Killing  Me."  Rudi 
Fehr:  "The  Desert  Song,"  "Burning  Day- 
light." Bryan  Foy:  "Alexander,  the  Big 
Leaguer,"  "The  Miracle  of  Our  Lady  of 
Fatima."  William  Jacobs:  "April  In  Paris," 
"Sally,"  "When  Old  New  York  Was 
Young,"  "Miss  America,"  "By  The  Light 
of  the  Silvery  Moon,"  "Hobby  Horses"  and 


JACK  L  WARNER 

Urges  Fullest  Cooperation 


"Calamity  Jane."  Norma  Productions:  "His 
Majesty  O'Keefe."  Melville  Shavelson:  "The 
Winning  Team."  Robert  Sisk:  "The  Story 
of  Sam  Houston,"  "Top  of  the  World," 
"Serenade,"  "Man  With  A  Gun,"  "Target 
Zero"  and  "Pawnee  Bill."  Sidney  Skolsky: 
"The  Story  of  Eddie  Cantor."  Milton  Sperl- 
ing's United  States  Pictures  Productions: 
"Dream  Street"  and  "Blowing  Wild."  David 
Weisbart:  'Golden  Trail,"  "Rear  Guard." 

Only  two  pictures  are  currently  in  pro- 
duction. "Alexander,  the  Big  Leaguer" 
(Doris  Day-Ronald  Reagan-Frank  Love- 
joy),  biopic  of  Grover  Cleveland  Alexander, 
started  December  12  with  Lewis  Seiler  di- 
recting for  producer  Bryan  Foy.  Robert 
Sisk's  production  of  "Man  With  A  Gun" 
(Randolph  Scott-Patrice  Wymore),  went 
before  the  Technicolor  cameras  on  Decem- 
ber 17  with  Felix  Feist  directing. 

Five  pictures  wound  during  December: 
"The  Crimson  Pirate"  (Burt  Lancaster),  di- 
rected by  Richard  Siodmak  "She's  Working 
Her  Way  Through  College"  (Virginia  Mayo 
-Ronald  Reagan-Gene  Nelson),  in  Techni- 
color, directed  by  Bruce  Humberstone  for 
Producer  William  Jacobs;  "You  Can't  Stop 
the  Marines"  (Frank  Lovejoy-Richard  Carl- 
son), Joseph  Lewis  directing,  Milton  Sperl- 
ing producing;  "This  Woman  is  Dangerous" 
(Joan  Crawford-Dennis  Morgan),  directed 
by  Felix  Feist  director,  produced  by  Robert 
Sisk,  and  "Mara  Maru"  (Errol  Flynn-Ruth 
Roman]f,  George  Douglas  directing. 


23 


FILM1  BULLETIN 


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from  the 

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V 


EXPLOITATION  PICTURE 


BLUE  YONDER'  PROVES  A  POINT 

Omaha  Grosses  Tops  After  Hoopla 


In  Omaha.  Nebraska, 
the  debut  of  Republic's 
"The  Wild  Blue  Yonder" 
elicited  the  following 
words  in  a  wire  to  sales 
chief  J.  R.  Grainger 
from  A.  H.  Blank,  chain 
operator.  whose  Or- 
pheum  was  chosen  for 
the  event:  "Audience  re- 
action has  been  abso- 
lutely wonderful  for 
world  premiere."  And 
then,  these  sentiments: 
"After  tremendous  pre- 
miere opening  Thursday 
night  we  anticipated  a 
possible  letdown,  but  in- 
stead picture  built  to 
best  Sunday  gross  of  the 
year  for  Orpheum." 

No  better  evidence  of  the  value  of  proper 
ballyhoo  to  boost  grosses  can  be  expected 
than  the  showing  made  by  this  Herbert  J. 
^  ates  production  AFTER  a  spectacular 
series  of  festivities  that  had  the  whole  town 
hopped  np.  That  several  stars  were  on 
hand  undoubtedly  was  an  important  factor 
in  the  opening  night  mob  scenes.  That 
the  Army  Air  Force  lent  considerable  as- 
sistance in  personnel  and  material  was 
another.  But  the  interest  that  carried  the 
grosses  to  new  highs  following  the  event 
is  proof  positive  that  an  exploitation  cam- 
paign, properly  done,  can  multiply  busi- 
ness. 

The  campaign  in  Omaha,  staged  by  field 
men  Bill  Saal.  Mort  Goodman  and  Mickey 
Gross  in  cooperation  with  the  theatre,  can 
serve  as  a  model,  at  least  in  part,  for  show- 
men everywhere.  A  I  .  S.  Air  Force  di- 
rective from  the  chief  of  staff  has  gone  out 
to  all  unit>  requesting  the  outfits  to  make 
available  bands,  displays,  equipment,  deco- 
rations and  personnel  to  aid  in  the  pro- 


motion for  "The  Wild 
Blue  Yonder"*  wherever 
it  plays. 

A  "Salute  to  the  Air 
Force"  civic  celebration, 
with  local  bigwigs,  mer- 
chants, vets'  groups, 
radio  and  newspapers 
teaming  in  the  town- 
wide  promotion,  is  a 
natural.  Air  Force 
heroes,  past  and  present, 
could  be  honored  in 
special  ceremonies  that 
would  work  most  ef- 
fectively in  promoting 
good  will  for  the  thea- 
tre, as  well  as  building 
interest  in  the  film. 
From  this  hub,  several 
promotional  spokes  are 
apparent.  Merchants  could  tie  this  in  by 
running  an  "Air  Force  Salute"  in  windows 
and  ads,  highlighting  the  display  with  stills 
and  equipment;  arrangements  might  be 
made  with  women  in  town  who  are  or  were 
members  of  the  Air  Force  to  be  your  guests 
at  a  special  performance;  opening-night 
invitations  in  the  town  premiere  could  be 
extended  to  civic,  military  and  naval  digni- 
taries, with  a  special  section  reserved. 

There  are  several  other  angles  to  be  ex- 
ploited in  the  campaign.  Marquee  values — 
Forrest  Tucker,  Wendell  Corey,  Vera 
Ralston.  Phil  Harris — are  high  ranking. 
The  whole-hearted  support  offered  by  the 
Air  Force  suggests  that  here  is  a  realistic 
and  authentic  depiction  of  the  mighty 
B-29's  and  their  vital  role  in  World  War  II. 

Since  there  is  so  much  available  to  sell 
in  "The  Wild  Blue  Yonder",  any  showman 
who  plays  it  without  taking  advantage  of 
the  opportunities  offered  is  merely  tossing 
dollars  out  the  window — without  a  para- 
chute. 


Above,  Forrest  Tucker  addresses  the  crowds 
that  thronged  Omaha's  Orpheum  for  the  tvorld 
premiere. 

AIR  FORCE  CO-OP 

In  a  special  directive,  Col.  Arno  H.  Luehman, 
Deputy  Director  of  Public  Relations  for  the 
USAF,  requested  local  commanders  to  lend  the 
following  "cooperation*'  to  local  theatre  managers: 

Lend  Air  Force  equipment,  documents,  deco- 
rations, etc.  for  window  or  lobby  displays;  pro- 
vide a  list  of  present  and  former  Air  Force 
personnel  residing  in  the  area  to  whom  invitations 
may  be  sent  to  attend  premiere  showings:  furnish 
an  Air  Force  band  if  available  and  provided  that 
the  Band's  appearance  constitutes  a  part  of  a 
serious,  dignified,  semi-civic  ceremony;  furnish 
Air  Force  personnel  on  the  same  basis  as 'the 
foregoing. 

With  this  directive  (reproduced  in  the  press 
book)  as  a  guide,  the  theatreman  can  contact  the 
Air  Force  Recruiting  Officer  to  make  the  arrange- 
ments. If  the  town  does  not  have  a  Recruiting 
Station,  all  of  the  AF  installations  and  recruiting 
stations  near  each  Republic  branch  are  listed. 
More  than  1000  Recruiting  Stations  have  been 
alerted  to  help. 

Below,  some  of  the  display  newspaper  ads. 


THE  WILD  BLUE  YONDER 


The  giant  war  birds  that  were  so  instrumental  in  turning 
the  tide  of  battle  our  way  in  World  War  II,  the  B-29  Super- 
fortresses, are  the  subject  of  Republic's  "The  Wild  Blue 
Yonder'',  Herbert  J.  Yates'  personal  production  in  the  vein  of 
"Sands  of  Iwo  Jima".  Filmed  with  full  co-operation  of  the 
United  States  Air  Force,  the  pictures  traces  the  colorful  history 
of  the  war's  greatest  bird  of  battle  from  its  inception,  once 
labeled  a  preposterous  Air  Force  gamble,  to  the  devastating 
long  range  bombing  runs  on  Japan. 

In  the  leading  roles  are  Wendell  Corey,  Vera  Ralston, 
Forrest  Tucker  and  Phil  Harris,  with  Walter  Brennan  and  Ruth 
Donnelly  in  important  featured  spots.  Corey  is  seen  as  a  pilot 


who  locks  horns  with  his  commanding  officer,  played  by 
Tucker,  both  over  performance  of  duty  and  for  the  affections 
of  Miss  Ralston,  a  nurse.  The  combat  scenes  are  especially 
effective,  climaxed  by  the  big  day  when  152  B-29s  set  out  to 
bomb  Tokyo.  It  is  here,  too,  that  the  melodramatics  reach 
their  heights  as  Tucker,  accused  of  cowardice,  vindicates  him- 
self with  aburst  of  heroism  at  the  cost  of  his  life.  A  quartet  of 
tunes  are  heard:  the  Air  Force  traditional  tune,  of  course:  the 
"Heavy  Bomber  Song,"  "The  Man  Behind  the  Armor-plated 
Desk"  and  the  fabulous  novelty  song  that  swept  the  nation 
earlier  this  year,  "The  Thing."  delivered  in  the  inimitable 
Harris  style. 


Kramer's  Version  of  Stage  w 
Hit  Wins  Kudos  As  'Major  Event' 


QUOT6S 


What  the  Newspaper  Critics  Sag  About  New  Films 


There  was  a  seldom-achieved  meeting  of 
critical  minds  as  the  New  York  newspaper 
reviewers  unleashed  their  store  of  descrip- 
tive superlatives  in  their  lavish  praise  of 
Stanley  Kramer's  (for  Columbia  release) 
filmization  of  the  Broadway  hit,  "Death  of 
a  Salesman."  In  fact,  most  of  the  critics 
emphasized  moviedom's  recent  show  of 
superiority  in  translating  stage  successes  in 
to  screen  gems.  They  also  point  out  that  the 
depressing  tone  of  the  script,  which  does 
not  detract  from  the  picture's  excellence, 
may  not  meet  with  the  approval  with  many 
diversion-seeking  moviegoers. 

Bosley  Crowther,  of  the  Times,  is  high 
in  his  praise  of  the  industry  for  giving  the 
world  an  opportunity  to  see  "this  shattering 
drama  at  what  is  probably  its  artistic  best." 
It  i-.  he  pointed  out,  "dismally  depressing, 
but  it  must  be  acclaimed  a  film  that  whips 
you  about  in  a  whirlpool  somewhere  close 
to  the  center  of  life." 

Like  Crowther,  the  World-Telegram's 
Alton  (  ook  riiuN  it  "a  more  emotionally 
effective  vehicle  on  the  screen  than  on  the 
stage."  He  describes  it  as  "one  of  the  richest 
experiences  our  town  offers  just  now." 

"With  this  picture,"  says  the  Post's  Archer 
Winsten,  "the  Stanley  Kramer  Company, 
which  has  consistently  maintained  its  canny 
pace  one  step  ahead  of  the  crowd,  takes  two 
giant  strides  forward."  He  refers  to  it  as 
"strong,  tragic  stuff"  that  has  not  "been 
watered  down  for  movie  public  consump- 
tion." 

In  the  Herald-Tribune,  Otis  Guernsey 
-ay-  tin  "treatment  is  disturbing  only  in  the 
good  sense."  Describing  it  as  "virtually  a 
closeup  of  the  play,"  Cook  says,  jn  summary 
"though  it  has  acquired  its  distinction  partly 
by  proxy,  it  is  a  major  movie  event." 

"A  brilliant  screen  version,"  comments 
Kose  Pelswick,  of  the  Journal-American, 
who  lists  ii  ;is  "powerful,  emotion-shatter- 
ing drama,"  an  expertly  produced,  directed 
and  played  film  that  is  "bound  to  be  listed 
among  the  year's  finest." 

DECISION  BEFORE  DAWN' 

20th  CENTURY-FOX 

"A  picture  to  ^ive  patrons  an  exciting 
time  in  the  theatre  and  a  thoughtful,  perhaps 
disturbing,  aftermath  .  .  .  Spurs  taut  sus- 
pense to  almost  unbearable  heights."  — 
Cook,  X.  Y.  World-Telegram. 

"Kind  of  spy  story  that  tests  the  tensile 
Strength  of  your  nerves  .  .  .  Most  effective 
thriller,  designed  to  freeze  its  audience  in 
d.lectably  uncomfortable  ed^c-of-the-seat 
Position  .  Taut  as  a  bowstring  and  visu- 
ally interesting  in  every  scene  .  .  .  First- 
rate  Spy  story  of  the  modern  realistic 
,c| '      Guernsey,  X.  Y.  Herald-Tribune. 

"Packed  not  only  lots  of  thrills  but  a 
<  tear  and  cold  look  at  Western  Germany  in 
tlM  la-,  y,ar  ,„-  Worl.l  War  1 1."— Crowther, 
N.  Y.  Times. 

"Quality  is  outstanding  .  .  .  Stays  within 
the  category  of  the  superior  spy  thriller, 


very  exciting  as  an  action  experiment  but 
nothing  to  sustain  second  or  third  thoughts." 
— Winsten,  X.  Y.  Post. 

"  Taut  iiid  absorbing  drama  .  .  .  Sets  and 
sustains  a  suspenseful  mood."  —  Pelswick, 
X.  Y.  Journal-American. 

'ELOPEMENT' 

20th  CENTURY-POX 

"Not  Belvedere  by  any  means  .  .  .  The 
quicker  Webb  gets  back  into  the  form-fitting 
role  of  Belvedere  the  better  for  us  movie 
fans." — Pihodna,  X.  Y.  Herald-Tribune. 

*'In  the  final  addition  you'll  find  that 
you've  been  shortchanged  on  fun  and 
laughter  in  the  plot." — Winsten,  X".  Y.  Post. 

"In  its  strenuous  attempt  to  be  cheerful 
and  polished,  this  decidedly  obvious  comedy 
of  errors  .  .  .  merely  stresses  its  pitifully 
limp  story."— A.  W.,  X.  Yr.  Times. 

"  Takes  neither  itself  nor  its  subject  seri- 
ously .  .  .  Just  a  romantic  trifle  .  .  .  Almost 
plotless  little  comedy." — Creelman,  X.  Y. 
World-Telegram. 

"Romance  and  laughs  highlight  this  .  .  . 
light-hearted  comedy  .  .  .  Aiming  solely  at 
being  amusing  .  .  .  succeeds  admirably." — 
Pelswick,  X.  Y.  Journal-American. 

'FLAME  OF  ARABY' 

UXIYF.RSAL 

"Children  are  entitled  to  their  entertain- 
ment at  this  time  of  the  year  .  .  .  Daddy  is 
very  likely  to  fall  asleep." — Cook,  X.  Y. 
W  orld- Telegram. 

"Burnoosed  horse  opera,  a  Western  with 
scimitars  instead  of  six-shooters  .  .  .  Tech- 
nicolor doings  are  active,  flamboyant  and 
simple  as  "They  went  thataway'  .  .  .  Routine 
show,  neat,  gaudy  and  pleasantly  incredible." 
 Guernsey,  X.  Y.  Herald-Tribune. 

"New  Technicolor  desert  romp  .  .  .  Full  of 
horses,  sand,  rocks,  pulchritude,  flowing 
veils  and  burnooses  .  .  .  Has  about  every- 
thing, in  fact,  except  the  kitchen  sink,  which 
is  where  it  belongs  .  .  .  Multi-colored  corn 
hash." — H.  H.  T.,  X.  Y.  Times. 

"One  of  those  horse-and-houri  things  with 
'thee'  and  'thou'  dialogue  that  sickens  those 
it  fails  to  enrapture." — Winsten,  X.  Y.  Post. 

"Adds  ii])  to  lightly  amusing  escapist 
fare." — Pelswick,  X.  Y.  Journal-American. 

I'LL  NEVER  FORGET  YOU' 

2()th  CENTURY-FOX 

"Piques  the  curiosity  with  its  supernatural 
developments  .  .  .  Balsa  wood  rendition  of 
the  'Berkeley  Square'  theme,  a  series  of 
inert  patterns  cut  from  weak  material  .  .  . 
Stiff  period  sham."  —  Guernsey,  X.  Y. 
Herald-Tribune. 

"Such  ponderous  crudity  that  all  the 
fragile  charm  and  wistful  pathos  of  the 
original  are  crushed  beneath  mass  ...  A 
thoroughly  un memorable  event." — Crowther, 
X.  Y.  'Times. 

"Extraordinarily  taut  drama  .  .  .  slides 
rapidly  downhill  into  the  Eighteenth  Cen- 


tury .  .  .  Middling  effort  .  .  .  will  stimulate 
the  unimaginative." — Winsten,  X.  Y\  Post. 

"Charm  of  the  original  has  been  removed 
and  the  lumbering,  never  quite  convincing, 
melodramatic  spirit  is  no  comforting  sub- 
stitute."— Cook,  X.  Y.  World-Telegram. 

PANDORA  AND  THE  FLYING 
DUTCHMAN' 

M-G-M 

"Curiously  mystic  and  sometimes  precious 
.  .  .  Long  and  fairly  polished  drama  .  .  . 
shines  only  fitfully." — A.  \Y.,  XT.  Y.  Times. 

"Human,  or  superhuman,  element  is  both 
pretentious  in  design  and  superficial  in  effect 
.  .  .  Erratic  movie  .  .  .  more  turbulent  than 
convincing."  —  Guernsey,  X.  Y.  Herald- 
Tribune. 

"The  talk,  those  conversations,  are  simply 
and  overwhelmingly  too  damned  long  .  .  . 
Assays  low  in  foot-pounds  of  oomph." — 
Winsten,  X.  Y.  Post. 

"Plods  along  through  dialog  liberally 
sprinkled  with  fancy  quotations  .  .  .  Oc- 
casionally just  skirting  arty  absurdity." — 
Cook,  X.  Y.  World-Telegram. 

I  LL  SEE  YOU  IN  MY  DREAMS' 

WARNER  BROS. 

"Warm  and  cheerful  .  .  .  Music  is  most 
agreeably  done  .  .  .  It's  that  Danny  Thomas, 
however,  who  lifts  and  carries  off  this 
show." — Crowther,  X.  Y.  Times. 

"Doesn't  make  an  important  film,  but  it 
has  touching  sentimental  moments,  between 
the  well-remembered  songs."  —  Winsten, 
N.  Y.  Post. 

"Carefully  designed  to  please  every  one  in 
the  mildest  possible  way  .  .  .  Bland  and 
innocuous  .  .  .  Benevolent  trivia." — Guern- 
sey, X.  Y.  Herald-Tribune. 

"One  of  the  season's  top  musicals  .  .  . 
Warm,  melodious  picture,  sure  to  gladden 
the  already  merry  Yuletide."  —  Creelman, 
N.  Y.  World-Telegram. 

DOUBLE  DYNAMITE' 

RKO 

"Second-rate  screen  fare  which  is  all  the 
more  disappointing  because  it  was  promising 
.  .  .  Writer  ran  out  of  ingenuity  and  the 
director  helped  him  throw  sand  on  the 
flickering  fuse."  —  McCord,  X.  Y.  Herald- 
Tribune. 

"Whatever  that  sizzling  title  is  supposed 
to  mean,  this  thin  little  comedy  is  strictly 
a  wet  firecracker  .  .  .  Those  behind  the 
camera  .  .  .  apparently  were  as  long  on 
determination  as  they  were  short  of  inspira- 
tion."— H.  H.  T.,  X.  Y.  'Times. 

"It's  good  that  the  picture  mystifies.  Being 
neither  beautiful  nor  full  of  song  hits,  not 
very  funny  and  certainly  short  on  excite- 
ment, anything  that  stimulates  attention  is 
a  help."— Winsten.  X.  Y.  Post. 

"Frivolous  farce  .  .  .  Xo  musical  .  .  . 
Scries  of  comic  misadventures  .  .  .  Mood 
is  light  and  gay." — Pelswick,  X.  Y.  Journal- 
American. 


FILM     BULLET  IX 


EXHIBITORS  FORUm 

Opinions  Culled  from  Organization  Bulletins 


PROTECT  FIRST  RUNS 

Southern  Calif.  TOA 

The  membership  of  Southern  California 
Theatre  Owners  of  America  is  very  much 
upset  about  the  distributors  policy  of  selling 
first-run  pictures  to  individual  outlying  thea- 
tres, totally  disregarding  the  investment  in 
first-run  theatres. 

By  this  policy  they  are  reducing  the  value 
of  the  programs  playing  the  regular  first- 
run-.  a<  the  public  is  led  to  believe  that  these 
are  secondary  pictures. 

In  negotiating  these  long-term  runs,  the 
distributors  are  asking  that  the  bidder  in- 
corporate his  proposed  admission  prices  in 
the  bid.  This  is  being  used  in  some  cases 
as  a  device  to  circumvent  the  decision  of  the 
United  States  Supreme  Court  in  the  Para- 
mount case  against  including  admission 
prices  in  a  contract. 

The  pictures  which  have  been  released  to 
said  neighborhood  theatres  for  individual 
runs  have  not  been  generally  road  shown. 

As  a  result  of  this  policy  of  the  distri- 
butors, the  public  is  being  charged  excessive 
admission  prices  for  ordinary  pictures. 

Through  this  policy  of  licensing  pictures 
for  extended  runs,  the  natural  flow  of 
product  to  the  subsequent-run  theatres  is 
being  interrupted  and  consequently  these 
theatres  are  suffering  greatly  through  in- 
ferior bookings.  At  the  present  time  there 
are  164  closed  theatres  in  this  exchange 
area,  with  the  number  likely  to  increase  as 
the  result  of  this  threatened  curtailment  of 
normal  flow  of  product. 

These  pictures  are  purportedly  put  up  for 
bids.  However,  since  there  is  no  public 
opening  of  bids,  there  is  no  way  of  determin- 
ing whether  the  distributor  selects  his  own 
customer  regardless  >f  the  bids  filed. 

As  a  result  of  said  policy  of  unjustifiably 
granting  extended  runs,  the  public  will  soon 
become  convinced  that  unless  a  picture  plays 
on  an  extended-run  basis  at  advanced  ad- 
mission prices,  the  picture  is  not  one  worth 
seeing.  The  natural  effect  of  this  tendency 
will  be  to  concentrate  the  public's  patronage 
in  fewer  and  fewer  theatres. 

COOPERATION -A  GOOD  SIGN 

Indiana  Allied 

This  past  week  our  attention  was  called 
to  examples  of  what  can  be  done  in  the  way 
of  Distributor-Exhibitor  cooperation  in  sell- 
ing motion  pictures.  The  first  example  was 
Lippert's  handling  of  their  picture  "Lost 
Continent".  Lippert  rents  a  theatre  front  to 
the  exhibitor  booking  the  picture.  We  don't 
know  just  how  it  is  built  up  but  it  at  least 
is  an  exploitation  front  that  the  average  ex- 
hibitor could  not  afford  and  does  not  have 
the  personnel  to  create.  Our  informant  did 
not  enthuse  about  the  picture  but  he  said 
that  in  his  opinion  the  theatre  front  was 
responsible  for  doubling  his  average  busi- 
ness. If  Lippert  can  do  this  why  wouldn't 
it  be  just  as  good  an  idea  for  Metro  on  a 
picture  like  "King  Solomon's  Mines,"  RKO 


on  "Kon-Tiki."  Paramount  on  "When 
Worlds  Collide,"  and  others.  The  second 
instance  of  encouraging  cooperation  is  the 
agreement  of  several  Indianapolis  branch 
managers  to  visit  the  theatre  managers  in 
a  number  of  independent  circuit  situations 
during  this  circuit's  "United  Showmanship 
Week".  The  purpose  of  this  visit  will  be  to 
describe  the  film  companies'  forthcoming 
releases  and  to  specifically  help  with  the 
exploitation  of  one  of  the  earlier  bookings. 
The  branch  manager's  visit  will  not  only  be 
an  aid  to  the  specific  picture  on  which  he 
confers  but  also  will  contribute  to  increased 
selling  effort  for  all  their  product. 

HIGHER  RENTALS  SUICIDE 

Iowa-Nebraska  Allied 

Unfortunately,  the  upward  trend  of  the 
box-office  that  encouraged  us  in  September 
and  October  has  now  been  reversed.  Weak 
pictures,  TV,  the  high  cost  of  living  and 
taxes  probably  all  played  their  part.  And 
it  is  very  clear  the  distributors  have  no  in- 
tention of  accepting  their  fair  share  of  the 
present  low  boxoflfice,  if  they  can  possibly 
help  it.  Rather,  they  keep  demanding  ever 
higher  rentals  and  terms  (perhaps  as  a 
"come  on"  to  hold  their  own  line  and  get 
you  to  pay  present  prices  as  was  done  on 
several  pictures  recently).  We  may  rest  as- 
sured they'll  get  all  they  can;  that's  the 
salesmen  and  managers'  job,  a  rough  one, 
because  long  range,  their  jobs  are  also  de- 
pendent upon  exhibitor  prosperity. 

Under  these  circumstances,  the  exhibitor, 
to  whom  good  film  at  fair  prices  is  the 
number  one  problem,  has  no  alternative  but 
to  fight  all  attempts  to  up  his  film  rentals — 
to  fight  for  pictures  and  prices  that  will 
make  him  a  profit,  let  him  eat  and  keep  him 
in  business.  The  average  exhibitor  today  has 
little  if  any  leeway  in  his  costs,  except  film 
rentals.  He  cannot  cut  his  advertising;  he 
has  already  cut  his  other  overhead  to  the 
minimum.  Many  exhibitors  are  now  doing 
all  or  part  of  their  operating  and  janitor 
work.  Percentage  buying  certainly  isn't  the 
answer!  As  Col.  Cole  brought  out  at  the 
Xational  Convention,  the  average  theatre 
overhead  today,  exclusive  of  feature  film 
rental,  is  running  60%  or  more  of  the  gross. 
And  the  Col.  is  right;  we've  figured  it  in 
several  theatres.  All  ran  more  than  60%. 
Try  it  on  your  theatre;  you'll  likely  be  sur- 
prised. Obviously  then,  we  cannot  pay  35%, 
40%.  50%,  or  70%  feature  rental. 

Neither  can  we  raise  admission  prices.  The 
rank  and  file  of  our  patrons,  smarting  under 
higher  living  costs  and  taxes,  and  having  to 
live  within  a  slim  budget,  would  resent  that 
to  beat  hell!  Those  who  can  and  will  pay 
the  extra  admission  price  have  "seen  it  in 
Omaha  or  Des  Moines.  Sioux  City  or  Cedar 
Rapids,  St.  Louis  or  Chicago"  long  before 
you'll  get  it.  And  don't  let  the  distributors 
kid  ybu  on  percentage;  bigger,  higher  gross- 
ing theatres  than  yours  are  buying  them  all 
flat,  and  profitably!    This  we  know! 


CLICHES  WONT  HELP 

ATOI   of  Indiana 

We're  getting  pretty  tired  of  hearing  film 
salesmen  come  up  with  that  corny  cliche 
that  the  trouble  with  this  business  i-  that 
exhibitors  arc  lazy  and  never  exploit  a  pic- 
ture Probably  somebody  said  it  in  a  sales 
convention  someplace  and  now  we  suppose 
most  salesmen  repeat  it  an  average  of  four 
times  every  day.  Always  spoken  as  an  un- 
impeachable truth  that  they  arrived  at  only 
after  a  very  precise  and  scientific  analysis. 

It  is  observation  that  exhibitors  are  spend- 
ing more  time  and  effort  in  showman-hip 
and  exploitation  now  than  has  been  done  for 
year-.  We  also  believe  that  the  reception 
of  the  Movietime  plans  proved  that  exhi- 
bitors were  ready  and  able  to  get  out  and 
-ell  when  not  confronted  with  a  distributor 
sales  policy  that  took  away  all  of  their  in- 
centive. If  anybody  can  be  charged  with 
failing  to  do  their  part  in  selling  the  public, 
then  no  one  is  less  guilty  than  the  distri- 
butors. Has  a  salesman  ever  called  you  and 
said  in  effect:  "Our  company  has  a  picture 
booked  into  your  theatre  and  we  have  a  lot 
of  good  ideas  on  how  it  can  be  promoted. 
Can  I  come  into  your  town  for  a  half  day 
and  work  with  you  on  some  local  angles?" 

Do  you  think  any  other  manufacturer  of 
consumer  t;oods  drops  a  load  of  merchandise 
into  a  retail  store  and  then  gives  no  personal 
and  direct  sales  help ?  Hut  the  film  com- 
panies felt  SO  little  obligation  to  follow 
through  on  their  deals  that  they  even  turned 
over  their  advertising  accessories  to  an- 
other comnany.  Can  you  iniatrme  any  other 
business  telling  its  accounts  that  want  to 
make  a  window  display  or  a  counter  display 
the  name  of  a  firm  that  will  sell  them  the 
accessories. 

HOLD  YOUR  FIRE' 

North  Central  Allied 

Someplace  or  other  we  read  where  a  drive- 
in  operator  encouraged  crows  at  his  theatre. 
It  appears  that  they  are  excellent  scavengers 
and  do  a  great  job  of  KP  by  cleaning  up  all 
the  odds  ind  ends  of  foods  that  are  dropped 
or  discarded  in  a  drive-in.  We  can't  tell 
you  how  to  encourage  the  crows  to  come 
around,  but  we  pass  on  this  hint  so  that  you 
won't  shoot  them  or  shoo  them  if  you're 
lucky  enough  to  have  these  cleaners-uppers. 

POPCORN  AND  OPS 

North  Central  Allied 

Several  exhibitors  have  made  inquiry 
about  the  applicability  of  the  rules  and  regu- 
lations of  OPS  to  their  theatre  operations. 
Admissions  are  not  subject  to  the  regula- 
tions. However,  candy,  popcorn,  food,  etc. 
sold  in  lobbies  or  concession  stands  come 
under  the  regulations  and  exhibitors  must 
file  the  proper  form  with  the  nearest  OPS 
office.  If  you  desire  further  information,  get 
in  touch  with  this  office  or  OPS. 


DECEMBER    31,    19  5  1 


27 


m/kuu 

ixutdi  tuuttt 

das  ike  most 

DlAf 

witk 

utdqtekdetd 


PRODUCTIOn 
&  R€L€flS€ 


R6CORD 


COLUMBIA 


1951-52  Features 
Serials 
Westerns 


Completed 
Completed 
Completed 


(51  ) 
(  3) 
(16) 


In  Production  (  I  ) 
In  Production  (0) 
In  Production    (  I  ) 


RELEASE  CHART 

—  1951-52  — 


Cast 
Autry-Buttram 
Laine-Daniels 
Crawford-Hale 


Re 


IN  PRODUCTION 

TITLE — Running  Time 
Barbed  Wire 

Rainbow  Round  My  Shoulder  ICI 
Sabre  and  the  Arrow,  The  IT) 

COMPLETED 

Barefoot  Mailmen.  The  ISC)  183) 
Big   Gusher.    The  I6BI 
Boots  Malone  1103) 
Brave  Warrior 

Brigand.   The  IT)    

Captain  Blood,  Fugitive 
Clouded  Yellow,  The  196) 
Corky  of  Gasoline  Alley  170) 

Congo  Bill  

Chain  of  Circumstance  (48)   M.  Feld-R.  Grayson  8-51 

Criminal  Lawyer  (73)    O' Brien-Wyatt 


R.  Cummings-T.  Moore 

Morris-Foster 

Holden-Clements 

Jon  Hall 

Dexter-Lawrence 

Louis  Hayward 

Simmons-Howard 

S.  Beckett-J.  Lydon 

McGuire-Moore  


I  1-51 
7-51 
1-52 


9-51 


Cripple  Creek 
Cyclone  Fury  (54) 
Dark  Page 

Death  Of  A  Salesman 
European  Edition 
Family  Secret.  The  (85) 

Firefighters,  The   

First  Time,  The 

Five  193)   . 

Four  Poster,  The 
Golden  Hawk 
Harem  Girl,  The 


Harlem  Globetrotters.  The    

Hawk  ol   Wild    River.  The 

Her  Wonderful  Lie  

Hurricane  Island  (C)  

Hills  of  Utah  149)     

Jungle  Jim  in  the  Forbidden  Land 

Jungle   Manhunt   144)   _ 

Jungle  Safari     

Kid  From  Amarillo  (54) 

Lady  and  the  Bandit,  The  (78) 

Laramie  Moutains 

Magic  Carpet  (C)  184) 

Magic  Face.  The  189) 

Man  In  the  Saddle  IT)  187) 

Marrying   Kind.  The 

Mask  of  the  Avenger   (T)  (83) 

Mob.  The  (87) 

My  Six  Convicts 

Never  Trust  A  Gambler  (79)   

Night  Stage  to  Galveston 

Old  West,  The 

Paula 

Pecos  River  154) 
Pickup  180) 
Purple  Heart  Diary 

Riders  of  the  Whistling  Pines  . 

Rough.  Tough  West 
Saturday's  Hero  (III) 
Smoky  Canyon 
Sniper  The 
Son  of  Dr.  Jekyll  178) 
Sound  Off 

Sunny  Side  of  the  Street  (71)" 

Ten  Tall  Men  (T)   (97)  _ 

Thief  of  Damascus  The 
Valley  of  Fire  ICI  (42) 
War  Cry  (C) 

Whistle  at  Eaton  Falls,  The  (90) 


...Montgomery- Booth 
Starrett-Burnette 

Crawford-Derek   

March-Dunnock  

Glen  Ford   

..Derek-Cobb 

Williams-Reynolds   

Cummings-Hale   

.  S.  Douglas-W.  Phipps 

Harrison-Palmer    

Fleming-Hayden 
Davis-Castle 
..Gomez-Dandridge 
Starrett-Burnett 

Kieoura-Eggerth  

.Hall-Windsor  

Autry-Buttram         .  . 

Weissmuller-Ryan   

...Weissmuller-Ryan 

Weissmuller-Greene   

Starrett-Burnette 

.  Hayward-Medina    

Starrett-Burnett 
Ball- Agar 
_Adler-Knight 

Scott-Leslie 
..Holliday-Harrison 
Derek-Ouinn 
B.  Crawford-Buehler 
Beel-Mitchell 
..Clark-O'Donnell 
.  Autry-Buttram 
Autry-Davis 
Young-Smith 
Starrett-Burnette 
Haas-Michaels 
F.  Lanaford-T.  Romano 
..Autry-White  


8-51 


7-5 1 
9-51 


10-51 
9-51 
12-51 


12-51 
8-51 
12-51 


Starrett-Burnett 
Derek-Reed         .  .. 
Starrett-Burnette 
.  Meniou-Franz 
Haywjrd-Knox 
_  Mickey   Rooney  _ 
_  Lane-Daniels 
_  Lancaster-Lawrence 
Henreid-Sutton  _ 
Autry-Barnett 

_  .  Montgomery-Long   

 Bridges-Gish   ..  _. 


LIPPERT 


1951-52  Completed   (30)       In  Production  (0) 

RELEASE  CHART 

—  1951-52  — 

COMPLETED 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

As  You  Were   _   Tracy-Sawyer    10-5  5023  

Bandit   Queen  Britton-Parker  12-15  5010  

FBI   Girl   Romero-Totter     10-24   .  5002  ...10-19 

For  Men  Only   _   p.   Henreid  1-52   

G.  I.  Jane  (42)   Porter-Neal      7-*  50 1 2  9-24 

Great  Adventure,  The  1751  Price-Hawkins    11-2    .  5021  

Highly  Dangerous  (81)  _  Clark-Lockwood   10-12  .5029  

Leave  It  To  The  Marines  144)  S.  Melton-M.  Lynn    9-2 ......  5005  

Lost  Continent  Romero-Brooke      -  8-27  ...  5004  9—10 

Man  Bait   Brent-Chapman  1-52 

Outlaw  Women   Windsor-Rober  5105 

Stolen  Face,  The  _   Henreid-Scott  _   _  

Sky  High  (40)  .  S.  Melton-M.  Lynn   10-19  ...5024  

Superman  and  The  Mole  Men  (58)     Reeves-Coates  11-23  5030 

Tales  of  Robin  Hood  Clarke-Hatcher    12-21  5008  

Unknown  World    (43)   _   Kellogg-Nash    10-24  ...  5101  

Varieties  On  Parade  Rose-Carroll  7-20 — 5020  

Yes  Sir.  Mr.  Bones  (54)  _   F.  Miller    _       7-13..   5019  9-24 

DECEMBER    31,    195  1. 


In  the  Release  Chart,  "Rel."  is  the  National  Release  Date. 
"No."  is  the  release  Number.  "Rev."  is  the  issue  in  which  the 
Review  appeared.  There  may  be  variations  in  the  running  time 
in  States  where  there  is  censorship.  All  new  productions  are 
on  1950-51  programs  unless  otherwise  noted.  (T)  immedi- 
ately following  title  and  running  time  denotes  Technico  or, 
(C)  Cincolor,  (SO  Supercinecolor,  (TR)  Trucolor, 
(A)  Anscolor.   


METRO -C  OLD  WYN-MAYER 


1951-52  Features        Completed  (75) 


In  Production  (2) 


RELEASE  CHART 

_  1951-52  — 


IN  PRODUCTION 

TITLE — Running  Time 
Carbine  Williams 
Because  You're  Mine  IT) 

COMPLETED 

Across  the  Wide  Missouri  IT)  178) 
American  in  Paris  IT)  1113) 

Angels  in  the  Outfield  1102)   

Because   Your  Mine 

Belle  of  New  York  IT)  

Bannerline  188) 

Callaway  Went  Thataway  (81)  — 
Calling  Bulldog  Drummond  (80) 

County  Line     

Excuse  My  Dust  IT)  (82)  

Girl  In  White,  The 
Glory  Alley 

Great  Caruso.  The  IT)  11091 

Hour  of  Thirteen.  The 

Invitation  The 

It's  A  Big  Country  (89) 

Ivanhoe   1  I )  —    -  - 

Just  This  Once  — 

Kind  Lady  1781 

Law  and  the  Ladv.  The  (104)   

Light  Fantastic,  The  (81) 

Light  Touch.  The  (93)   

Lone  Star  194) 

Love  Is  Better  Than  Ever 

Lovely  To  Look  At  (T)  _    - 

Man  With  A  Cloak  188) 

Merry  Widow,  The  IT)     — 

Mr.  Imperium  (T)  (87)  

Pandora  and  the  Flying  Dutchman 

People  Against  O'Hara  [102)  -. 

Quo  Vadis   (T)  (171)   

I  Was  a  Stranger    

Red  Badqe  of  Courage  149) 

Rich,  Young  and  Pretty  IT)   (95)  - 

Scaramouche   

Sellout,  The 
Shadow  in  the  Sky 

Show  Boat  IT)  1.108)   

Singin'  In  The  Rain  IT)  

Skirts  Ahoy  —  

Strictly  Dishonorable  195)   

Strip,    The  (85)   

Talk  About  a  Stranqer 

Tall  Target,    The  (78)   

Teresa    1105)  _  _   

Texas  Carnival   IT)  (77)    

Too  Youna  To  Kiss  (91)   

Unknown   Man.  The  184) 
Westward  the  Women  1114) 

When  In  Rome      _   ...    _  —   

Wild  North  Country,  The  (A)  

Young  Man  in  a  Hurry    


Gable-Hodiak 

Kelly-Caron 

Douglas-Leigh 

Lanza-Whitmore 

Astaire-Vera-Ellen 

Forrest-Braselle 

MacMurray-McGuir< 

Pidgeon-Leighton 

Pidgeon-Hodiak 

Skelton-Forrest 

Allyson-Kennedy 

Caron-Meeker 

Lanza-Blyth 

Lawford-Addams 

McGuire-Johnson 

All  Star 

R.  Taylor-E.  Taylor 

Leigh-Lawford 

Barrymore-Evans 

Garson-Wilding  _ 

Taylor-Parks 

Grainger-Angeli 

Gable-Gardner 

E.  Taylor-L.  Parks 

Gray  son-Skel  ton 

Cotten-Stanwyck 

Turner-Lamas 

Turner-Pinza 


Oct 
Nov 
Sep 


Oct 
Dec 
Dec 


10-22 
9-24 
8-27 


4-23 

12-17 


3-  52 
July 
July 

Dec 
2-52 

4-  52 

Oct 
Sep 


207 
203 


Mason-Gardner 
Tracy-O'Brien 
Taylor-Kerr 
Whitmore-Davis 
Murphy-Mauldin 
Powell-Damone 
S.  Granger-E.  Parker 
Pidgeon-Totter 
Meeker-Da  vis-Whitmore 
Gardner-Keel 


Sep 
Aug 


Kelly-O'Connor 
Williams-Blaine 
Pinza-Legih  - 

Rooney-Forrest   

Murphy-Davis 
Powell-Raymond 

Angeli-Erickson   

Williams-Skelton 

Ailyson-Johnson 

Pidgeon-Harding 

Taylor-Darcel 

Johnson-Douglas 

Granger-Corey 

Roman-Nype 


July 
Aug 
4-52 
Aug 
July 
Oct 


8-  13 
3-12 

9-  24 


MONOGRAM  -  ALLIED  ARTISTS 


1951-52  Features 
Westerns 


Completed  (39) 
Completed  (15) 


In  Production  (  I  ) 
In  Production  (0) 


RELEASE  CHART 

—  1951-52  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast 
Wild-Stallion   IC)  -   Johnson-Hyer 

COMPLETED 

Aladdin  and  His  Lamp  IC)    (471  Medina-Sands 
Casa   Manana    173  Forbes-Herlihy  _ 

Counterfeit      _   DeFoe-King  

Crazy  Over  Horses   (45)  Gorcey-Hall   

Desert   Pursuit  Morns-Caruso 

Elephant    Stampede    .Sheffield 

Father  Takes  The  Air    Walburn-Gray 

Flight  to  Mars  IC)   172)  Chapman-Mitchell 

Fort   Osage    IC)     Cameron-Nigh 

Hold  That  Line  -  Gorcey-Hall 

Joe   Palooka  in  Triple  Cross  Kirkwood-Downs 
Lawless  Cowboys  158)  Wilson-Knight 
Longhorn.  The  170)         .  Elliott-Coates 
Man  from  Black  Hills  Brown-Ellison 

Mexican  Silver  Wilson-Clyde  

Night  Raiders  Wilson-Knight   

Northwest  Territory   141)  Grant-Chinook 

Oklahoma  Justice  Brown-Ellison  

Rodeo   IC)  _     Jane  Nigh 

Stage  to  Blue  River  (54)  Wilson-Knight 


11-18 
5-52 

10-29 
4-17 


3-52 


.5114  . 
5209 
5110 
5124  . 
5103 
5102 
521  I 
5118 
5155 
5223 
5242 


2-52 
12-9 
_8-l9 
3-9 
12-30 


5251 


29 


Stagecoach  Driver 
Steel  Fist.  The  (73) 
Texas  City 
Texas  Lawmen   ( 54 1 

Trail  Dust   

Vengeance  Trail  

Vicious  Years.  The  179) 
Waco 

Wagons  West  (C)  

Wanted:  Dead  or  Alive 
Whistling  Hills 

Witness.  The   _  _ 

fellow   Fin  ...  

Yukon  Manhunt 


Babe  Ruth  Story.  The  ...  _ 
Disc  .lockev 

Highwayman.  The  IC)  183) 

Let  s  Go  Navy  1481 

If  Happened  On  Fifth  Avenue 


Wilson-Knight      .  . 
McDowall-Miller 
Brown-Ellison 
Brown-Ellison 

Albright-Winters  

 Elliott-Stewart 

Cook-Moore    .. 

Elliott 

 Cameron   

Wilson-Clyde 
_  Brown-Ellison 

Kirkwood-Gleason 

Morris-O'Flynn 

Grant-Davis 

ALLIED  ARTISTS 

Bendu-Trevor    

Simms-O'Shea 
Hendrix-Coburn 
H.  Hall-G.  Gorcey 
DeFore-Storm 


51  53 
5217 
5241 


6-18 
8-27 
8-27 


PAR  AMOUNT 


1951-52  Features       Completed   (58)       In  Production  (2 


RELEASE  CHART 

—  1951-52  — 


IN  PRODUCTION 

TITLE — Running  Time 


COMPLETED 

Aaron  Slick  from  Punkin  Creek  IT)  Shore-Younq 

Anything  Can  Happen  _   Ferrer-Hunter  ... 

Big  Carnival    The  1112)  Douglas-Sterling 
Rev.  under  title:  Ace  in  the  Hole 


Big  Timber  IT)   -  

Carrie     

Crosswinds  IT)    193)   „   -  

Darling,   How  Could  You  (95) 

Detective   Story  1103)    

Famous   (Tl   — 

Flaming  Feather   (T)  ...   

Greatest  Show  On  Earth  IT)  .  

Green    Gold  of  Nevada   (T)  ... 

Here  Comes  the  Groom  1114)   

Hong  Kong   IT1  192) 

Los  Alamos  

My  Favorite   Spy  (93) 
My  Son  John 

Passage  West  (Tl  1801  

Peking   Express  185)   

Place  in  The  Sun.  A   1122)  _  

Rage  of  the  Vulture,  The     ...  ... 

Red  Mountain  IT)   

Rhubarb  1951 

Sailor  Beware  1102) 

Samson  and  Delilah  IT)   1121)  _ 

Shane  IT) 

Silver  City  (T)  (90)   

Somebody  Loves  Me 

Something  To  Live  For    

Son  of  Paleface  (T)   

Stooge.  The  

Submarine  Command  (891 

That's  My  Boy  (98)   

The  Denver  &  Rio  Grande  IT) 
This  Is  Dynamite 

Trio  191)  

Warbonnet  IT)  

Warpath  195)  IT) 

When  Worlds  Collide  (82)  IT) 


Payne-Moorhead 

Olivier-Jones   

Payne-Fleming  

Fontaine-Lund 

Douglas-Parker  

Crosby-Wyman 

S.  Hayden-G.  Russell 

Stewart-Hutton    

Payne-Morrow    

Crosby-Wyman   

Reagan-Fleming 
Barry-Carke 

Hope-Lamarr  

Hayes-Heflin       .  . 

Payne-O'Keefe     

Cotten-Calvet  

Clift-Winters    

Ladd-Kerr  .   

Ladd-Kennedy 

Milland-Sterling   

Martin-Lewis 

Lamarr-Mature    

Ladd-Arthur     

DeCarlo-O'Brien 
Hutton-Meeker      .  _ 

Fontaine-Milland    

Hope-Russell   

Martin-Lewis  ..... 

Holden-Olson  

Martin-Lewis   

O'Brien-Hayden   

Holden-Smith 
.  Simmons-Rennie 

Heston-Hanson   _. 

O'Brien-Jagger   

Derr-Rush 


.7-51 
_  8-51 
9-5 1 


 9-51 

2-52 
.  3-51 

12—51... 

10-51 


5022 
.  5024. 
5102 


.5010 
5112 


I  1-19 

_____ 


—  8-13 
12-17 
.11-21 


Lost  Planet  Airmen   IReedited  from 

'Kinq  of  the  Rocket  Men"  Coffin-Clarke 
Oklahoma  Annie  IC)  Canova-Russell 
Pals  of  the  Golden  West  .  Rogers-Evans 

Ouiet  Man,  The  (T)       Wayne-O'Hara 

Robinson-Vs.  Turpln   (53)    .   Fight   Pictures  ... 

Rodeo  Kind  &  The  Senorita   167)      Allen-Kay  ._ 
Saddlemates  Allen-Kay 

Sea  Hornet,  The   184)   Cameron-Booth 

Secrets  of  Monte  Carlo    .  Douglas-Hall  .... 

South  of  Caliente  67)  Rogers-Evans 

Stormbound   ._    Dowling-Checchi 

Street  Bandits    154)    Edwards-Clarke 

This  Is  Korea   (50)     ...  Documentary 

Utah  Wagon  Trail  (67)   _.  Allen-Edwards 

Wild  Blue  Yonder  1981  Corey-Ralston 

Woman  In  The  Dark     Edwards-Elliott 

Wyoming   Saddle   Pals   Chapin-Janssen 


7-25  5031 
12-15  5152 


7-20 
7-15 

5061 
5053 

10-  22 

11-  19 

1  1-6 

6-20 
-15 

5030 
5151  - 
5032 
5130 

5127  .... 

-15 
3-10 

12-17 
.9-10 

3—  1 5 

2-7 

5054 
5130 

11-5 
12-17 

RKO  RADIO 


1951-52  Features       Completed   (65)       In  Production  (0) 
RELEASE  CHART 

—  1951-52  — 

COMPLETED 

TITLE — Running  Time 
Alice  In  Wonderland  IT)  (75) 

Androcles  and  The  Lion  

Behave  Yourself  181)   

Big  Sky.  The   -  

Blue  Veil,  The   1 1  14)     

Clash  By  Night  

Crack  Down       .  _   

Double   Dynamite  180)   

Flvina  Leathernecks  IT)    1102]  . 

Girl  in  Every  Port,  A   _  _ 

Gun  Notches   

Gun  Play   160)  -  

Gypsy  Blood 

Happy  Go  Lovely  (87)   

Half-Breed,  The  

His  Kind  of  Woman  1120) 

Hot  Lead  160)  ...  

I  Want  You   I  101) 

Jet  Pilot  (T)  1118)  

Jungle  of  Chang  167) 
Jungle   Headhunted    IT)  165) 

Korean    Story,    The   _  

Las  Vegas  Story,  The  

Lilli  Marlene  172)  

Marshal  of  Pecos 
On  Dangerous  Ground  182) 

On  The  Loose  (74)     

One  False  Move      

Overland  Telegraph  (60)   

Pistol  Harvest  1601   

Racket,  The  189)  

Roadblock  (73)     

Hustler's  Range 


Saddle  Legion  160) 
Slaughter  Train  IC)  178) 

Sons  of  the  Musketeers  IT)  Wilda-O'Hara  . 

Target    McGraw-White 

Tarzan's  Savage  Fury  Barker-Hart 
Two  Tickets  to  Broadway  (T)  (106)  Leigh-Martin 
Whip  Hand,  The    (82)     Reid-Tuttle 


Cast 

Rel. 

No. 

Rev. 

Disnev  Cartoon 

......  7-51 

292 

7- 14 

Simmons-Youna  ........ 

Winters-Granaer 

9-51 

206 

9-24 

Douglas-Martin   

wyman-_.arison  ..... 

.  Douglas-Stanwyck   

Williams- Armstrong 
Sinatra-Russell 

 i u-ai 

.....  Ibi  ..... 

.. .  1-1 . 

".12-51"" 

Wayne-Ryan    

Marx-Wilson   _.. 

8-51 
 12-51 

...  261  . 

8-13 

Holt-Martin    

Holt-Martin  

8-51 

...  .. 

Jennifer  Jones 

D.    Niven-Vera  Ellen 

_  7-51 

262 

Young-Carter    ._  _ 

Russell-Mitchum  _ 

....  12-51 
  8-51 

201 

...  7-30 

Holt-Martin 

10-51 

 209  

10-22 

Andrews-McGuire 

  1-51 

 101 

11-19 

Wayne-Leigh  _ 

  12-51.. 

_  _____ 

Travel 

 1 1-51 

..-.208... 

Travel  ...  

Mitchum-Tallman  _ 
Russell-Mature  

 __  6-51... 

 177 

.  11-51 

McDermott-Daniely 
Holt-Martin 

Ryan-Lupino  

Evans-Earl  

Lupino-Ryan    _ 

Holt-Martin 

.Holt-Martin  

Mitchum-Scott   

McGraw-Dixon   _. 

Holt-Martin   

Holt-Martin   

Donlevy-Grey  

7—5 1 

1-51 

10-  51. 

12-51 
  7-51 

11-  51 
7-51 

10-51 

203 

215 

.....  202 ... 

Z'9-24" 

8-13 

205 

 210  

.....204 ..... 

~~TvT~ 

207 

10-22 
"10-22 

20th  CENTURY-FOX 


REPUBLIC 


1951-52  Features       Completed   (47)       In  Production  (8) 


1951-52  Features 
Serials 
Westerns 


Completed  (15) 
Completed  (  0) 
Completed   (  8) 


In  Production  (2) 
In  Production  (0) 
In  Production  (0) 


RELEASE  CHART 


IN  PRODUCTION 

TITLE — Running  Time 
Gobs  and  Gals 
Minnesota 

Ranoers  of  the  Golden  Sage 
COMPLETED 

Adventures  of  Captain  Fabian  (100) 
Arizona  Manhunt  160) 

Bal  Tabarin   

Border  Saddlemates 
Bullfiqhter  and  the  Lady  187) 
Captive  of  Billy  the  Kid 

Colorado  Sundown  ..  

Dakota  Kid.  The  160) 

Desert  of  Lost  Men 

Don  Daredevil   Rides  Again 

Fabulous  Senorita,  Th«  .  1  

Flight  from   Fury  .. 

Fort  Dodqe  Stampede  160) 

Fugitive   Lady  (781   

Girl  From  Panama  . 

Guntlingor  

Honeychile   ITr!  (89) 

Hoodlum  Empire  _________________ 

Lady  Possessed  

Last  Musketeer.  The  _   _   _  ■ 


1951-52  — 


Cast 
Downs-Hutton 
Cameron-Hussey 
Chapin-Janssen 


E.  Flynn-M.  Prelle 
Chapin-Janssen  _ 
Lawrence-Ching 
Allen-Kay 
Stack-Page 
Lane-Edwards 
Rex  Allen 
Chapin-Janssen  _ 
Lane 

Curtis-Towne  __  

Estelita-Clarke  __ 
Edwards-Clark 
Lane-Kay 
Paige-Barnes 


Estrelita-Clarke 

Lane-Riley 

Canova-Foy 

Donlevy-Trevor 

Mason-Havoc 

Allen-Kay  


5067 
5063 
5084 


10-51      5121  12-3 


RELEASE  CHART 

—  1951-52  — 


IN  PRODUCTION 

TITLE — Running  Time 

Cry  of  the  Swamp  (T)    

Deadline  U.  S.  A  

Don't  Boiher  To  Knock 

Dream  Boat   

Full  House,  The   

Way  of  a  Gaucho  (T)  

We're   Not  Married 
What  Price  Glory 

COMPLETED 

Anne  of  the  Indes  (T)  (82)  

As  Young  As  You  Feel  (77)  

Bells  On  Their  Toes       

David  and  Bethsheba  (T)  (123) 
Day  The  Earth  Stood  Still,  The  (92).. 

Decision  Before  Dawn  (119)  

Desert  Fox,  The  (91)   

Diplomatic  Courier 

Down  Among  the  Sheltering  PalmsIT) 

Elopement  182)  

5  Fingers   _     

Fixed  Bayonets!  (921 

Frogmen  196)       

Girl  Next  Door,  The  (T)  

Girl  on  the  Bridge,  The  (77)  

Golden  Girl  IT)  1108)  

C-uy  Who  Came  Back.  The  (91)   

I  Don't  Care  Girl,  The  IT) 

I'll  Never  Forget  You  (T)  (90)   

Japanese  War  Bride  191)   

Journey  Into  Light  (87)  


Cast 
Peters-Hunter 
Bogart-Barrymore 
Widmark-Monroe 
Webb-Francis 
Crain-Granger  . 
.  Tierny-Calhoun 
Wayne-Rogers 
Cagney-Dailey 


Jordan-Paget 
Woolley-Ritter  ... 

Crain-Loy  

Peck-Hayward  .... 
Rennie-Neal  . 
Merrill-Basehart 

Mason-Young   

Power-Neal 
Lundigan-Greer 
Webb-Francis 
Mason-Rennie 


10-51  130 


12-51        141        I  1-19 


Basehart-OShea  12-51 

Widmark-Andrews    7-51 

Haver-Dailey 
Haas-Michaels 
Day-Gaynor 

Douglas-Darnell   

Gaynor-Wayne 
Power-Blyth 
Yamaguchi-P.  Taylor 
Hayden-Lindfors   _ 


12-51 

11-  51 

—7-51.. 

1 2-  5 1 
1-52 

1 0-5 1 


139  12-17 
136  11-19 
III  


132 


FILM    B  U  L  L  E  T  I  N 


Kangaroo  ITI 
Let's  Make  It  Legal  177) 
Love  Nest  184) 
Lydia  Bailey  IT) 


O'Hara-lawford 
_Colbert-Carey 
-Haver-Lundiqan 
.Robertson-Francis  . 
farable-Carey 
MacMurray-Parker 
Webb-Dru 


Meet  Me  After  The  Show  IT)  86 
Millionaire  for  Christy    9  1 
Mr.  Belvedere  Rings  The  Bell  188) 

Model  and  The  Marriage  Broker  I  103)  J  Crain-T.  Ritter 
No  Highway  In  The  Sky  197)  Stewart-Dietrich 

On  the  Riviera  IT)  1*0)   Kaye-Tiernev  

Outcasts  of  Poker  Flat,  The  Baiter-Robertson 
People  Will  Talk    II  101  .  Grant-Crain 

Phone  Call  From  A  Stranger  ...  Merrill-Winters  .  ... 
Pride  of  St.  Louis  Dailey-Dru 

Red   Skies  of  Montana  IT)  Widmark-Smith  ...  ... 

Return  of  the  Texan  Robertson-Boone 

Secret  of  Convict  Lake  183)  Ford-Tierney 

Take  Care  of  My  Little  Girl  IT)  193)  Crain-Peters 

Viva  Zapata  M.  Brando-J.  Peters 

Wait  Till  The  Sun  Shines  Nellie  IT)  Peters-Wavne 

With  A  Song  In  My  Heart  IT)  _  _Hayward-Calhoun   


8-  51 

9-  5 1 
8-SI 


8-13 
8-13 
8-13 
12-17 


UNITED  ARTISTS 


Golden  H.-vde    The  IT) 

Has  Anybody  Seen  My  Gal  IT) 

Hear  No  Evil 

Here  Come  The  Nelsons 

Iron  Man  (82)   

Lady  from  Texas  IT)  178)   

Lady  Pays  Off.  The 
Lavender  Hill   Mob  The 
Little  Egypt  ITI  182) 
Ma  and  Pa  Kettle  at  the  Fair 
Ma  and  Pa  Kettle  Go  To  Paris 
Mark  of  the  Renegade  IT)  181) 

Meet  Danny  Wilson   

Pool  of  London 
Raging  Tide.  The  (921 
Red  Ball  Express 
Reunion  In  Reno  179) 

Son  of  Ali  Baba  IT)   

Steel  Town  IT) 
Strange  Door   The  180) 
Thunder  On  the  Hill  185) 
Treasure  of  Lost  Canyon.  The  IT) 
Weekend  With  Father  1831 
World  In  His  Arms    The  IT) 
You  Never  Can  Tell 


P. 

Oct. 

134 

Colburn-Laurie 

r*.ur*it.^tprlinn 

Oiiie  and  Harriet 

Keyes-Chandler 
Hull-Duff 

Aug 
Oct 

130 
136 

7  16 
10-8 

Darnell-McNally 

Nov 

202 

Guinness-Holloway 

Oct 

280 

Flpmina-Stpvpni 

Seot 

131 

8-27 

Main-Kilbride 

Main-Kilbride 

Montalban-Charlsse 

Aug 

128 

8-13 

Sinatra-Winters  

183 

203 

Colleano-Shaw 
Winter^-Contp 

Aug 
Nov 

10-22 

r.hAiHIar.r.^hnt 

Stevens-Dow 
Curtis-Laurie 
Sheridan-Lund 
Lauqnton  Karloff 

rrtlhflrt.flk  +  h 

Oct 

135 

10-8 

Dec 

C_nl 

214 
133 

1  1-5 
8-  13 

W    Powell-J.  Adams 

Neal-Heflin 

Dec 

206 

12-3 

Peck-Blvth 
Powell-Dow 

Sept 

132 

9-10 

1951-52  Features        Completed    (53)        In  Production  (3) 
RELEASE  CHART 

—  1951-52  — 


IN  PRODUCTION 

TITLE — Running  Time 
Limelight 
Planter  s  Wife 
Tightrope,  The 

COMPLETED 

A  Christmas  Carol  186) 
Actors  and  Sin  194) 

African  Queen  (T)  

Another  Man  s  Poison  189)   

Big  Night.  The  175) 

Buffalo  Bill  in  Tomahawk  Territory 

Chicago  Calling  174)  

Cloudburst  183)    

Fabiola  196)    

First  Legion  (86)  

Fort  Definance  (81)  

Four  In  A  Jeep  (?7)   

Gold  Raiders  1561   

Green  Glove.  The   

He  Ran  All  the  Way  177)   

High  Noon   

Hoodlum.  The  (63)    

Hotel  Sahara  187) 

Lady  Says  No.  The  180)   

Man  From  Planet  X  1701   

Man  With  My  Face  (75)  

Mister  Drake's  Duck  181)   

Mr.  Peek-A-Boo  174)    

Naughty  Arlette  186)   

New   Mexico   (A)  176)  

Obsessed  177) 

Odette  (105)   

Oliver  Twist  1105)   

One  Big  Affair  180) 

Pardon  My  French  181)    .  . 

Prowler,  The  (92) 

Queen  For  A  Day  1107)  

Red  Planet.  The 

River,  The  IT)  (99)  

Saturday  Island  IT)  

Scarf.  The  186) 

Skipalong  Rosenbloom  172) 

So  Long  at  the  Fair  185) 

St.  Benny,  the  Dip  (80)  ______ 

Tale  of  Five  Women,  A 
Thev  Were  Not  Divided 

Three  Steps  North  185)   

Tom  Brown's  Schooldays  193) 

Two  Gals  and  a  Guy  1701  

Underworld  Story    _ 

Well.  The  185)  _   

When  I  Gr^w  Up  190)       .   ...  .... 


Cast 
Chaplin-Bloom 
Claudette  Colbert 
Forsythe-Hall 


Robinson-Hunt 

Bogart-Hepburn   

Davis-Merrill  

J.  Barrymore-P.  Foster 

Moore-Andrews 

Duryea-Anderson 

Preston-Sellars   

Michele  Morgan 

Boyer-Bettger   

D.  Clark-B.  Johnson 
Lindfors-Meeker  ._  _ 
O'Brien-Ryan 
Ford-Brooks 

Garfield-Winters   

Cooper-Kelly 

Tierney-Roberts  

DeCarlo-Ustinov 
Caulfield-Niven 

Clark-Field     _ 

Nelson-Matthews   

-Fairbanks-Donlan   

Greenwood-Bourvil  _ 
Tettering-Williams  _  . 
Ayres-Marshall 
Harrar-Fitigerald 

Neagle-Howard    

.Newton-Guinness  ..  — 
.O'Keefe-Keyes 
Oberon-Henreid      .  ... 

Heflin-Keyes   

Avery-McGavin 
Graves 

American-Indian   

Linda  Darnell  

Ireland-McCambridge 

Baer-Coogan   

Simmons-Bogarde  _ 

Roch-Haymes   

Bonar  Colleano 

Underdown-Clanton   _ 

Bridges-Padavoni    

Davies-Newton  ._  

Paige-Alda     

Duryea-Storm    

Rober-Kelly 

Preston-Scott  


I  1-19 
12-17 


I  1-5 
7-16 

6-18 

1 1-  19 

12-  17 
 6-4 

10-8 


10-21 
3-9 
.  8-24 


8-10 
5-25 
.  7-7. 


4-3 
3-29 
8-24 


Ren 
G-C 


9-10 
6-4 
4-9 


3-26 

1-29 
7-16 


Wil  


UNIVERSAL-INTERNATIONAL 


1951-52  Features        Completed   (55)       In  Production  (5) 
RELEASE  CHART 

—  1951-52  — 

IN  PRODUCTION 

TITLE— Running  Time  Cast  Rel.  No.  Rev. 

Duel  at  Silver  Creek,  The  ITI  Murphy-Domergue 

Francis  Goes  to  West  Point  O'Connor-Nelson 

Lost  in  Alaska  Abbott-Costello 

Scarlet  Angel  IT)  _    DeCarlo-Hudson   

Untamed,  The  IT)      Cotten-Winters 

COMPLETED 

Battle  at  Apache  Pass  (T)   Chandler-Lund  

Bend  of  the  River  IT)  Stewart-Kennedy  :  

Bright  Victory    197)    _    Dow-Kennedy    7-30 

Bronco  Buster  IT)  Lund-Brady    

Cattle   Drive   IT)    (77)   McCrea-Stockwell  .........        Aug    .128  7-30 

Cave  of  Outlaws.  The  IT)   (76)   .    Smith-Carey  .         Nov       _   1 1—5 

Cimarron  Kid,  The  IT)   A.  Murphy-Y.  Dugay     

Comin'  Round  the  Mountain  177)  Abbott  &  Costello-Shay  luly  127   7-2 

Finders  Keepers  Ewell-Adams  Jan  211  

Flame  of  Araby  IT)   177)  _  _  Chandler-OHara  Jan        207    .      1 2—3 

Francis  Goes  to  the  Big  Town    Donald  O'Connor      

Francis  Goes  to  the  Races  188)   O'Connor-Laurie    July    .125  6-4 

DECEMBER    31,  1951 


WARNER  BROTHERS 


1951-52   Features        Completed    (39)       In  Production  (2) 

RELEASE  CHART 

—  1951-52  — 

IN  PRODUCTION 

TITLE — Running  Time  Cast  Rel.  No.  Rev. 

Alexander,  The  Big   Leaguer  Day-Reagan 

Crimson  Pirate.  The  IT)  B.  Lancaster   

Man  With  A  Gun   IT)    ....  Scoti-Wymore 

Mara  Maru  Flynn-Roman 
She's  Working  Her  Way 

Throuqh  College  IT)        _  Mayo-Reagan 

This  Woman  Is  Dangerous  Crawford-Morgan 

You  Can't  Stop  the  Marines  l.oveioy-Carlson 

COMPLETED 

About  Face  ITI  MacRae-Bracken 

Big  Trees,   The   IT)    Cooper-Alden  12-29  III 

Bugles  in  the  Afternoon  (T)  R.  Milland-H.  Carter  

Captain  Blood   (Reissue!    198)  Hynn-DeHaviland  12-5  110 

Carson  City  Scott-Massey 

Close  To  My  Heart  190)  .  Milland-Tierney  11-3        107  10-22 

Come  Fill  the  Cup  I  1 131  J.  Caoney-P.  Thaxter        10-20        106  9-24 

Captain  Horatio  Hornblower  IT)  1 17  Peck-Mayo  8-11  030  7-2 

Distant  Drums  IT)   I  101  I  Cooper-Alden  12-29        III  12-17 

Force  of  Arms  (1001  Holden-Olson  9-15  102 

I'll  See  You  In  My  Dreams   I  I  10)       Day-lhornas  1-12        112  12-17 

Jack  and  The  Beanstalk  Abbott-Costello 
Lion  and  the  Horse.  The  Cochran-Teal 
Jim  Thorpe.  All-American   (105)  Lancaster-Bickford 

North  of  the  Rio  Grande      _   McCrea-Mayo 

Only  The  Valiant  1 105)  MacRae-Day 
Painting  Clouds  with  S'hine  IT)   187)  Mayo-Morgan 
Room  For  One  More  Grant-Drake 
San  Francisco  Story  McCrea-DeCarlo 

Starlift    1103)  Cagney-Mayo  12-1         109  11-19 

Streetcar  Named  Desire,  A  (122)  _. Brando-Leigh  9-29  104  

Tank  Are  Coming.  The  190)  S.  Cochran-P.  Carey  11-17  108  11-5 
Tomorrow  Is  Another  Day  (90)  Roman-Cochran  9-22  103  8-27 
Where's  Charlie?  IT)  Bolger-McLerie  


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cooperated  with  us  by  putting  return  trailers  in 
the  proper  addressed  containers  and  for 
wrapping  and  addressing  all  return  advertising. 

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a  copy  of  their  program  Tuesday  each  week. 

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31 


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TECHNICOLOR 

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HERBERT  T.  KALMUS,  PRESIDENT  AND  GENERAL  MANAGER 


The  Museum  ol  Modern  Art 


300311981